WelcomeWelcome| 00:04 | Hi! I am Garrick Chow, and welcome
to iMovie `11 Essential Training.
| | 00:08 | In this course, we will look at how to
use iMovie to turn your video footage
| | 00:11 | into a great-looking final product you
can share with your friends and family.
| | 00:14 | We will start by looking at how to
identify and assemble your best footage into
| | 00:18 | a concise and effective story.
| | 00:19 | We will see how to give your project
a professional look with tools like
| | 00:22 | iMovie's new one-step effects. We will see how to
quickly add excitement and fun to your project by dragging
| | 00:28 | your footage into a template to
create a Hollywood-style movie trailer.
| | 00:32 | And lastly, we will talk about the
many ways you can share your finished
| | 00:34 | projects to social media
sites like Facebook and YouTube.
| | 00:37 | We will be covering all of these
features, plus plenty of other tools and
| | 00:41 | techniques, for making your videos
the best they can be in iMovie `11.
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| Using the exercise files| 00:00 | If you have a premium membership to the
lynda.com Online Training Library, or if
| | 00:04 | you are watching this course on a disc,
you have access to these sample movies
| | 00:08 | and photos I will use throughout this
course, and you can use these files to
| | 00:11 | work along with me.
| | 00:12 | Now, this is a progressive course,
meaning that I am going to create a new
| | 00:15 | project early on, and then continue to build
and refine it throughout the rest of the course.
| | 00:20 | So while you can jump around the
course and watch any movies you like, if you
| | 00:23 | want to work along with me, you will
have to start from at least the beginning
| | 00:26 | of chapter 5 Editing Video, when I
start building the project from scratch if
| | 00:30 | you want to build the same project.
| | 00:32 | The Exercise Files folder contains all
the footage and photos I use, but iMovie
| | 00:36 | isn't designed to let you import a
project that's already in progress, so that's
| | 00:40 | not something we can provide.
| | 00:41 | But in any case, you can always work
with your own footage and jump in at any
| | 00:44 | point, whether you have access
to the exercise files or not.
| | 00:47 | You will still learn everything you
need to be up and running with iMovie in
| | 00:50 | no time. But if you do have the
exercise files, just copy them to your Desktop
| | 00:54 | and I will be letting you know what
files to grab and when, if you want to
| | 00:57 | work along with me.
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1. Getting StartedMaking sure you have the latest version of iMovie| 00:00 | Before we begin, it's a good idea
to make sure you are running the
| | 00:02 | latest version of iMovie.
| | 00:04 | Apple often releases software updates that
include bug fixes and sometimes new features.
| | 00:09 | In the case of iMovie, you can find out
which version you are running by going
| | 00:12 | to your Applications folder, selecting
iMovie by clicking it once, and then from
| | 00:17 | the menu at the top of the
window, choosing Get Info.
| | 00:20 | And as you can see here, I am running version
9.0, which is the first version of iMovie `11.
| | 00:26 | Now, by the time you are watching
this movie, Apple may have already
| | 00:28 | released some updates.
| | 00:29 | You can check for updates the same
way you check for all updates for Apple
| | 00:35 | software: just click the Apple
button and then choose Software Update.
| | 00:39 | Your Mac will connect to the Apple
servers, and if any updates are available,
| | 00:42 | they will appear here.
| | 00:44 | Now in my case, all of my software is up
to date, but if there were any updates
| | 00:48 | available, I would see them listed in
the top portion of the pane here, along
| | 00:51 | with a description of the software,
including what bug fixes were added or what
| | 00:54 | new features were added.
| | 00:55 | So if your Mac does find new updates,
whether it's iMovie-related or not, you can
| | 00:59 | go ahead and follow the on-screen
instructions to install the updates and you
| | 01:02 | will be all set. And that's all
there is to updating your software.
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2. Importing VideoTypes of connections| 00:01 | Before we get into examining the iMovie
interface and work area, we need to have
| | 00:04 | some video clips to work with.
| | 00:06 | So in this chapter, I want to show you
some of the various ways in which you can
| | 00:09 | bring video footage into iMovie `11.
| | 00:10 | Let's begin by taking a look at the
ways you can connect various types of video
| | 00:14 | cameras to your Mac.
| | 00:16 | Now, DV, or digital video, cameras were
the first type of cameras that the first
| | 00:20 | version of iMovie was able to
control and import footage from.
| | 00:23 | You are not seeing as many of these
types of cameras for sale these days, but a
| | 00:26 | lot of people still have and use them,
so iMovie maintains this important
| | 00:29 | ability to import footage from
DV cameras in this latest version.
| | 00:33 | DV cameras shoot to mini-DV tapes.
| | 00:35 | They look like this, and most
hold about 60 minutes of footage.
| | 00:39 | And most DV cameras connect to
your Mac via a FireWire cable.
| | 00:43 | FireWire is Apple's name for the type of
interface used by your camera and your Mac,
| | 00:47 | but you may also see the connector
on your camera labeled as iLink or the
| | 00:50 | very-easy-to-remember IEEE1394, which is
actually the technical name for the interface.
| | 00:56 | It depends on your camera's
manufacturer, but they all refer to FireWire.
| | 00:59 | This is what the ends of a
FireWire cable look like.
| | 01:02 | Most commonly the smaller
end of the FireEire cable,
| | 01:04 | the 4 pin end, connects to your camera, and
the larger 6 pin end goes into your Mac.
| | 01:09 | However, none of the current Mac models
have FireWire 400 built in anymore, so
| | 01:12 | if you have a newer Mac with FireWire,
it's FireWire 800, which looks like this.
| | 01:17 | So you'll need an adapter to plug your
FireWire 400 cable into your Mac if your
| | 01:20 | Mac only has FireWire 800.
| | 01:22 | Now, the types of cameras you are
seeing the most of in stores these days are
| | 01:26 | tape-less cameras that record to
either mini DVD discs, or more commonly,
| | 01:30 | internal hard drives, and they
generally don't use FireWire at all, but instead
| | 01:34 | use a USB connector.
| | 01:35 | You probably have a cable like
this for your digital still camera.
| | 01:39 | The smaller end goes into your
camera, and the larger end goes into one of
| | 01:42 | your Mac's USB ports.
| | 01:43 | But for the most part, you are going
to be connecting your camera either
| | 01:46 | by FireWire or USB.
| | 01:47 | There are other ways to get video
footage into iMovie, but FireWire and USB are
| | 01:51 | the two ways to do it if you are
connecting a camera to your Mac.
| | 01:54 | In the next movie, we will take a
look at how to capture footage from a
| | 01:56 | DV camera.
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| Importing from a tape-based camera| 00:01 | In this movie, I am going to show you
how to import footage recorded on a DV
| | 00:04 | camera that's using mini DV tape.
| | 00:06 | Since this is a tape-based camera,
that means you are going to be importing
| | 00:09 | footage into iMovie in real time,
meaning that any footage you want to import
| | 00:13 | has to be played back at the
same speed it was recorded.
| | 00:15 | Let's start by opening iMovie.
| | 00:16 | So to import footage from my camera,
I need to connect it to my Mac via a
| | 00:22 | FireWire cable, which I have already
done, but I haven't turned it on yet.
| | 00:26 | When you turn on your camera, you will
need to set it to VTR mode, which may
| | 00:29 | also be called VCR or
Playback mode on your camera.
| | 00:32 | It's often the same mode used to
watch the footage on your camera.
| | 00:35 | Once you do so, iMovie should
automatically recognize that you have turned the
| | 00:38 | camera on, and you can see
that opens up the Import window.
| | 00:41 | Now, if you have multiple devices
connected to your Mac, you can choose the
| | 00:44 | device you want to import from here.
| | 00:45 | For example, if I had an iSight camera
connected or built in to my Mac, I could
| | 00:49 | choose it from this menu, but currently I
only have my camcorder connected to my Mac.
| | 00:53 | Now we have two options for
importing footage from this camera.
| | 00:56 | We have Automatic and Manual.
| | 00:58 | If we select Automatic and then click
Import, iMovie will automatically rewind
| | 01:02 | the camera and import all
the footage on the tape.
| | 01:04 | And as a nice touch, it automatically
rewinds the tape for you again when it's done.
| | 01:08 | So if you want to import everything on
the tape, you can select Automatic, click
| | 01:12 | Import, and then walk away.
| | 01:14 | If you choose Manual, you will use
the playback controls that appear to
| | 01:17 | fast-forward and rewind the tape to
find the footage you want, and then you
| | 01:21 | can sit here and click the Import button
anytime you find footage you want to import.
| | 01:24 | It really depends on the footage you shot.
| | 01:26 | If you want to get everything,
you would select Automatic.
| | 01:29 | If you know that you only need a few
minutes of the footage and you want to
| | 01:32 | save yourself the hard drive space,
choose Manual and then click Import when
| | 01:35 | you see the parts you want.
| | 01:36 | So I am going to leave Manual selected,
and maybe in this case I do know that
| | 01:40 | I want to start capturing from the very
beginning of the tape, so I'll just click Import.
| | 01:45 | Notice this dialog box that's appeared.
| | 01:46 | It tells me that any type of content
that iMovie can automatically import, but
| | 01:50 | what's important here is my
selection for high-definition content.
| | 01:54 | If you are shooting with the high-def
camera, iMovie can import all your footage
| | 01:57 | at its original size, which as you can
see here, is the highest possible quality,
| | 02:01 | but it takes up much more hard
drive space, up to 40 gigabytes per hour.
| | 02:05 | Also note that it may not
play back smoothly on certain computers.
| | 02:08 | If you are planning on sharing the
video that you import to the web or maybe on
| | 02:12 | a CD and you are not really doing it
for professional purposes, you're probably
| | 02:15 | better off sticking with the default
selection of Large, which slightly reduces
| | 02:18 | the size of the video that it's
importing, and it does take up much less space.
| | 02:22 | Also note that you can change
these settings later if need be,
| | 02:25 | so I am going to leave Large selected.
| | 02:27 | So iMovie will take my 10:80 HD
content and import it at the slightly smaller
| | 02:31 | size, but it will still look good.
| | 02:32 | So in this dialog box that appears here,
it's asking me where I want to save
| | 02:37 | my content to, and you can choose any
supported hard disk that's connected to your computer.
| | 02:41 | Notice it even tells you how much space
you have for you on each of your drives
| | 02:44 | and about how much footage you
will be able to import to it.
| | 02:46 | I am just going to leave my
default system drive selected.
| | 02:49 | Next, we have a choice to create a
new event or add an existing event.
| | 02:54 | Video clips in iMovie `11
are organized by events.
| | 02:57 | So you can create events like
birthday, graduation, vacation, and so on.
| | 03:00 | And you don't have to worry about
coming up with the perfect event name.
| | 03:03 | You can always change it later or even
move or copy clips from one event to another.
| | 03:07 | In this case, this is a brand-new
installation of iMovie, so I don't have any
| | 03:11 | existing events, so that
option isn't available here.
| | 03:13 | So I am going to create a new event.
| | 03:14 | And this is just some footage on my
camera that I recorded of me working on my
| | 03:18 | computer, so I might just
call this "Working on computer."
| | 03:21 | Notice we have the check box
Split days into new Events.
| | 03:25 | If you have recorded a lot of footage
that takes place over multiple days and
| | 03:29 | you have this option checked,
iMovie will automatically create multiple
| | 03:32 | events for each day.
| | 03:34 | But if you prefer everything from the
tape to be put into a single event, you
| | 03:38 | can uncheck this option.
| | 03:39 | We also have the option here to analyze
our video after we import it, and we can
| | 03:42 | analyze for Stabilization,
People, or Stabilization and People.
| | 03:47 | The Stabilization feature is an
ability of iMovie that can take shaky
| | 03:51 | footage and smooth it out.
| | 03:53 | And the People option is a new feature
of iMovie in which it will go through
| | 03:56 | your footage and try to
detect the presence of people.
| | 03:58 | And that way you will be able to look
up your footage later and find just the
| | 04:01 | footage that has people on it.
| | 04:02 | Now if you do select any of these and
check this option, just be aware that it
| | 04:06 | will add a significant
amount of time to your import.
| | 04:08 | So if I am in a rush to get footage
imported, I prefer to leave this option
| | 04:11 | unchecked, because you can always go
back and analyze specific clips for
| | 04:14 | Stabilization and People later.
| | 04:16 | And the last option here is the
choice of how we want to import our 1080 HD
| | 04:20 | video, and we did already decide to
import that as Large rather than Full -
| | 04:24 | Original Size, but this is
where you can change your mind.
| | 04:26 | Once you have decided on your
settings, you can click Import.
| | 04:28 | So now iMovie is starting up
my camera, playing the footage.
| | 04:34 | Now you can see it's now importing.
| | 04:37 | Down here, you can see it's
capturing HD in real time.
| | 04:42 | When you have captured the footage
you want, you can click Stop. And if you
| | 04:51 | look in the background here, you can
see the event that's being created, and
| | 04:53 | there is some of the footage, and I
can continue capturing more footage by
| | 04:57 | clicking the Play button again.
| | 04:58 | And when I see a section
where I want to import footage,
| | 05:02 | I will click Import.
| | 05:04 | Now, you can see we've paused the
video at this point, and now we have the
| | 05:07 | option to add to existing event.
| | 05:08 | So if I want to add more footage to
that existing event, I can choose it from
| | 05:12 | here or create another new event.
| | 05:13 | I am just going to leave
everything the way it is and click Import.
| | 05:15 | So there is the footage again.
| | 05:18 | Now if at anytime I needed to rewind
or fast-forward, I can use those control
| | 05:21 | buttons here. And again, I'll stop importing.
| | 05:23 | And I am going to go ahead and close
the Import window now, and you can see now
| | 05:30 | in iMovie here in my Event Library, we
can see the footage that I just imported.
| | 05:36 | So that's how you import footage
from my tape-based camera in iMovie `11.
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| Importing from a memory-based camera| 00:01 | Most of the consumer-level camcorders
you can buy in stores these days record
| | 00:04 | to their own internal hard drives
rather than to some kind of removable media,
| | 00:07 | like mini DV tapes or mini DVDs.
| | 00:10 | You can still find camcorders that
use removable media, but they are getting
| | 00:13 | more and more scarce.
| | 00:15 | Previously, we looked at how to import
footage from tape-based cameras, so in
| | 00:18 | this movie we're going to look at how
to import from a tape-less camera, which
| | 00:21 | also include camcorders that use mini DVDs.
| | 00:23 | For this example, I have a hard drive-
based camera connected to my Mac, but I
| | 00:27 | haven't turned it on yet, so I'm going
to go ahead and turn it on now, and you
| | 00:29 | want to set your camera to Playback or VTR mode.
| | 00:32 | Some cameras may need you to make
additional selections to indicate whether
| | 00:35 | you're connecting to a computer
or to some other recording device.
| | 00:38 | For example, the Sony camera I'm using
asks me if I'm connecting to a computer
| | 00:42 | or to a DVD burner, so I need to select
computer on its screen before iMovie can see it.
| | 00:46 | Now, you can see in this case because
the camera I'm using also takes photos,
| | 00:52 | iPhoto has opened, so I'm just going
to quit that, and you can see here in iMovie
| | 00:56 | that the Import window has opened and
has the model of my camera selected, Sony
| | 01:00 | HDR-SR12. And again, you can also select
other devices if you haven't connected
| | 01:05 | your computer from the Camera menu down here.
| | 01:07 | Now if you have a camera that records
to DVD, there is a chance that your Mac
| | 01:10 | might automatically open up the
built-in DVD player program as well.
| | 01:14 | If that happens, you can just
quit it and come back to iMovie.
| | 01:16 | So the main difference between
capturing footage from a DV tape and capturing
| | 01:20 | from a tape-less camera is that with
a tape-less format, you don't have to
| | 01:23 | capture in real time.
| | 01:25 | Instead, all of the clips are recorded
on the camera appear right here, and I
| | 01:28 | can selectively check the ones I want to
import or uncheck the ones I don't want to import.
| | 01:32 | Now each one of these clips is defined
every time you hit the Record button on
| | 01:36 | your camera. So if you shoot a little
and stop, that's a clip; when you hit
| | 01:39 | Record again, that's a second clip;
and so on. And this is the part I really
| | 01:43 | like: you can preview the footage
right from here without having to
| | 01:46 | fast-forward or rewind a tape.
| | 01:48 | So I can simply select a
clip and then click Play.
| | 01:51 | (video playing)
| | 01:53 | So I see it in full motion and with sound.
| | 01:57 | This allows me to quickly review my
clips to see which ones I want to import.
| | 02:00 | Once I've reviewed my footage, I
can then import the clips I want.
| | 02:04 | The one thing I can't do is to import
sections of clips. So even if I only want
| | 02:08 | the last few seconds of a clip, I need
to import the entire thing. But I can
| | 02:12 | always edit out and delete the parts I
don't need after I import them, and we'll
| | 02:15 | see how to do that later. Now if you want to import
all the footage on your camera, you can just click
| | 02:19 | Import All; otherwise you want to
uncheck all the footage you don't want and
| | 02:23 | leave the footage you do want checked.
| | 02:24 | A quick way to uncheck all the clips
is to hold down Option while clicking the
| | 02:28 | check box of one of the clips you do want.
| | 02:29 | As you can see, that un-checks
everything else, and now I can check may two
| | 02:33 | or three more clips that I want to keep,
instead of having to uncheck dozens of other clips.
| | 02:42 | Once I've made my selections, I can
click Import Checked, and we saw this in the
| | 02:46 | previous movie. In this dialog box, we
choose wherever we want to save our footage
| | 02:49 | to, and again this is convenient,
because it lets you know how much footage can
| | 02:52 | be stored on each one of your drives.
| | 02:54 | We can add these clips to any
existing event, or we can create a new event.
| | 02:57 | I call this HDD camera, this stuff
for my high-definition hard drive camera
| | 03:03 | here, and again we have the option to
split days into new events, so if you've
| | 03:06 | recorded footage over separate
days, it will go into its own event.
| | 03:10 | Again, we have Stabilization
and People Detection options here.
| | 03:13 | I won't to check those. And again, we can
choose to bring in the full size or just
| | 03:18 | a slightly smaller size
to save hard drive space.
| | 03:20 | You can leave all these settings the way
they are and click Import. And here you
| | 03:24 | can watch the progress of your
clips being copied to your computer.
| | 03:26 | You can see that even this is a 50-second
clip, it's going to come in much faster than that.
| | 03:34 | Once a clip has been imported, you can
see clearly that it's been imported, and
| | 03:37 | then it'll continue importing
the rest of your selected clips.
| | 03:44 | And when it's done, I see the
Import complete dialog box.
| | 03:47 | I can click OK, and then I can close
the Import window, and here we can see
| | 03:51 | we have HDD camera - Day 1 and Day 2,
because I did select the option to
| | 03:55 | split separate days into their own events,
and you can see them here in my Event Browser.
| | 03:59 | So that's how to import footage from
your tape-less camera into iMovie `11,
| | 04:04 | and of course once you're done
importing your footage, you can disconnect your
| | 04:06 | camera.
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| Importing from a digital still camera| 00:01 | A lot of today's digital still cameras
also shoot video, so it makes sense that
| | 00:04 | you should be able to edit that video in iMovie.
| | 00:06 | Many people these days probably shoot
more video on their digital cameras than
| | 00:09 | with dedicated video cameras, because
they usually have their digital camera
| | 00:12 | with them in their pocket.
| | 00:14 | Lots of people are even shooting
video with their cell phones, which are
| | 00:16 | producing better quality videos than ever.
| | 00:18 | Now, most cell phone movies are not
going to be HD quality, but if you just want
| | 00:21 | to edit and upload a video you shot so
your friends can check it out over the
| | 00:24 | Internet, the quality and
file size is fine for that.
| | 00:27 | Of course when you want high-quality
video, you still can't beat an actual video
| | 00:30 | camera, but a lot of today's digital
still cameras are getting fairly close.
| | 00:34 | Now digital cameras fall into the
realm of iPhoto, so when you plug your
| | 00:37 | still camera or your camera's memory card
into your Mac, iPhoto should open by default.
| | 00:42 | I'm going to plug in a memory card for
my camera into my Mac right now, and if I
| | 00:48 | look down at the dock, sure
enough, iPhoto started bouncing.
| | 00:50 | It opens up, and here is my
memory card selected here in iPhoto.
| | 00:55 | Now the same thing happens if you have
an iPhone, an iPod touch, or some other
| | 00:58 | portable device your Mac thinks of as a camera.
| | 01:00 | Now just in case iPhoto doesn't open
for you when you plug in your camera, let
| | 01:04 | me show where that setting is.
| | 01:06 | In your Application folder, you'll find
an application called Image Capture, and
| | 01:10 | you can see here under DEVICES, my
storage card is selected, and down here at
| | 01:15 | the bottom, it says
Connecting this camera opens:
| | 01:18 | and I have a menu here, from which I
can choose what I want to have open when
| | 01:21 | I plug this card in.
| | 01:22 | You can even choose No Application if
you want nothing to open, but in this case
| | 01:26 | I do want iPhoto to open, so I
am going to leave that selected.
| | 01:28 | If you don't see this panel open
up, make sure you toggle it open.
| | 01:31 | All right, so I'll quit Image Capture.
| | 01:35 | So my preferences are properly set, my
storage device showed up here in iPhoto,
| | 01:39 | and now I can import the photos
or videos that I want from it.
| | 01:42 | I do have a couple of videos
down here at the bottom I'll grab.
| | 01:44 | I'll just say Import Selected, and I'll
choose keep them on my card at this time,
| | 01:52 | and I'll quit iPhoto.
| | 01:52 | So now if I come back into iMovie,
| | 01:56 | I don't see any change yet, but first
look over here at the Event Library.
| | 02:00 | Now I'm going to quit iMovie. Reopen it.
| | 02:05 | You might have seen that dialog box
open for a moment there, telling me iMovie
| | 02:12 | had to update the iPhoto videos.
| | 02:14 | You may also see this dialog box
appear, telling me iMovie needs to generate
| | 02:18 | thumbnails for the videos in my
iPhoto Library, and this process may take
| | 02:21 | several minutes depending
on how many videos you have.
| | 02:23 | You will need to do this if you want to
use your videos from iPhoto in iMovie,
| | 02:27 | so I'm going to click Now.
| | 02:28 | So you can see now in my Event
Library I have this iPhoto Videos event.
| | 02:37 | This event will show me all the
videos that are in my iPhoto Library.
| | 02:41 | I can even scrub through
them to check them out a bit.
| | 02:44 | Now Apple does warn that not all
video formats shot by still cameras are
| | 02:48 | supported in iMovie, but I personally
haven't come across any formats that
| | 02:51 | didn't work yet. But just be aware
that you might not be able to use every
| | 02:54 | single type of video file in iMovie.
| | 02:57 | Now it may seem a little odd that
you can't import your still camera's
| | 02:59 | videos directly into iMovie,
but iLife is really about keeping all of your
| | 03:03 | digital media organized.
| | 03:05 | By keeping all medias shot on your
digital camera in iPhoto, you always know
| | 03:08 | where everything is. You don't have to
go honing around in iPhoto and iMovie
| | 03:11 | separately to find a particular clip.
And with iMovie's ability to look directly
| | 03:15 | into the iPhoto Library and use any
clip you want, importing videos into iPhoto
| | 03:19 | is just as good as importing them
directly into iMovie--and of course you have
| | 03:23 | the added bonus of being able to use
any of your still images in iMovie 2, but
| | 03:26 | we'll get to that later on.
| | 03:27 | Okay, so that's how you get to
your iPhoto videos from iMovie.
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| Importing from other sources| 00:00 | There are most likely going to be times when
the video you want to edit or work with
| | 00:04 | doesn't come from a video camera or a
still camera, but maybe instead from a
| | 00:07 | file that someone has
e-mailed you or sent you on a disc.
| | 00:10 | Well, iMovie can import just about any
video file that ends with .mov, .mp4, or .dv.
| | 00:16 | I copied the folder surfing clips to my
Desktop from the exercise files folder.
| | 00:20 | So if you have access to the
exercise files, you can follow along with me,
| | 00:23 | because we'll be using some of this
footage in many of the upcoming movies
| | 00:26 | throughout the rest of this course.
And you can see these are all .MOV files.
| | 00:29 | Now to use this footage in iMovie, I
just need to go to File > Import > Movies.
| | 00:36 | I need to locate my files, so I'll look in
my Desktop, and there is surfing clips.
| | 00:40 | I'm just going to leave that folder
selected, and again, we see many of the same
| | 00:43 | options that we see when
we imported from a camera.
| | 00:46 | We can choose what hard drive we want
to import to, whether we want to add to an
| | 00:49 | existing event or create a new event.
| | 00:51 | I'll create a new one.
I'll call this one Surfing Clips.
| | 00:55 | I'm going to leave Large selected
instead of Full so I can save a little bit
| | 00:59 | space on my hard drive.
| | 01:00 | Now here we can choose whether we
want to copy the files or move the files.
| | 01:04 | By copying the files, I am essentially
copying the files from that folder on my
| | 01:08 | Desktop into my iMovie event folder.
Or I can move the files, meaning those
| | 01:12 | files will be moved from the folder
into my event folder and will no longer
| | 01:16 | appear in that folder on my Desktop.
| | 01:19 | Since I've plenty of space in my hard
drive I'm going to leave Copy files selected.
| | 01:22 | That way I still have a clean copy
of those movies on my Desktop should I
| | 01:25 | ever need them again.
| | 01:26 | So I'll click Import.
| | 01:29 | Now because I had a folder selected,
iMovie is asking, are you sure you want to
| | 01:35 | import everything in this folder? I'll say OK.
| | 01:41 | And that's all there is to it.
| | 01:42 | Notice I now have Surfing Clips as
an event here under my 2010 imports.
| | 01:47 | And now I can work with this video
like any other video I might have
| | 01:49 | imported from a camera.
| | 01:50 | Now if you have a video that iMovie
just doesn't seem to want to import, like a
| | 01:54 | Windows media file or an AVI file,
you're going to need to convert it to a
| | 01:57 | format that iMovie likes.
| | 01:59 | In many cases, you can use QuickTime 7
Pro to convert most files into .mov files.
| | 02:04 | QuickTime Pro costs $30, and
you can purchase a license from
| | 02:07 | apple.com/quicktime/extending, and here
you'll find a button to Buy QuickTime 7 Pro.
| | 02:13 | Now just be aware that it won't convert
every formatted video you might run across.
| | 02:16 | If you do have trouble getting a
certain file type into iMovie, try doing a
| | 02:19 | Google search for that file type and
the word iMovie to find a solution.
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| Capturing live action| 00:01 | iMovie isn't all about
importing recorded content;
| | 00:03 | sometimes you just want to be
spontaneous, which is why it's so great that iMovie
| | 00:06 | lets you record live video.
| | 00:08 | All you need is an iSight camera, which
comes built into all current MacBooks,
| | 00:12 | MacBook Pro's, and iMacs--or any
FireWire camera, the same kind you can import
| | 00:15 | DV tape footage from.
| | 00:16 | Being able to record yourself live is
great for things like video blogging or
| | 00:20 | on-the-spot reporting, and it's super easy to do.
| | 00:22 | If your Mac doesn't have a built-in
iSight camera and if you don't have one of
| | 00:25 | the discontinued stand-alone models
that Apple use to make, just connect the
| | 00:28 | FireWire camcorder to iMovie.
| | 00:30 | Actually even if you do have an iSight
camera, you might want to use a camcorder
| | 00:33 | anyway to get a better picture.
| | 00:34 | To make your recording, you can choose
File > Import from Camera, or click the
| | 00:39 | Import Camera button found
right here in iMovie's window.
| | 00:42 | And just like that, you can now
see me live in the lynda.com booth.
| | 00:45 | Well, there is a site that lay
between what I'm saying and what you're
| | 00:47 | seeing here on screen.
| | 00:49 | You can see I can select
my camera from down here.
| | 00:51 | I only have the one at this point.
| | 00:53 | So I can say this is Garrick Chow
reporting from the lynda.com booth.
| | 00:56 | Of course, it's even better if I record it.
| | 00:58 | So I'll just say Import.
| | 01:02 | Again, I can create a new event here.
| | 01:04 | Just say "live in booth."
| | 01:06 | Leave everything else the way it is, click
Import and in a moment here, it's recording.
| | 01:14 | So now I can look at the camera, say
what I need to say, and when I am done
| | 01:17 | recording I just click Stop.
| | 01:19 | And then I can close this window
and here is my "live in the booth" clip.
| | 01:26 | (video playing)
| | 01:28 | So that's how you can record
live directly into iMovie 11.
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|
|
3. Understanding the InterfaceInterface overview| 00:01 | Now that we've gotten some footage
into iMovie, I'd like to take some time to
| | 00:03 | examine the iMovie window and interface.
| | 00:06 | It's actually a pretty simple setup,
but there are some key terms and interface
| | 00:09 | elements that you should familiarize
yourself with before you actually start
| | 00:13 | using iMovie to edit video.
| | 00:15 | For the most part, iMovie is a one-window
application, a lot like its iLife siblings
| | 00:20 | iTunes, GarageBand, iWeb, iPhoto, and iDVD.
| | 00:23 | You will open other panels occasionally
to tweak settings, but all the action is
| | 00:26 | pretty much contained
right here in this one window.
| | 00:28 | As you can see, the window is
divided into several areas, or panes.
| | 00:32 | We'll go into more details with
each area in the following movies, but
| | 00:35 | briefly, this is the Event Library here,
which displays all the footage you've
| | 00:38 | imported into iMovie, organized by
event. And this is the event browser over
| | 00:44 | here on the right, which shows you
the content of whichever events you have
| | 00:47 | selected over here on the left.
| | 00:49 | In the upper-left here, we have the
Project pane, and this is where you drag in
| | 00:52 | the clips you want to use. And the
pane to the far-right is viewer, which is
| | 00:56 | where your video plays.
| | 00:57 | Now each separate movie you intend on
exporting from iMovie is considered its
| | 01:01 | own project, and you'll find each
project in the Project Library.
| | 01:04 | So you can come here to
switch between your projects.
| | 01:07 | I only have the one called
My First Project right now,
| | 01:10 | so I'll just double-click on it
to go back to the Project pane.
| | 01:14 | So basically, the bottom of the window
is dedicated to your events and the top
| | 01:17 | of the window is dedicated to your projects.
| | 01:20 | Although if you want or need more room
to work with a long video project, you
| | 01:23 | can click this button here to
instantly switch the Project and Events panes.
| | 01:27 | Pretty cool feature.
| | 01:28 | Notice the viewer stays put the entire
time on the right-hand side here, though.
| | 01:31 | I'm going to go ahead and switch that back.
| | 01:35 | Now this area between the Project and
Events panes is called the toolbar, and
| | 01:39 | it's here where you'll open other
panels to fine-tune or adjust your movie
| | 01:42 | project, or click on any of these buttons.
| | 01:44 | One last thing I want to point out is
that unlike many other applications, there
| | 01:48 | is no Save command found
under the File menu in iMovie.
| | 01:51 | iMovie automatically saves any
changes you make to your projects, so you
| | 01:54 | never have to worry about losing any edits
should your Mac crash or should the power go out.
| | 01:59 | But that's pretty much it for the
general overview of the iMovie interface.
| | 02:02 | Over the next couple of movies, I'll go
into a little more detail about each
| | 02:05 | of these areas and what they are for.
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| The Event Library and Event Browser| 00:00 | Okay, let's take a closer look now
on how we work with the Event Library.
| | 00:04 | As I mentioned earlier, iMovie 11 is
about organizing all of the videos on your
| | 00:07 | Mac into a single library, and the
Event Library is where that happens.
| | 00:11 | From here, you can access any video
you've ever imported into iMovie and use it
| | 00:14 | on any project you want.
| | 00:16 | We've already seen that events are
organized in a couple of different ways.
| | 00:19 | We can see the last event we imported,
our iPhoto videos. And the rest of the
| | 00:24 | events are organized by year,
and by the event's name.
| | 00:28 | So when you select any event in the
Event Library, its contents are shown over
| | 00:31 | here on the right in the Event browser.
| | 00:34 | This is called the source video,
because it always remains exactly as you
| | 00:37 | imported it and won't be altered by any
changes or edits you make to it in the
| | 00:40 | Project pane up here.
| | 00:42 | So you can use the same footage over
and over again in several different
| | 00:44 | projects without worrying about
messing up the original source video.
| | 00:48 | Now, what we're seeing by default here is
a frame for every five seconds a video.
| | 00:53 | This is a good way to browse through
and find exactly the moment what you want to use.
| | 00:56 | You just skim through your video by
dragging your mouse over the thumbnails.
| | 01:04 | You can also expand or contract this
filmstrip layout if you need to see more
| | 01:08 | frames at once, or less.
| | 01:09 | Just grab the slider here in the lower
right-hand corner and either drag it to
| | 01:14 | the left or to the right.
| | 01:15 | Dragging all the way to the left is
good when you want to be very precise with
| | 01:19 | your selections, because you're now
seeing an image for every half second of
| | 01:22 | footage and you can skim slowly through it.
| | 01:28 | Dragging the slider all the way to
the right shows you just single images
| | 01:31 | representing each individual clip,
and skimming over these is very quick.
| | 01:38 | But the default five-second setting
is probably a good place to start,
| | 01:41 | so I'm going to set that back to 5 seconds.
| | 01:44 | By the way, if you don't like hearing
the audio while you're skimming, which
| | 01:48 | is kind of distracting to me as I'm
trying to teach the interface to you, you
| | 01:51 | can just click this button right here and
that will mute the audio when you're skimming.
| | 01:56 | So that's much better for me.
| | 01:58 | Now skimming is not the only
way to examine your footage;
| | 02:00 | you'll often want to play a selection
from your Event Browser in real time, and
| | 02:04 | there are couple of ways of doing this.
| | 02:05 | First, you can place your cursor where
you want to start video playing and you
| | 02:09 | don't actually have to click; just
move your cursor there. And then hit the
| | 02:12 | Spacebar on your keyboard to start it playing.
| | 02:14 | iMovie will continue to play the
event until the end, unless you press Space
| | 02:21 | again--which I just did--or
click elsewhere to stop playback.
| | 02:24 | If you only want to play a specific area,
click and drag through that area and
| | 02:28 | then right-click or Ctrl+Click on
that selection and choose Play Selection.
| | 02:31 | So you can see iMovie just played
that one selection and then stopped.
| | 02:40 | Alternately, you can choose View >
Play Selection, or just press the Forward
| | 02:45 | Slash button on your keyboard.
| | 02:48 | Now, we also have the option of
playing all the clips of the entire selected
| | 02:51 | event from the very beginning by
using this button down here in the lower
| | 02:54 | left-hand corner. Or you can go to
full screen with this button to its left.
| | 03:02 | I'm just going to press
Escape to leave Full Screen view.
| | 03:11 | Now, depending on how powerful your Mac
is, you might experience some stuttering
| | 03:14 | or hiccups when you're
doing full screen playback.
| | 03:17 | If you run into issues like this,
you can go to iMovie > Preferences, and
| | 03:21 | under the General tab, you'll see a menu
here to select how full screen playback behaves.
| | 03:27 | When working with HD video, you might
want to choose Entire Screen - Reduced
| | 03:30 | Resolution if your Mac is
having trouble keeping up.
| | 03:32 | You also have the choices of Actual
Size, which plays the video edit's
| | 03:35 | native resolution, and Half Size, which
plays the video at half of its native resolution.
| | 03:41 | If you're not working with HD video, you may
also see an option to play video at double size.
| | 03:45 | In any case, you'll probably want to
play around with the settings here to see
| | 03:48 | what works best for your project.
| | 03:50 | If your Mac does have a good video card, you
probably want to keep Entire Screen selected.
| | 03:53 | So I'll go ahead and close Preferences.
| | 03:58 | So again, the reason we use the Events
Browser is to find the footage that we
| | 04:01 | want to use in our project, but in
order to add the clips to our project, we
| | 04:04 | have to know how to select the portion
of the clip we want to use, and we'll
| | 04:07 | talk about how to do that next.
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| Selecting and adding clips to a project| 00:01 | As I mentioned previously, the point
of using the Event Browser is to quickly
| | 00:04 | locate, among all the not-so-great stuff,
the good footage that you actually want
| | 00:07 | to use in your iMovie project.
| | 00:09 | But in order to add that good footage,
you need to be able to select the footage.
| | 00:13 | Now, I'll be getting into much more
detail about selections in the chapter on
| | 00:16 | editing, but for now, I want
to give you a brief overview.
| | 00:19 | Let's say I want to create a movie project
using the surfing footage I imported earlier.
| | 00:23 | I'm going to choose File > New Project,
and here I'll call this project Surfing,
| | 00:31 | and I'm going to have no
theme selected in this case.
| | 00:34 | Now I happen to know that the footage
I'm going to be using for this example was
| | 00:36 | shot at 24 frames per second.
| | 00:38 | In fact, iMovie is telling me that;
you can see the little 24s in the lower
| | 00:41 | left-hand corners of each of these clips.
| | 00:43 | So I'm going to change my
Frame Rate to 24 frames per second.
| | 00:47 | The aspect ratio is widescreen,
| | 00:48 | so I'll leave that selected.
| | 00:50 | Leaving everything else the
way it is, I'll click Create.
| | 00:52 | So you can see now I'm working
on the project called Surfing.
| | 00:57 | Now we need to find the footage I want
to use down here in my Event Library.
| | 01:00 | Again, all you need to do is select
the event and start skimming through it.
| | 01:04 | So I have Surfing Clips selected, and these
are all the clips that are in this event.
| | 01:08 | Incidentally, if you know all the
footage you're going to need is coming from
| | 01:10 | the selected event, you can toggle the
Event Library closed to give yourself more
| | 01:14 | room to work with the Event Browser.
| | 01:17 | So let's say I want to start off with this
footage of our surfer getting his wetsuit on.
| | 01:20 | So I've placed my cursor where I want
the footage to start, and then I click down
| | 01:26 | and just drag across the clip.
| | 01:27 | This is a lot like selecting text in
a word processor; just click and drag.
| | 01:31 | And I'm going to select the footage
right before the camera moves up to his
| | 01:34 | face, so right about there.
| | 01:37 | And then it's just a matter of dragging
the selected clip into the Project pane.
| | 01:42 | My surfing project now has one clip.
| | 01:44 | Notice down here in the Event Browser
that the portion of the event I used has
| | 01:48 | an orange bar under it.
| | 01:49 | This tells me at a glance that I've
used this footage in a project, and the
| | 01:52 | really nice thing is that I can now
do whatever I want to this clip in the
| | 01:55 | project and it won't have any effect on
the source video in the Event Browser.
| | 01:59 | Think of the clip in the project
browser as an individual copy of the video
| | 02:02 | from the Event Browser.
| | 02:04 | Now viewing your project up here is
pretty much the same as viewing content
| | 02:07 | in the Event Browser.
| | 02:08 | By default, each clip I drag up is
represented by still images that I can skim
| | 02:11 | over. But I can use the slider if I want
to see more stills from every couple of
| | 02:16 | seconds, just like I can with the Events Browser.
| | 02:18 | I can play back in real time just by
placing my cursor where I want the playback
| | 02:21 | to start and pressing the Spacebar.
Or I can just play a selection by selecting
| | 02:30 | it, and I'm pressing the
Forward Slash key on my keyboard.
| | 02:36 | I can even play from the
beginning in full screen.
| | 02:44 | Once it reaches the end of the
project, the full screen will close.
| | 02:46 | So viewing your project involves the
same controls and options as viewing your
| | 02:50 | raw source video in the Event Browser.
| | 02:52 | Now again, I'll be getting in to much
more detail about assembling your clips
| | 02:55 | into a project in the chapter on editing;
| | 02:57 | but for now that's the overview I'd
like you to have about the project area and
| | 03:00 | dragging clips into it from the Event Browser.
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| The toolbar| 00:01 | As I mentioned earlier, iMovie '11 is
pretty much a single-window application.
| | 00:05 | The majority of your work is going to
happen in one of these panes, but you will
| | 00:08 | frequently have to make adjustments to
your clips, and that's where the items
| | 00:11 | found in the toolbar come in.
| | 00:12 | So let's quickly run through the
items found here in the toolbar.
| | 00:14 | I'll go into much more detail with each
of these as they come up in later movies.
| | 00:18 | We've already seen the Import from
camera button in action, which allows you to
| | 00:21 | capture footage from a connected
camera, and we've seen this button here, which
| | 00:24 | allows you to switch the
Project and Event panes.
| | 00:27 | This slider here lets you adjust the
size of the filmstrips in the Project
| | 00:31 | and Events Browser.
| | 00:32 | So go to the right if you want to see
bigger images, or go to the left to
| | 00:35 | see smaller images, but this
allows you to see more of them at once.
| | 00:38 | It does snap back to the middle, if
you want to get back to the default size.
| | 00:44 | Next, we have a series of buttons.
Now you may have a slightly different
| | 00:47 | arrangement of buttons here if
you've been playing around with iMovie's
| | 00:49 | preferences, but this is the
default set you're seeing here.
| | 00:53 | If you see more than this right now,
go to iMovie > Preferences and under
| | 00:57 | General make sure Show Advanced tools
is unchecked for now. We'll get into the
| | 01:01 | advanced tools a little bit later.
| | 01:03 | But this first button here is for
adding a selected clip to your project.
| | 01:07 | This is in lieu of dragging the clip up, so I
can still select the portion of the clip I want,
| | 01:11 | say this clip of surfer putting on his
boots--just make a quick selection here--
| | 01:17 | but instead of dragging that into the
Project pane, I just click the Add selected
| | 01:22 | video to Project button.
| | 01:25 | So it's not really a big deal.
| | 01:26 | It's just a matter of how you prefer to work.
| | 01:28 | Next, we have buttons for rating our
clips, which are useful when it comes to
| | 01:31 | organizing your clips and sorting the
good from the bad, and we'll talk about
| | 01:34 | those in the next chapter.
| | 01:36 | The next three buttons are for adding
voiceovers, cropping your image, and
| | 01:42 | viewing the inspector.
| | 01:43 | As you can see, each one of these opens
a separate panel, or reveals additional
| | 01:46 | tools, but only one panel
can be open at a time.
| | 01:50 | We'll get to each of these panels eventually, too.
| | 01:51 | We've already seen that this button
here is for muting or un-muting the audio
| | 01:55 | when you are skimming through clips.
| | 01:56 | And this is an audio level meter, so
you can make sure you're not making the
| | 01:59 | audio in your project so loud that it
starts distorting, but you'll see later
| | 02:03 | how to adjust the audio levels of your project.
| | 02:06 | And these first two buttons of the
last set of buttons here are for browsing
| | 02:09 | through and adding music
and photos to your project.
| | 02:11 | Respectively, they give you access to
your iTunes music and any GarageBand music
| | 02:16 | you might have created, and your iPhoto
library, or your Photo Booth pictures if
| | 02:20 | you have Photo Booth installed on your Mac.
| | 02:22 | You also have the buttons to open
the Titles pane to add titles, and
| | 02:27 | transitions, and backgrounds to your project.
| | 02:30 | And again, we'll be getting to each
of these. So, in a nutshell, that's the
| | 02:33 | iMovie toolbar.
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|
|
4. Organizing ClipsOrganizing events| 00:00 | This chapter is all about
getting your clips organized in iMovie.
| | 00:03 | Sure, we could jump right in and start
editing, but believe me, you definitely
| | 00:07 | want to spend some time going
through your clips and doing things like
| | 00:09 | organizing them into events, rating
them, and adding keywords. It'll make your
| | 00:13 | life much easier as your
library of clips continues to grow.
| | 00:16 | So let's start by taking a look at
how to further organize our events.
| | 00:19 | As we've already seen, whenever you
import clips iMovie always asks you whether
| | 00:23 | you want to add the clips to an
existing event or into a new event.
| | 00:26 | So you have to place clips
into events no matter what,
| | 00:29 | but that doesn't mean the
clips have to stay in those events.
| | 00:32 | You can split events up, merge them
together, or completely get rid of them and
| | 00:35 | the clips they contain.
| | 00:36 | For example, my surfing event
actually consists of twelve clips.
| | 00:40 | If I drag the slider all the way to the right,
| | 00:42 | you can see the individual
clips a little bit better.
| | 00:44 | Now there are two clips in here that
are more shots of scenery than actual
| | 00:48 | surfing, which are this one and this one.
| | 00:51 | So let's say I want to have these clips
in their own event. Just click anywhere
| | 00:55 | inside the clip that you want to turn
into its own event, then choose File >
| | 00:59 | Split Event Before Clip.
| | 01:01 | You can also right-click and select the
same command from the right-click menu.
| | 01:04 | So notice now we have
Surfing Clips 1 and Surfing Clips.
| | 01:08 | I'm going to rename Surfing Clips 1 by double-
clicking it, and I'll call this one Ocean Shots.
| | 01:18 | So that's how easy it is to
split footage into separate events.
| | 01:21 | This is especially useful if you've
imported footage from two completely
| | 01:24 | different events, like your cousin's
wedding and your vacation in the Swiss Alps.
| | 01:28 | But also be aware that if you have more
than two clips in an event, all the clips
| | 01:32 | after the one you split from
will be added to the new event.
| | 01:35 | For example, now that I look at this
third clip, this is actually a surfing shot,
| | 01:38 | so it belongs in this surfing event.
| | 01:40 | Not really a problem.
| | 01:41 | I'll just click anywhere in the clip,
then I'll press Command A for select all to
| | 01:46 | select the entire clip, and then I'll
drag that into my Surfing Clips event.
| | 01:49 | I'll confirm that I do want to move it,
and just like that, it's gone from the Ocean
| | 01:56 | Shots event, and it's now
in the Surfing Clips event.
| | 01:59 | But you really don't want to go
too crazy with splitting up events.
| | 02:02 | If two or more events really are
related to each other, it's probably better
| | 02:05 | to keep them as a single event or merge them
back together if you've already split them.
| | 02:09 | Because events can start to add up,
you can save yourself some space in your
| | 02:12 | listed events by merging
related events together.
| | 02:15 | To do so, you simply drag
one event on top of the other.
| | 02:17 | So I can merge my two surfing events
back together by grabbing say Ocean Shots
| | 02:21 | and dragging that on top of Surfing Clips.
| | 02:25 | So iMovie knows I want to merge the
events together, and I'm going to keep the
| | 02:28 | Surfing Clips name in this case, and now
everything is back in the Surfing Clips event.
| | 02:35 | Now when it comes to viewing the events
in your Event Library, you have a couple
| | 02:38 | of choices as to how they are displayed in here.
| | 02:40 | You'll find most of your
choices under the View menu.
| | 02:43 | You can see I have Most Recent Events at
Top currently selected, which means all
| | 02:47 | of my most recent events are
at the top of my Event Library.
| | 02:50 | You can also turn on Group Events By Disk.
| | 02:53 | Remember, you can choose where you
want to import your events into, and if you
| | 02:56 | have an external hard drive, you can
show your drives by selecting this option.
| | 02:59 | So you can see right now on Macintosh
hard drive. Those are those events.
| | 03:03 | But I also have Drive A and Drive B. I also
have an un-mounted network drive named
| | 03:08 | Melanie, which is my co-worker's computer in
here, which I'm not going to access from here.
| | 03:12 | But this view lets you see your events by drive.
| | 03:15 | Alternately, you can toggle this view on and
off using the drive button in the upper
| | 03:17 | right-hand corner of the Event
Library. Now, I'll just leave that off.
| | 03:22 | Under the View menu, you can also view
events by month, which can be really
| | 03:27 | useful if you shoot a lot of video.
This way you can quickly narrow down your
| | 03:30 | search for footage by glancing at
the month each event took place in.
| | 03:33 | And the other choice here is to show
separate days in events, and that can be
| | 03:38 | useful if you, say, took a week long
vacation and you want to be able to view
| | 03:41 | the clips from each day.
| | 03:44 | Pretty much all of my clips were shot on
the same day though, so we're not seeing
| | 03:46 | any of the separation here.
| | 03:48 | You might also find it useful to go
to iMovie > Preferences, and under the
| | 03:52 | Browser tab, you can choose Show date
ranges in Event Library, so now you can see
| | 03:57 | the date ranges under each event.
| | 04:00 | So for instance if my surfing clips were
shot between November 10th and November
| | 04:06 | 15th, you would see November
10th 2010-November 15th 2010.
| | 04:11 | I'm just going to turn that off.
| | 04:15 | Okay, so those are some of our options
for organizing and viewing our events.
| | 04:18 | I'm just going to make sure everything is
set back to the default settings for now.
| | 04:22 | You, of course, can have
this set up any way you like.
| | 04:24 | And in the next movie, we'll take
a look at how to rate your clips.
| | Collapse this transcript |
| Rating clips| 00:00 | As you review the footage you've
imported into iMovie, you're most likely going
| | 00:03 | to find that some parts are
going to be more usable than others.
| | 00:06 | For example, there is almost always
some shots of the camera being raised up
| | 00:09 | to shoot, or dropped down at your side when
you're done shooting before you stop recording.
| | 00:13 | Or maybe you're like me and have lots
of footage of the inside of your camera
| | 00:16 | bag from when you accidentally hit the
Record button before putting the camera away.
| | 00:20 | So as you're going through your clips,
it's a good idea to mark certain parts as
| | 00:23 | what iMovie refers to as favorites.
| | 00:26 | Favorites are pieces of footage that
you've marked as good, so you can easily
| | 00:29 | identify them later when you
want to use them in a project.
| | 00:32 | Similarly, you can also mark parts of
your clips as rejects and set them up for
| | 00:36 | deletion so they're not sitting there
taking up space on your hard drive.
| | 00:39 | So, let's see how to do this.
| | 00:40 | I'm going to review the footage in my
surfing event here. Now there are a couple
| | 00:44 | of shots here I really like.
| | 00:45 | First of all, let me switch to my
view back here to about 5 seconds for the
| | 00:49 | Event Browser, so I can skim
through a little bit easier.
| | 00:53 | And I kind of like the shot of the
waves rolling in front of the pier here,
| | 00:56 | and I want to mark this as a favorite.
| | 00:58 | To do so, I just click and drag to
select the footage I want to mark. In this case,
| | 01:02 | maybe I want the entire clip,
| | 01:03 | so I'll just start on its left side, drag
to the right, and select the entire clip.
| | 01:07 | I am going to come up here to the
toolbar and click the Mark as Favorite button.
| | 01:11 | Notice that instantly puts a
green bar at the top of my selection, so
| | 01:17 | whenever I come back to this event I
can see right away that I marked this
| | 01:19 | footage as good and usable.
| | 01:21 | And I can do the same with this shot of
our surfer friend looking out over the waves.
| | 01:25 | Now maybe this time I don't like the
part at the beginning where the camera
| | 01:29 | is sort of getting into position,
but the rest of the shot looks good to me,
| | 01:33 | so I'll just skim over it until the
camera sort of comes to a rest, right
| | 01:37 | about there, and I'll drag to select
the rest of the clip there, and mark
| | 01:41 | that as a favorite.
| | 01:42 | So you can see just that selected
portion is marked with the green bar now.
| | 01:47 | Similarly, you can also mark footage
as rejected so you don't waste your
| | 01:50 | time reviewing it later.
| | 01:51 | For example, maybe this clip here
where the camera is in the water and our
| | 01:55 | subject is probably too far away, and
it's pretty shaky camera-work to begin
| | 01:59 | with, and I'll probably never use this footage.
| | 02:03 | So I'm going to select this footage.
| | 02:05 | I'm just going to click on it once, hit
Command+A for select all to select the
| | 02:08 | entire clip, and this time I'm going to
click this X button, which is the Reject button.
| | 02:12 | Notice the footage automatically disappears.
| | 02:16 | That's because I have the default
display for my Event Browser selected, which
| | 02:20 | is Favorites and Unmarked.
| | 02:22 | In this view, I only see the footage
that I haven't marked and footage that I
| | 02:25 | have marked as a favorite.
| | 02:26 | If I switch to All Clips, you can see
that footage comes back, but it's marked
| | 02:31 | with a red bar so I know I already
deemed it unfit for any of my projects.
| | 02:34 | We also have the option of viewing
just rejected clips, by selecting Rejected
| | 02:38 | Only. That's nice in case you want to
double-check your work and really make
| | 02:43 | sure there's nothing that
you might want to use later.
| | 02:45 | If you find there is something here
you want to use--maybe the second-half
| | 02:48 | isn't as bad as I thought, for example--
I can just select that portion and
| | 02:54 | then click the Unmark button, which you can see,
it sends just that portion back to my main events here.
| | 03:05 | So that's the basics of rating
your clips as favorites or rejects.
| | 03:08 | It does take some time, but if you
do this each time when you import your
| | 03:10 | footage, it'll make your life so much
easier down the road when you need to
| | 03:13 | quickly locate your A material.
| | 03:15 | You can then just switch your view to
Favorites Only and pick from your best
| | 03:19 | footage in the event.
| | 03:20 | Next, we'll go a step further and look
at some more advanced ways of marking
| | 03:25 | your footage.
| | Collapse this transcript |
| Advanced rating tools| 00:00 | So if you take to heart what I said
previously about always spending the time to
| | 00:03 | rate your footage so it's
easy to find the good stuff later,
| | 00:06 | you'll probably soon realize that
rating footage can get kind of tedious.
| | 00:10 | I mean it involves so
much back-and-forth clicking.
| | 00:12 | First, you have to drag to
select the footage you want;
| | 00:15 | then you have to click the Favorites
button. Then you have to drag the select
| | 00:18 | footage you want; then you have
to click the Favorites button.
| | 00:21 | So if you're doing a lot of marking,
I highly suggest you go to iMovie >
| | 00:24 | Preferences, and under the
General tab, check Show Advanced tools.
| | 00:30 | Now before I do that, let me close this
for a second and deselect everything here.
| | 00:35 | You'll notice when I have nothing
selected the marking tools are all grayed out.
| | 00:39 | You have to select
something to activate these buttons.
| | 00:42 | But if I go to iMovie > Preferences
and check Show Advanced tools,
| | 00:46 | notice those buttons that become available, along with
some other buttons now appearing in the toolbar.
| | 00:54 | So even with nothing selected right
now, these buttons are now available,
| | 00:58 | because turning on the Advanced tools
turns the marking buttons into tools.
| | 01:02 | Now I can select the Favorites tool
and it stays pressed in, indicating that I
| | 01:06 | have the tool selected.
| | 01:07 | Also notice there is a little green
star next to my cursor when I bring it down
| | 01:10 | to my Event Browser.
| | 01:11 | Now I can very quickly mark footage as
a favorite without having to click back
| | 01:15 | and forth between the Event Browser
and the Favorites button, because I can
| | 01:17 | just make selections. I just simply drag across
footage--notice there is a green highlight--
| | 01:22 | I release, and right away,
it's marked as a favorite.
| | 01:25 | Same thing goes over here.
I drag and it's favorite.
| | 01:29 | The same goes for the Reject button.
| | 01:30 | So now I have a red X to my cursor, so
if there is footage I don't want to use,
| | 01:36 | I just drag and it's gone.
| | 01:40 | Again, rejected clips are hidden by
default, unless you go and look at All
| | 01:43 | Clips or Rejected Only.
| | 01:44 | And the same goes for the Unmark tool.
| | 01:47 | So I can go in here, let me select
this clip, click and drag through, select
| | 01:52 | this clip, and they are both gone, and
they are both been send back to the
| | 01:56 | Favorites and Unmarked area.
| | 01:57 | Now, if you still prefer being able
to use the standard marking method of
| | 02:01 | skimming through your footage,
selecting it, and then clicking the Favorite
| | 02:03 | button, you can still do that.
| | 02:04 | Just select this Pointer
tool which now appears here,
| | 02:07 | skim through to select some footage,
and notice a little Plus symbols have now
| | 02:13 | appeared next to the Marking tools.
| | 02:14 | This indicates that you can click
them to add to selection as a favorite or
| | 02:17 | unmark it or reject it. So I can just
mark it as a favorite, just like that.
| | 02:22 | So that's the original marking method that
we saw without the Advanced tools turned on.
| | 02:25 | It's really the best of both worlds
when you use the Advanced tools because you
| | 02:28 | can mark in the standard method or you
can click and use the Marking tools when
| | 02:31 | you want to do a lot of marking quickly.
| | Collapse this transcript |
| Tagging with keywords| 00:00 | In addition to marking your video
clips as favorites or rejects, iMovie also
| | 00:04 | gives you the ability to tag
your video clips with keywords.
| | 00:07 | Keywords are yet another way of keeping
your library organized, and provide you
| | 00:11 | with yet another way of quickly
finding the clips you want to use.
| | 00:13 | Basically, the way it works is you
assign appropriate words to selected clips,
| | 00:17 | like birthday, pets,
vacation, wedding, and so on.
| | 00:21 | Then later, when you're looking for
vacation footage, you can bring up all the
| | 00:24 | clips in your library that are
tagged with the keyword "vacation."
| | 00:27 | You can assign multiple
keywords to your clips, too.
| | 00:29 | So if you have footage of your pet
celebrating their birthdays on vacation at a
| | 00:33 | wedding, you can apply all of
those keywords to the clips.
| | 00:36 | So let's see how this works.
| | 00:38 | First, you want to make sure that you
have the Advanced tools in iMovie turned on.
| | 00:41 | We did this in a previous movie,
but again you go to iMovie Preferences and
| | 00:45 | under General, I will just make
sure Show Advanced tools is checked.
| | 00:50 | That makes, among other things, this
key button appear in your toolbar.
| | 00:53 | So to work with keywords, click
this key button in the toolbar.
| | 00:57 | That opens up the Keywords panel.
| | 00:58 | Notice it's divided into two sections:
| | 01:01 | we have Auto-Apply and Inspector.
| | 01:02 | Let's look at Auto-Apply first.
| | 01:05 | iMovie comes with seven built-in
keywords for a variety of situations: Indoor,
| | 01:09 | Outdoor, Landscape, Closeup,
Wide Angle, People, and Pets.
| | 01:13 | So if any of my footage falls into one
of these categories, I can add a keyword
| | 01:16 | by checking it and then dragging
to the proper selection of my event.
| | 01:19 | So for instance, Outdoor, I could check
that, and most of this is outdoor, but
| | 01:23 | just as an example here.
| | 01:24 | Just drag through this section and
when I release watch what happens.
| | 01:27 | You briefly see the word Outdoor
appear there, and now we see a blue bar
| | 01:31 | indicating that this video
clip has been tagged with a keyword.
| | 01:35 | So it's that easy to tag your video
with keywords. You can even apply
| | 01:39 | multiple keywords simultaneously by
checking them and then dragging to select
| | 01:42 | the parts you want to tag.
| | 01:43 | So maybe I want to tag
something Outdoor and Closeup.
| | 01:48 | And here we are, and we have this footage
here of the surfboard being waxed,
| | 01:51 | so I will just drag through that.
| | 01:55 | Now I've tagged that particular section
of the clip with both Outdoor and Closeup.
| | 01:58 | Of course, you're not limited
to just these seven keywords.
| | 02:02 | You can use the Add button to add
as many more keywords as you like.
| | 02:06 | So if I do shoot a lot of footage of
surfing, I might want to add keyword for
| | 02:09 | that, so I can find my all surfing clips easily.
| | 02:11 | So I will just type in Surfing,
click Add, and now it's been added as one
| | 02:17 | of keyword in iMovie.
| | 02:19 | Also, notice that there are numbers
that appear next to the keywords as well.
| | 02:22 | The first nine keywords in the list
get assigned numbers, and you can press
| | 02:25 | their corresponding numbers on your keyboard
to assign a keyword to whatever you've selected.
| | 02:30 | So just, for example, here
let me uncheck everything.
| | 02:32 | Let's say I want to tag some of my
footage with the Surfing keyword.
| | 02:35 | Well, its number is 8, so
I'll press 8 on my keyboard.
| | 02:38 | Notice it's checked right away, and
now I can select some of that footage.
| | 02:44 | Now the blue bar does tell me that
I've assigned a keyword to that particular
| | 02:47 | section of the clip, but you can't tell
what keyword has been assigned just by
| | 02:50 | rolling over it--at least not by default.
| | 02:52 | What you might want to do is go to
the View menu and choose Playhead Info.
| | 02:58 | Now when I role over clips, I see info
about the clip, including any keyword that
| | 03:01 | have been applied to it. So you can see we
have this clip that's been tag with Outdoor.
| | 03:06 | This one has both Closeup and
Outdoor, and this one has Surfing.
| | 03:09 | Let's go over to the Inspector side.
| | 03:13 | Uncheck Surfing here, go to Inspector.
| | 03:16 | Now, you will use this side if you prefer to
select a clip first and then add a keyword.
| | 03:20 | So here I can select some Surfing clips,
and then I can either check Surfing or
| | 03:28 | just press its number, 8 on the
keyboard, to instantly tag that selection.
| | 03:31 | The Inspector side is also where you
can check and uncheck any keywords you
| | 03:35 | might've accidentally added to a clip.
| | 03:38 | So that's how we tag our clips with keywords.
| | 03:39 | But that's only the first
half of working with keywords;
| | 03:44 | the other half is actually
using keywords to find clips.
| | 03:47 | So down the road when it comes time to
start assembling clips into a project,
| | 03:50 | you can quickly find appropriate
footage, or at least narrow down your footage,
| | 03:53 | by clicking on the Show keyword pane button
down here, which looks likes the magnifying glass.
| | 04:00 | Check Filter by Keyword, and notice that each
keyword has a red-and-green button next to it.
| | 04:05 | You click the green button to show all
the clips that have been tagged with that
| | 04:08 | particular keyword, and you click the
red button to hide all the clips that have
| | 04:11 | been tagged with that keyword.
| | 04:12 | So now I'm looking at all the clips
that have the Outdoor tag, but if I click
| | 04:16 | the red side, now I'm looking at all
the clips that don't have the Outdoor tag.
| | 04:21 | You can click any combination of keywords.
| | 04:24 | So if I want to see Closeup and
Outdoor, I just click those two.
| | 04:26 | Now down at the bottom of the pane, you
can determine whether the clips need to
| | 04:30 | have any of those checked
keyword attached or all of them.
| | 04:33 | So if I only wanted clips that had
both Closeup and Outdoor, I'd click All.
| | 04:38 | And now we'd only see the clip that has
both of those tags. Or you can click Any
| | 04:43 | to see any clips that have either of those tags.
| | 04:45 | This is also a good way to
exclude any clips with these keywords.
| | 04:48 | So I don't want to see any clips that
have Closeup or Outdoor. Or I don't want
| | 04:54 | to see any of the clips that
have both Closeup and Outdoor.
| | 04:58 | When you're done using this pane, you
can uncheck Filter by Keyword and then
| | 05:01 | close it, and that's how we tag our
clips with keywords and search for them.
| | Collapse this transcript |
| Automatically finding people in your clips| 00:00 | A new way of keeping your footage
organized that you'll find in iMovie '11 is
| | 00:03 | the People Finder feature.
| | 00:05 | This is a very cool feature in which
iMovie will scan through the footage you
| | 00:08 | have imported and detect the
presence of people in your shots.
| | 00:12 | You can then filter your footage to
show only the shots containing people, which
| | 00:15 | can be a great way to quickly
locate footage you're looking for.
| | 00:18 | To detect people, first select the
individual clip or entire event you want to
| | 00:22 | iMovie to look in for people.
| | 00:24 | In this case, I have Surfing Clip selected.
Then choose File > Analyze Video > People.
| | 00:31 | Depending on how much footage you've
selected, it could take several seconds or
| | 00:34 | several minutes for iMovie to do its thing.
| | 00:39 | And once it's done, you will see
purple bars in all the footage where
| | 00:41 | iMovie found people.
| | 00:42 | So we see some right here, there.
| | 00:47 | Now you can see that there is a person--
in fact, the same person--in this clip,
| | 00:53 | but the purple bar only
appears in this one section.
| | 00:56 | So the People Finder is really a face finder.
| | 01:00 | So, for example, here, we only have
just this one clip that has the purple bar.
| | 01:08 | So it's not perfect, like it won't find
his hands, won't find his feet. What it's
| | 01:13 | looking for are clear instances of faces.
| | 01:15 | But that's still pretty cool.
| | 01:18 | But as even if it just finds a portion
of a clip where face exists, you'll be
| | 01:22 | able to look at that clip and easily see
where people appear elsewhere in that same clip.
| | 01:25 | You can even click the Search button
to narrow down the footage even more by
| | 01:29 | selecting Criteria, like how many
people are in the shot, whether the shot is
| | 01:33 | wide, medium, or closeup, and so on.
| | 01:35 | You may see more or fewer criteria here
depending on what iMovie found in your footage.
| | 01:39 | For example, if I select One Person and
Closeup--I'm going to turn off Closeup
| | 01:45 | and Outdoor here--and make sure Filter by
Keyword is Checked, notice that we just
| | 01:50 | have the one clip here.
| | 01:52 | iMovie consider this a closeup of one person.
| | 01:54 | And you can play with mixing and
matching keywords as much as you like.
| | 01:58 | It may be People and Wide, again
narrowing that down, and so on and so on.
| | 02:05 | And when you're done with this view, you can
hide the Search pane and return to your
| | 02:09 | regular Event Browser.
| | 02:11 | So that's the new People
Finder feature of iMovie '11.
| | Collapse this transcript |
| Moving events to a different hard drive| 00:00 | Video footage takes up a lot of space,
and as you continue to add footage into
| | 00:04 | iMovie, you might find your hard
drive starts getting full pretty quickly.
| | 00:07 | The first option you have is to store
your footage on a second hard drive, or
| | 00:10 | even move existing events to another hard drive.
| | 00:12 | We have already seen that when you
import footage, iMovie lets you choose on
| | 00:16 | which drive you'd like to save that footage.
| | 00:18 | So what I want to show you here is how
to move existing footage to another drive.
| | 00:22 | I have three internal
drives connected to this Mac.
| | 00:25 | Let's say I want to move by surfing
events to another drive to free up room
| | 00:28 | on the first drive.
| | 00:29 | First of all, if you don't see your
drives listed in the Event Library, click
| | 00:32 | the drive icon up here in the right-hand corner.
| | 00:35 | Any available drive, internal or
external, that you have connected to your
| | 00:38 | Mac should show up.
| | 00:39 | So you can see I have my main Macintosh
hard drive right here, and I also have a
| | 00:43 | Drive A and a Drive B. So let's say I
want to move a couple of my events to one
| | 00:49 | of my other drives, maybe
this live in booth footage here.
| | 00:52 | All you need to do is simply grab that
and drag that to the other drive, and you
| | 00:57 | see a Plus symbol appears.
| | 00:58 | The Plus symbol indicates to me that I'm
going to be copying this footage to that drive.
| | 01:02 | So when I release my mouse, I am actually
going to end up with two copies of this footage.
| | 01:06 | But I actually want to remove this
footage from my Macintosh hard drive and
| | 01:10 | move that to Drive A. So I am actually
gong hold down the Command or Apple key
| | 01:14 | on my keyboard as I drag. Notice you
don't see a Plus symbol this time, but when
| | 01:19 | I release, you see the message that we
are moving files to Drive A, and now in
| | 01:24 | Drive A we see live in
booth. Here is that footage.
| | 01:27 | And notice that it's no longer
appearing under my Macintosh hard drive.
| | 01:30 | I'll still have my other events here, but my
booth footage is now on my Drive A. So
| | 01:37 | that's all there is to that.
| | 01:38 | I have now freed up that space that those
events were taking up on my main hard drive.
| | 01:42 | Now if you are using an external
drive, just be aware that if you
| | 01:44 | disconnect that drive,
| | 01:45 | any clips you are using from
events on that drive won't show up.
| | 01:49 | You can still view the project you're
working on if you have footage from your
| | 01:52 | main hard drive in there, but when you
come across footage that's on that second
| | 01:55 | drive, you won't see it.
| | 01:56 | So you want to make sure to keep all of
your iMovie drives connected when you're
| | 01:59 | working with iMovie.
| | 02:01 | The good news is that hard drives are
always getting less and less expensive,
| | 02:04 | so adding additional storage space for
your iMovie events shouldn't be too much
| | 02:07 | of a financial burden.
| | 02:09 | But if you are really aching for space,
you can always start deleting unused footage.
| | 02:12 | We'll talk about that in the next movie.
| | Collapse this transcript |
| Deleting unwanted clips from your hard drive| 00:00 | As your iMovie Event Library continues
to grow over time, there is going to be
| | 00:03 | more and more footage in there
that you'll probably never use.
| | 00:06 | This is why it's a good idea to always mark
your footage as favorites, as well as rejected.
| | 00:11 | You can leave any footage you're not
sure about unmarked, but there is bound to
| | 00:14 | be a lot of footage you
know you absolutely won't use.
| | 00:16 | So be sure to mark those clips as
rejected, because it will make it much easier
| | 00:19 | to delete it later when you start
running out of hard drive space.
| | 00:23 | Incidentally, something I didn't mention
in the movie on marking your clips, you
| | 00:26 | can select footage and press the Delete
or Backspace key on your keyboard, which
| | 00:30 | is the same as marking them as rejected.
| | 00:31 | So if I go find a clip
that I don't care about here--
| | 00:34 | I will just grab some of these trees
and I press the Delete key on my keyboard--
| | 00:38 | you can see if I go and view Rejected Only,
| | 00:41 | that moves that clip to the rejected area.
| | 00:43 | Again, all rejected clips can be
viewed here, and here you can decide whether
| | 00:47 | these clips are really no good, or you
can give them a reprieve by unmarking
| | 00:51 | them and setting them back
to the event they came from.
| | 00:53 | Again, you do that by selecting the clip
and then clicking the Unmark button here.
| | 00:59 | But if you're sure you no longer need
the clips that appear here, you can click
| | 01:03 | the Move Rejected to Trash button right here.
| | 01:08 | Confirm that you do want
to move them to the trash.
| | 01:12 | Unlike some other programs, iMovie
doesn't have its own trash system.
| | 01:16 | The clips actually get sent
right to the system trash.
| | 01:18 | So if I go and look in my system Trash
right now, you can see these are the files
| | 01:22 | that iMovie just moved there.
| | 01:23 | Here is the actual clip.
Here are the thumbnails.
| | 01:27 | So everything that has to do
with that clip is now in my trash.
| | 01:30 | So when I go to empty the trash, that
footage will be permanently removed, and
| | 01:33 | I'll free up that hard drive space.
| | 01:37 | Now, at this point as long as I haven't
quit iMovie, I can still undo that move
| | 01:41 | if I want to get those clips back.
| | 01:42 | So I can choose Edit > Undo
Move Rejected Clips to Trash.
| | 01:46 | If I go back in Rejected here,
you'll see that they're now back in here.
| | 01:50 | Even if you do move the rejected
clips to the trash, you obviously won't be
| | 01:58 | able to undo that after you've quit, but you
can go to the system Trash, find those files.
| | 02:03 | You can see it's actually made a
couple of copies here since I've moved them
| | 02:06 | back and forth a couple of times here,
and just find the original clip and
| | 02:09 | import that back into iMovie.
| | 02:11 | You don't have to worry about
grabbing the Thumbnails, because iMovie will
| | 02:14 | generate those for you.
| | 02:17 | So this is the last place
you can get that footage back.
| | 02:20 | If you click Empty, that
footage will be permanently deleted.
| | 02:25 | Now deleting rejected clips is pretty
easy, but even that can get tedious, and it
| | 02:28 | still may not rid you of nearly all the
footage in your Event Library that you
| | 02:31 | haven't used and probably will never use.
| | 02:34 | To help you weed out footage like that,
you can choose File > Space Saver.
| | 02:41 | Here you can automatically tag as
rejected any clips that are not used in any
| | 02:44 | projects, that are not marked as a
favorite, and that are not marked with a
| | 02:48 | keyword. Or you can choose
any combination of the three.
| | 02:50 | For instance, if I wanted to reject
everything in this clip that wasn't marked
| | 02:53 | with the keyword, I could check
that and then click Reject and Review.
| | 02:57 | Any clips that meet that criteria are
instantly marked as rejected and displayed
| | 03:01 | in the Rejected Only area of the Event Browser.
| | 03:04 | From here, you can review the clips,
unmark any you want to keep, and then
| | 03:07 | send the rest to the trash.
| | 03:09 | If you have a large Event Library,
you'll probably send a ton of footage to the
| | 03:12 | reject pile this way.
| | 03:13 | Chances are you might want to save a
good bit of it, but you also probably be
| | 03:17 | able to get rid of a lot of it and
free up a good chunk of hard drive space.
| | 03:22 | Now these are all good methods for
getting rid of unused clips or portions of
| | 03:25 | clips, but if you know you want
to get rid of an entire event--
| | 03:28 | so for instance, maybe I want
to get rid of this event here--
| | 03:31 | you can just right-click on the
event and choose Move Event to Trash, and
| | 03:36 | everything in that event will
then be placed in your trash.
| | 03:39 | So that's how we review and delete
unused footage from our iMovie events, and
| | 03:43 | that about does it for
the organizational skills.
| | 03:46 | In the next chapter, we'll
start doing some real editing.
| | Collapse this transcript |
|
|
5. Editing VideoCreating a new project| 00:00 | In this chapter, we're going to look at
editing our clips together to create our
| | 00:03 | movie project. And if you've been
following along up to this point, you've pretty
| | 00:06 | much seen the basics already.
| | 00:08 | Assembling a movie in iMovie pretty
much consists of two basic concepts.
| | 00:12 | First, select the clip you want to use
in the Event Browser, and second, drag
| | 00:15 | that clip into the Project area,
and third, repeat until you're done.
| | 00:19 | Now there are other intermediate steps
involving fine-tuning your selections and
| | 00:22 | rearranging your clips, and you can add
some extras with titles and transitions
| | 00:26 | and music, but the basic process is,
select the clip and drag it in.
| | 00:30 | And everything starts with a new iMovie project.
| | 00:33 | The project is where you assemble
your clips into your final movie.
| | 00:36 | So let's start from the very beginning, a very
good place to start, and create a new project.
| | 00:39 | Now, I already created a project called
Surfing previously, but I'll just go to
| | 00:44 | my Project Library, select the project,
and I'm going to press Command+Delete on
| | 00:49 | my keyboard to move it to my system trash.
| | 00:51 | You can also right-click or Ctrl+Click
on projects and choose Move to Trash.
| | 00:55 | Okay, so let's create a
new project from scratch.
| | 00:57 | We go to File > New Project.
| | 01:02 | You basically have two decisions to
make here: what your project is going to be
| | 01:05 | called and what aspect
ratio it's going to be in.
| | 01:08 | Try to name your project with a short
but descriptive name, but don't sweat it
| | 01:11 | too much because you can always change
the name as much as you like at anytime.
| | 01:13 | I am going to call this project Surfing Ventura.
| | 01:17 | Now as far as the aspect ratio goes, you
want to pick the one that best matches
| | 01:22 | the footage you're going to be using.
| | 01:24 | If you shot your footage with an HD camera in
widescreen mode, you would choose Widescreen.
| | 01:28 | If you shot it with a digital still
camera that doesn't shoot widescreen,
| | 01:31 | you are probably going to be choosing
Standard (4:3), which is the same ratio as
| | 01:35 | non-widescreen TVs.
| | 01:37 | However, do bear in mind that the
aspect ratio you're choosing here is for how
| | 01:40 | you want your project to be outputted.
| | 01:42 | So you could certainly choose Standard
and import widescreen footage and adjust
| | 01:46 | its size to make it fit, if
that's what your project requires.
| | 01:49 | In any case, you can change the
ratio later on just by bringing up its
| | 01:52 | properties, but do try to pick the
one that best matches your footage if
| | 01:54 | you can, or else you are going to
spend a lot of time cropping and fitting
| | 01:57 | your footage later.
| | 01:59 | Now the surfing footage we're going to be
using is widescreen, so I'm choosing that.
| | 02:03 | Now I also know that the majority of
the footage will be using was shot at
| | 02:06 | 24 frames per second,
| | 02:07 | so I'm going to choose a Frame
Rate of 24 frames per second.
| | 02:11 | Generally though, unless you've
purposely change the settings on your
| | 02:13 | camera, your footage will most likely be at 30
frames per second, if you're in North America.
| | 02:17 | If you're in Europe, you'll
probably have 25 frames per second.
| | 02:20 | I'm going to go with no theme for this example.
| | 02:22 | I'll talk more about themes and
the Movie Trailers feature later.
| | 02:25 | So with all these settings the way they
are, I'm going to click Create, and now we
| | 02:30 | have a new empty project to start
dragging our clips into, and we'll start
| | 02:33 | building this project in the next movie.
| | Collapse this transcript |
| Adding clips to the project| 00:00 | So now that we have a new empty
project created, its time to start assembling
| | 00:03 | our clips into a movie.
| | 00:05 | Now, how you do this is entirely up to you
and the type of project you are creating.
| | 00:09 | You might prefer to make quick
selections of shots and drag them into your
| | 00:11 | project before worrying about cleaning
them up or trimming them, or you might
| | 00:15 | want to plan out your entire movie shot by shot;
| | 00:17 | it's really up to you.
| | 00:19 | In this chapter, we are going to be
putting together the Surfing Clips we
| | 00:21 | imported previously.
| | 00:22 | If you want to work along with me but haven't
imported the clips yet, you'll want to do so now.
| | 00:27 | Remember, you can import clips from
your hard drive by choosing File >
| | 00:30 | Import and then Movies.
| | 00:32 | So, we are going to grab portions of
these 12 clips, and we are going to try to
| | 00:36 | grab the most interesting shots to use
in the movie and to do our best to leave
| | 00:40 | out the boring stuff.
| | 00:41 | And that really should be your mantra:
no matter what type of event you're
| | 00:44 | editing together, whether it's vacation
footage or birthday party video, or your
| | 00:48 | kid's little league game, get to the good stuff.
| | 00:51 | One of the worst things your friends
and family can do to you is to make you
| | 00:54 | sit down and watch unedited video of their
vacation directly from their video camera.
| | 00:58 | If you're lucky, you have never had to
experience 10 minutes of footage of an
| | 01:01 | airplane wing. But you have iMovie, so
you can save your friends and families
| | 01:05 | from having to watch shots of you
accidentally pointing the camera at your feet
| | 01:08 | and actually put together a snappy
video of your events' highlights that people
| | 01:12 | will actually enjoy watching.
| | 01:14 | But that's enough preaching for now.
| | 01:15 | Let's see how we add clips to our project.
| | 01:17 | Now, we have actually seen
this already, but let's review.
| | 01:20 | I am going to work in a mostly
linear fashion here, meaning I am going to
| | 01:23 | pick out what I want the first shot
in my movie to be, then pick the second
| | 01:26 | one, and go from there.
| | 01:28 | You may prefer to just skim through
and find the good stuff, mark it as a
| | 01:31 | favorite, and then drag everything into
the project and then worry about arranging
| | 01:34 | everything afterwards.
| | 01:36 | That's totally fine, but I am
going to work linearly here.
| | 01:38 | I am also going to go to the View menu
and turn off Playhead Info, because if
| | 01:42 | you recall, we turned that on earlier,
and I just don't need to see all the stuff
| | 01:45 | popping up as I am rolling over my clips.
| | 01:47 | So, I am going to go to View >
Playhead Info, and now it's turned off.
| | 01:52 | And I think I want to open my movie
with the shot of the surfboard being waxed.
| | 01:56 | Now when I roll over, you can see this
is a 10-second clip, and that's probably
| | 02:00 | too long to spend on this shot.
| | 02:01 | So, I am going to skim my mouse over
the clip, and you can see there is the part
| | 02:06 | here where he just
repositions the board, right there.
| | 02:09 | And maybe I will just
pick up the clip from there.
| | 02:13 | So I am going to click and drag, and let's
grab maybe about five seconds of that footage.
| | 02:17 | So you can see a five seconds
right next to my cursor there.
| | 02:20 | I release and I will just
drag that into my project.
| | 02:24 | I will be showing you how to fine-tune
your selection in an upcoming movie, but
| | 02:27 | for now this is fine, and that'll
be the opening shot of my movie.
| | 02:30 | Eventually I am going to add a title
and some music over it, but we will
| | 02:33 | leave it as is for now.
| | 02:35 | Now I am thinking I am going to have
a couple of quick shots of our surfer
| | 02:38 | putting on his gear.
| | 02:39 | So looking at the footage, it looks
like the picture goes a little out of
| | 02:42 | focus right about there,
| | 02:44 | so I am going to grab some
footage starting right after that.
| | 02:47 | In fact, I might want to grab a little
bit of the out-of-focus footage because I
| | 02:51 | think it can act as sort of a nice transition.
| | 02:53 | So, I am going to click and drag and
grab maybe about three seconds there.
| | 02:56 | And we will that into the project.
| | 02:59 | Now, if you are trying to find a
relatively short piece of footage, remember you
| | 03:04 | can extend the filmstrip display to
show more frames and make it easier to find
| | 03:07 | what you're looking for by
using the slider down here.
| | 03:10 | I am going to leave mine
set to five seconds, though.
| | 03:13 | Next, we have this clip of
the wetsuit being zipped up.
| | 03:17 | Now at the end of this clip, we see our
subject's face, and I kind of like how
| | 03:20 | it's revealed there at the end, so
I want to make sure that's included.
| | 03:23 | I want to place my cursor right after
he looks at the camera and kind of smiles
| | 03:28 | a little bit and then looks away.
| | 03:30 | And I want to end this clip with that
shot, so I am going to drag backwards.
| | 03:33 | I am going to click and then drag to the left,
to maybe right before he zips up the suit here.
| | 03:40 | So you can see the zipper coming across
right there, so maybe I will grab it right there.
| | 03:49 | We will drag that selection up, and
now it's been added to our project.
| | 03:53 | Next, maybe some shots of the waves in
front of the pier here, maybe only a
| | 04:00 | quick shot of that.
| | 04:01 | So let's grab, maybe...
let's do about three seconds.
| | 04:04 | You can sort of see how our
project is coming together now.
| | 04:10 | Maybe next, we will have him
looking out over the ocean here.
| | 04:14 | Now you can see the cameras are
getting into place here, so let's grab after
| | 04:18 | that, have a chunk there.
| | 04:25 | And maybe next we will have this
shot of him walking to the water.
| | 04:27 | Now again, this is a 10-second shot, so
probably too long for what I want here.
| | 04:31 | Maybe I will grab it right before he
throws the surfboard onto the water there.
| | 04:41 | That looks good, and we will drag that in.
| | 04:43 | Now notice I can drag this anywhere,
| | 04:44 | if I want to place the shot in
between other shots. But in this case, I am
| | 04:48 | doing everything linearly, so I am just going
to drop it in that blank area to put at the end.
| | 04:52 | So we have added some shots to our
project, and our movie is well underway.
| | 04:55 | And this is basically all you do:
| | 04:57 | find the shots you want to use
and drag them into the project.
| | 05:00 | Let's play what we have so far.
| | 05:01 | Let's drag my cursor to the
beginning and press the Spacebar.
| | 05:04 | (clip playing)
| | 05:32 | So, it's still pretty rough at this point.
| | 05:34 | We have got some issues with sound
being louder in some clips than others.
| | 05:37 | Maybe some of the clips are too
long or too short. But we are going to
| | 05:40 | continue to work on it.
| | 05:42 | Next, we are going to start looking
how to make more precise selections
| | 05:44 | and edits to our clips.
| | Collapse this transcript |
| Trimming and slip edits| 00:00 | As you work on assembling your movie,
there are going to be a lot of times when
| | 00:03 | one of the clips you have added
turns out to be too long or too short.
| | 00:07 | Maybe you accidentally left out some
of the good action in the clip, or maybe
| | 00:10 | after looking at the clip in the
context of the rest of the movie,
| | 00:13 | you determined that the clip goes on for too long.
| | 00:15 | But that doesn't mean you have to go
back down to the Event Browser, reselect
| | 00:18 | the clip, and then drag it back in again.
| | 00:20 | All you have to do is trim the existing
version of the clip in the Project pane.
| | 00:23 | So, for example, after reviewing this
clip in my project where our surfer is
| | 00:27 | looking out over the waves, I have
decided that it goes on for too long.
| | 00:31 | So there are a couple of
ways we can trim this clip.
| | 00:33 | First, I am going to skim through and
find the portion of the clip I want to keep.
| | 00:41 | So right here he is sort of shaking his head
a little bit and looking out over the waves.
| | 00:46 | It actually looks okay to me, so
I am just going to grab near the
| | 00:49 | beginning. Drag that out.
| | 00:52 | Just drag the left side in a little bit there.
| | 01:01 | So let's say that portion I have
selected is the portion I want to keep.
| | 01:05 | Now I can choose Clip > Trim to
Selection, or I can press Command+B.
| | 01:11 | Additionally, you can also right-click
on your clip and choose Trim to Selection.
| | 01:14 | But basically it trims away
everything but what I have selected.
| | 01:18 | And remember, you're never damaging
your original footage when you do this.
| | 01:21 | The complete uncut version of this
footage where the clip came from is still
| | 01:24 | sitting safely here in my Event Browser.
| | 01:26 | Now, if you accidentally cut the clip
too short, or if the clip was too short
| | 01:30 | when you dragged it in, you are not
going to be able to just drag the edges of
| | 01:32 | the selection box out to make the clip longer.
| | 01:35 | Now, if we are just talking
about adding a frame or two,
| | 01:37 | you can go to the Clip menu and choose
Trim Clip End, and then choose to add to
| | 01:42 | the left or right side of the clip,
meaning you can add frames to the beginning
| | 01:45 | or end of your clip.
| | 01:46 | It is much quicker to use the
keyboard command of Option+Left Arrow or
| | 01:49 | Option+Right Arrow, though.
| | 01:50 | So, if I wanted to add a couple of
frames to the beginning of this clip, I can
| | 01:53 | hold on the Option key and press my left arrow.
| | 01:55 | And if you look at the timer here, you
can see that the clip is getting a little
| | 01:59 | bit longer when I do that.
| | 02:01 | But if you need to add or remove more,
or if you want more precise control, you
| | 02:05 | will have to use the Clip Trimmer.
| | 02:06 | To get to it, click the Action button
in the clip and choose Clip Trimmer.
| | 02:12 | That opens this view at the bottom
of your window, and this shows you the
| | 02:15 | entire clip as a whole with the part that's
actually appearing in the movie selected.
| | 02:19 | This allows you to be a little bit more
precise with your trimming, and here you
| | 02:22 | can drag either end of the selection
box to add or remove frames from the
| | 02:25 | beginning or end of your clip.
| | 02:26 | So, if I wanted to make this a little
bit shorter, I can drag the end in a
| | 02:30 | little bit. Or if I wanted the end to
go on a little but longer, I can drag
| | 02:34 | the right end over.
| | 02:36 | Or you can click and drag the entire
selection to change both ends at the same
| | 02:40 | time while keeping the
overall length of the clip the same.
| | 02:42 | This is known as slip editing, and it's
especially useful to be able to do this
| | 02:46 | if you've already set up music or
transitions to be timed with your video but
| | 02:50 | you want to make a change to your clip.
| | 02:52 | Dragging the ends would most likely
make your clip a few fractions of a second
| | 02:55 | longer or shorter, which might not
seem like much, but it could throw off the
| | 02:59 | timing of your music or transitions
if you change a lot of clips this way.
| | 03:03 | Slip editing lets you choose an entirely
different section of the footage if you
| | 03:06 | want, but keeps the overall clip
length exactly the same, and therefore, it
| | 03:09 | won't throw off your timing.
| | 03:12 | I do want to grab about
this portion here I think.
| | 03:14 | Now, if you want to preview the
amount of footage you have selected in real
| | 03:17 | time, you click the Play button.
| | 03:24 | And if it looks good when
you're done, you can click Done.
| | 03:28 | And now we are back to looking at the
Project pane and the Events Browser.
| | 03:31 | So that's how you can trim your clips
to clean them up a bit and how you can
| | 03:34 | also perform slip edits.
| | 03:36 | Next, we will look at fine-tuning
your clips for more precise cuts.
| | Collapse this transcript |
| Fine-tuning clips| 00:00 | As we have already seen, it's easy to
select the portions of the clips you want
| | 00:03 | to add to your project just by
selecting them in the Event Browser and dragging
| | 00:06 | them into your project.
| | 00:08 | But it's not very easy to be precise
about exactly which frames of the clip you
| | 00:11 | are starting and ending with.
| | 00:12 | That's where the Precision Editor comes in.
| | 00:15 | It lets you fine-tune the moment where
one clip stops and the next one begins.
| | 00:19 | It can be useful in cases where you
want to time the start of a clip exactly
| | 00:22 | with a music queue, or if there is
something at the end of a shot that you want
| | 00:25 | to cut out at exactly the right moment.
| | 00:28 | To use the Precision Editor, just roll
over one of the clips you want to edit
| | 00:31 | and then click the Action
menu and select Precision Editor.
| | 00:36 | That opens the Precision
Editor at the bottom of the window.
| | 00:40 | The dots that you see here represent
each cut in your clip, meaning the point
| | 00:43 | where one clip ends and the next one begins.
| | 00:46 | The blue dot is the edit point you're
currently working on, so you can simply
| | 00:49 | drag it left or right.
| | 00:54 | Notice that it gives me fine-grain
control over where this clip ends just by
| | 00:57 | watching it in the viewer.
| | 00:59 | So in this case, I can control exactly
where our surfer's head is facing when I
| | 01:02 | cut away from this shot. So here I
can see him turn, and maybe right there is
| | 01:08 | where I want to cut away.
| | 01:10 | Now while I am in here, I can click
on any of the other edit points to
| | 01:13 | adjust them as well.
| | 01:14 | Clicking on this one, you can see,
scrolls everything over, and again I
| | 01:17 | can adjust this shot.
| | 01:18 | Notice that this doesn't make your
overall project any longer or shorter,
| | 01:22 | because as you lengthen or shorten a clip,
you are lengthening or shortening the
| | 01:25 | clip that follows it, too.
| | 01:27 | Now in a case like this one here, I
can't drag the blue point past the
| | 01:31 | beginning of this clip underneath here
because that is the literal beginning of that clip.
| | 01:35 | There is no more footage before this
point in the clip, so I can't drag the blue
| | 01:39 | dot pass that point.
| | 01:40 | But I have all this space in here to play with.
| | 01:43 | Similarly, I can't drag and pass this
point here because this is the end of
| | 01:46 | the clip at the top.
| | 01:50 | But I can drag back and forth between
those two points to exactly where I want
| | 01:53 | the clips to transition.
| | 01:54 | And when you are done in here, you can
click Done, and that's how you fine-tune
| | 02:03 | the edit point between
the clips in your project.
| | Collapse this transcript |
| Splitting clips| 00:00 | Another kind of edit you might find yourself
performing on your clips a lot is splitting.
| | 00:04 | Splitting is useful when you have a
clip in which you want to keep all the
| | 00:07 | footage but maybe you want to stick
some additional footage somewhere in the
| | 00:09 | middle of that clip.
| | 00:10 | So, for example, maybe in this shot of
our surfer looking out over the waves, I
| | 00:15 | want to cut to a shot of the waves themselves.
| | 00:17 | To split a clip, just select the first
portion of the clip up, to the point where
| | 00:20 | you want the split to occur.
| | 00:22 | So I'll drag from the left to the right,
to maybe about right there, and then
| | 00:27 | choose Clip > Split Clip or use the
keyboard command of Shift+Command+S. So you
| | 00:33 | can see that splits the clip into two,
but they will still play seamlessly at this point.
| | 00:36 | (clip playing)
| | 00:40 | So now let's go to the Events Browser,
and I'm going to select the few seconds of
| | 00:45 | these waves rolling over the shore here.
| | 00:48 | Let's grab maybe this portion here.
| | 00:55 | I'm just going to drag this
between my two split clips, right there.
| | 01:01 | You can see the green bar
appears, and when I release, there it is.
| | 01:04 | So let's see what that looks like.
| | 01:05 | (clip playing)
| | 01:13 | Now, we are hearing changes between the
clips in terms of the audio, but that's
| | 01:16 | something we can fix when
we start working with audio.
| | 01:18 | But there you have a basic example of
why you might want to split a clip. Or if
| | 01:22 | you change your mind and want to join
two clips back together, I can either
| | 01:25 | delete that clip I just added or if I
want to keep the clip I can just select it
| | 01:29 | and move it to the end my project.
| | 01:31 | To join a split clip back together, you
just have to position them, so they are
| | 01:34 | next to each other in the Timeline and then
select either half and choose Clip > Join Clip.
| | 01:42 | iMovie knows that these two clips
were originally split up and it instantly
| | 01:45 | restores them into a single clip.
| | 01:47 | Now let me show you a different way to
split a clip, which you can use once you
| | 01:49 | start feeling more comfortable with iMovie.
| | 01:51 | Let's just use the same clip.
| | 01:54 | Just position your mouse at the point
where you want the split to occur, using
| | 01:56 | the viewer as your guide, and then press
the keyboard command Shift+Command+S to
| | 02:00 | instantly make the split.
| | 02:02 | This can be a lot faster
than selecting the clip.
| | 02:04 | Notice you can always tell it's a split
clip because its corners on the side
| | 02:08 | where it's been split are not rounded.
| | 02:11 | All the other clips have rounded
corners, but where the split occurs, you have
| | 02:14 | the straight corners.
| | 02:15 | Lastly, it is possible to split a clip
into three pieces instead of just two.
| | 02:20 | Just make a selection in a clip that
doesn't include the very beginning or very
| | 02:23 | end of the clip, something like that.
| | 02:28 | Then choose Clip > Split Clip, or use
the keyboard command again, and notice now
| | 02:32 | I have three chunks of that clip.
| | 02:34 | So if you want to insert multiple
shots within a single clip, this can be a
| | 02:37 | quicker way to get it done.
| | 02:39 | And again, if you do this by accident,
or just change your mind, just make sure
| | 02:43 | all the clips are adjacent to each
other, and select the middle clip--unless you
| | 02:46 | want to leave one portion of the clip
split off--and then choose Clip > Join Clip
| | 02:52 | to put them back together, and I'll
do the same with this clip as well.
| | 02:57 | So, that's how we split our clips in iMovie '11.
| | Collapse this transcript |
| Cropping and rotating| 00:00 | Another important tool you should
know how to use is the Crop tool.
| | 00:04 | The Crop tool is useful in a variety of
circumstances. For example, maybe you
| | 00:07 | have a great shot of the beach on your
vacation, but it's ruined by some people
| | 00:10 | walking around near the edge of the shot.
| | 00:12 | You can easily get rid of them by
cropping them out. Or if you have standard-
| | 00:16 | sized footage that you're using in a
widescreen aspect ratio and you want to
| | 00:20 | avoid having black bars on the side of
your image, you can zoom in on the shot
| | 00:23 | using the Crop tool.
| | 00:25 | Or even if your footage is in the
same aspect ratio as your project, you
| | 00:28 | might want to zoom in a little anyway to
place more focus on the subject in your footage.
| | 00:32 | The Crop tool can also be used to
rotate your footage, which is especially
| | 00:36 | useful if you were shooting video with
your digital camera and forgot that can't
| | 00:39 | really hold the camera sideways when
you're shooting videos like you can when
| | 00:42 | you are shooting still images.
| | 00:43 | So the Crop tool is an extremely
useful tool to have at your disposal.
| | 00:46 | Let's take a look at how it works.
| | 00:47 | Let's go to the shot of our surfer
entering the ocean, which is up here, and I
| | 00:53 | want to make him more prominent in the shot,
| | 00:55 | so I am going to use the Crop
tool to zoom in a bit on him.
| | 00:57 | To use the Crop tool, select the clip
you want to crop and then click the Crop
| | 01:01 | tool here on the toolbar.
| | 01:03 | As you see, Crop should be selected
by default out of the three options
| | 01:06 | available here in the corner of the viewer.
| | 01:08 | Now you might see that the
viewer now has green edges around it.
| | 01:11 | The green box represents the
current visible area of the clip;
| | 01:14 | in this case we see the whole
thing. To zoom in, drag in any of the
| | 01:18 | corners towards the center.
| | 01:21 | And I can also reposition that box as well.
| | 01:24 | As I drag in, notice that the box
stays in the aspect ratio of the project.
| | 01:28 | I can't turn this into a perfect square or
anything other than its widescreen ratio.
| | 01:33 | So maybe I'll position it something like that.
| | 01:37 | Now, when you are happy with
your layout, you can click Done.
| | 01:41 | Now, we just see the zoomed in portion.
| | 01:43 | But notice the preview of the clip
in the Project area still shows the
| | 01:46 | entire uncropped version.
| | 01:48 | This is a nice way of reminding you
that this is a cropped clip in case you
| | 01:50 | forget, but you will also notice there
is a crop button now that appears in the
| | 01:54 | upper left-hand corner of the clip.
| | 01:56 | And you can see this
indicates that this is a cropped clip.
| | 02:00 | So we've essentially zoomed in on our clip.
| | 02:03 | Now just be careful about zooming in
too much, or else your video will become
| | 02:06 | pretty grainy and look just bad in general.
| | 02:09 | Now another time we might want to use
Crop tool is if you're using footage that
| | 02:12 | doesn't match the aspect ratio
of the project. For example,
| | 02:16 | let's go to File > Project
Properties, and I am going to change this to a
| | 02:20 | standard aspect ratio, and click OK.
| | 02:23 | Notice that the viewer is now in the
standard aspect ratio. But if I skim
| | 02:31 | through my project, you can see my
footage, which is widescreen, still fills
| | 02:35 | the entire viewer area.
| | 02:37 | That's because iMovie automatically
zooms in on footage that doesn't fit the
| | 02:40 | current aspect ratio, so I've
effectively chopped off the right and left
| | 02:44 | sides of my footage.
| | 02:45 | Of course, if all of your footage is
widescreen, you would use the widescreen
| | 02:49 | aspect ratio. But let's assume for a
moment that the majority of my footage is
| | 02:52 | standard but I do have some
widescreen footage I want to use.
| | 02:55 | Now if I want to make sure all the
footage is visible, or even if I just want to
| | 02:58 | adjust the position of the zoom that
iMovie has placed on one of these clips, I
| | 03:02 | can again use the Crop tool.
| | 03:04 | So just click on the clip you want to
adjust, or if you want to adjust them all,
| | 03:07 | you can press Command+A all of your clips.
| | 03:09 | I am just going to use the
one to show you how this works.
| | 03:12 | So I select the clip,
and then I click the Crop tool.
| | 03:15 | Again, the green box shows me be the
cropped area, and you can see how much
| | 03:18 | footage is cropped out.
| | 03:19 | Incidentally, this is a good
illustration of how much of the picture you're not
| | 03:22 | seeing when you watch Hollywood movies
on cable TV on a standard television.
| | 03:27 | Anyway, if you want to reposition the
cropped area, simply drag it around until
| | 03:30 | it shows the area you want to show.
Or if you want to set it so that the entire
| | 03:34 | widescreen image is visible,
click the Allow Black button.
| | 03:39 | This is called Letter Boxing, and on
a standard 4-to-3 aspect ratio of
| | 03:42 | television, you will see black bars
at the top and bottom of the screen.
| | 03:47 | Some people don't like this look,
but I much prefer a slightly smaller image
| | 03:50 | than not seeing all the footage the way
it was shot. But that's entirely up to you.
| | 03:54 | I will click Done, and now when I
play my project back, you will see that
| | 03:59 | that clip is in letterbox, while
the rest are zoomed in to fill in the
| | 04:02 | standard aspect ratio.
| | 04:07 | So everything is zoomed in here,
and now we are seeing the full clip in this
| | 04:11 | case, and then we are back
to the zoomed-in version.
| | 04:15 | One last other thing you can do with the Crop
tool, as I mentioned, is to rotate your image.
| | 04:20 | Again, this is useful for those times
when you fall asleep while shooting video
| | 04:24 | and the camera lands on its side, or for
when you might have been shooting with a
| | 04:28 | digital still camera and forgot you
can't turn sideways to shoot a video of the
| | 04:31 | waterfall and you now have a
waterfall going from left to right.
| | 04:35 | Just select your clip, click Crop, and
then click the left or right rotation
| | 04:40 | buttons to put things in
their proper orientation.
| | 04:43 | Just be aware that you will probably
end up with a weird-looking aspect ratio
| | 04:46 | since you're essentially turning the
video on its side, so you might want to use
| | 04:49 | the Crop tool to zoom in a bit, if you can.
| | 04:51 | I am just going to click Done and
switch my project back to the Widescreen
| | 04:56 | aspect ratio, and now everything's
looking better, the way it should. And we
| | 05:03 | still have this zoomed-in version of
our clip here, which I think looks nicer.
| | 05:07 | So that's how you use the Crop tool,
and I'll meet you in the next movie.
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| The advanced Edit tool| 00:00 | Now I would like to show you a tool
that will really come in handy once you
| | 00:03 | start turning into an iMovie
hotshot, and that tool is the Edit tool.
| | 00:07 | It's found right here in your toolbar,
but it only appears if you have the
| | 00:10 | Advanced tool selected in Preferences.
| | 00:12 | So again go to iMovie > Preferences,
and under General, make sure you have Show
| | 00:17 | Advanced tools checked.
| | 00:20 | Actually, there is nothing
really that advanced about the tool;
| | 00:22 | it just makes adding clips to
your project much quicker and easier.
| | 00:25 | Start by selecting the tool and then
skim through your Event Browser to find
| | 00:29 | some footage you want to add to your project.
| | 00:31 | So maybe this shot here of our surfer
coming towards the camera, maybe
| | 00:34 | right as he goes by over the end of
that clip, so I am just going to click
| | 00:38 | and drag to the left.
| | 00:40 | Notice the area I am selecting is
turning orange, and when I release my mouse,
| | 00:45 | that area highlighted is
moved up to the end of my project.
| | 00:48 | This is great when you know exactly which
parts of your raw footage you want to use.
| | 00:51 | You can just tear through it without
having to worry about selecting and
| | 00:54 | dragging, selecting and dragging;
instead, just select, select, select, select.
| | 00:58 | You can always fine-tune your selection
after it's been added to your project,
| | 01:01 | using the Clip Trimmer and
Precision Editor tools we looked at earlier.
| | 01:04 | Now another way to use this tool is to
simply click right on the footage you want.
| | 01:08 | So, for example, maybe I
want some of this footage here.
| | 01:10 | I will just click, and you can see by
default iMovie sends four seconds of
| | 01:15 | footage from the point where
you clicked in your project.
| | 01:17 | So I have now got four seconds of this footage.
| | 01:20 | You will find some more of him surfing.
| | 01:25 | Right from here. There is another
four seconds and maybe some shots of the
| | 01:31 | surfer going by the pier.
| | 01:34 | You can change the default amount of
footage iMovie sends into the project by
| | 01:37 | going to iMovie > Preferences and under
the Browser tab where it says Clicking
| | 01:43 | in Event Browser selects, you can see
it's set to four seconds right here, but
| | 01:46 | you can move the slider to the left
or to the right to add less or more
| | 01:49 | footage when you click.
| | 01:51 | Now when you are done with the
Advanced Editing tool, just select the Pointer
| | 01:54 | tool next to it and you're
back to your normal controls.
| | 01:56 | Just as a side note, you can select
footage the way you normally do and then
| | 02:03 | click the Advanced Editing tool, which
you can see now has a Plus button next to
| | 02:06 | it, to send it to the project.
| | 02:08 | But it's probably just easy to
drag your selected footage at that point.
| | 02:12 | So that's the Advanced Editing tool.
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| Using a traditional timeline| 00:00 | Okay, this movie is for anyone who
is not new to iMovie or video editing.
| | 00:04 | When Apple first released iMovie '08
it was a radical departure from
| | 00:07 | traditional video editing
applications in that it threw out the traditional
| | 00:11 | timeline that was common and which
remains common in just about all other video
| | 00:15 | editing applications,
including earlier versions of iMovie.
| | 00:18 | Initially, many people really hated
this new way of cutting footage together.
| | 00:22 | Personally, I think it's a much
simpler way to edit movies, which as you have
| | 00:25 | been seeing, is just a matter of
selecting the portions of the clips you want to
| | 00:28 | use and dragging them into the
order in which you want to play them.
| | 00:31 | It's so simple, and really iMovie is
aimed at people who have little-to-no
| | 00:34 | experience with editing videos
or even with computers in general.
| | 00:37 | The way traditional video editing
applications work is with a timeline in which
| | 00:41 | all of your clips appear linearly left
to right in chronological order, and you
| | 00:45 | would scroll horizontally through your
clips, instead of having them wrapped
| | 00:48 | left to right, top to bottom as
we have here in the Project window.
| | 00:51 | Traditional timelines also let you
clearly see the timecodes at any point in
| | 00:54 | your project, so you can see how far
along you are. But here in iMovie '11, you
| | 00:58 | can also choose View > Playhead Info
to see timecodes as you're rolling over
| | 01:03 | your clips. I am just going to turn that off.
| | 01:06 | But if you really are more of a
traditionalist, you can effectively mimic
| | 01:10 | a standard timeline by clicking this
Single Row button here in iMovie in
| | 01:13 | the Project window.
| | 01:16 | As you can see, that displays your
project in a single row chronologically from
| | 01:20 | left to right, and you can see the time
indicators along the bottom of the pane.
| | 01:24 | Additionally, you might want to swap the
Project and Event panes by clicking the
| | 01:28 | Swap Events and Projects button.
| | 01:32 | Now, iMovie is looking more like a
traditional video editing application.
| | 01:36 | It's still functions exactly the same,
but some people might be more comfortable
| | 01:40 | with a layout like this.
| | 01:42 | Personally, I have gotten really used
to the default layout, and I like not
| | 01:45 | having to scroll left and
right see my entire project,
| | 01:47 | so I am going to switch it
back and turn off Single Row.
| | 01:53 | Basically, if you're completely new to
iMovie, and video editing in general, this
| | 01:57 | probably isn't even an issue for you.
| | 01:59 | But if you have used other video
editing apps, arranging your iMovie window like
| | 02:03 | you just saw might help you
transition more easily into using iMovie.
| | Collapse this transcript |
|
|
6. Working with EffectsCreating and adjusting still clips| 00:00 | Now let's take a look at how to create
a still image from a frame from one of
| | 00:03 | your clips in iMovie '11.
| | 00:05 | Occasionally, you might want to
create a still image, just so you can draw
| | 00:08 | attention to a particular
image or scene from your footage.
| | 00:11 | It's actually very easy to do this.
| | 00:13 | First, you want to find the frame
that you want to use as a still image.
| | 00:15 | For example, maybe in this clip here of
our surfers walking towards the water,
| | 00:18 | we can skim through that. Maybe
right there. I like that frame.
| | 00:24 | All we do now is right-click, and we choose
Add Still Frame to Project, and up it goes.
| | 00:30 | Now if I play that part of my project
right now, notice a subtle zooming effect
| | 00:35 | has been applied to it. This is what
Apple calls the Ken Burns effect.
| | 00:40 | Ken Burns is the famous documentarian,
and he uses a lot of old still photos in
| | 00:43 | his work, and they are usually treated
with zooms and pans across them while
| | 00:47 | dramatic music plays in the background.
| | 00:48 | Now if you don't like that effect, or if
you just want to adjust it, it's very easy to do.
| | 00:52 | First, let's take a look at it again.
| | 00:54 | Notice when I roll over it we can see
that it is a four-second clip; in fact, I
| | 00:57 | will do skim over and you can see the effect.
| | 00:59 | It's very subtle, but it's definitely a
zoom-out that we are seeing right there.
| | 01:04 | To change the effect, roll over the
Crop button that appears in the clip,
| | 01:08 | double-click it, and now
we can see our crop areas.
| | 01:11 | Now notice in addition to the green
frame that we normally see when we are doing
| | 01:14 | a regular crop, there is also a red frame.
| | 01:16 | I am just going to drag to move the
green frame and make it a little bit smaller.
| | 01:19 | Let's move it over here.
| | 01:24 | Notice that the green frame is labeled
Start and the red frame is labeled End.
| | 01:28 | The Start box frames the portion of
the image you want to see when the frame
| | 01:31 | first appears on screen, and the End
box is the portion you want to see by
| | 01:34 | the end of the clip.
| | 01:35 | So basically you just position inside
both boxes, and iMovie creates the zoom
| | 01:39 | effect between the two points.
| | 01:41 | So maybe at the beginning I want to be
zoomed in on our surfer, and at then end I
| | 01:45 | want the entire frame to be in view,
which it's already set to right now.
| | 01:48 | Notice this yellow arrow here that indicates
which direction the zoom is going to occur in.
| | 01:52 | We can Preview this by clicking the
Play button, and we can also easily swap the
| | 01:59 | beginning and end points using the
Swap button right here. And we can see how
| | 02:04 | that looks. Now, we are zooming in.
| | 02:06 | I kind of like it the other way
better, so I am going to swap that back.
| | 02:13 | Now to adjust how long this zoom takes, I
am going to click Done. Then I am going
| | 02:16 | to click the Action button over the clip
and choose Clip Adjustments, and you can
| | 02:22 | see right now the
duration is set to four seconds.
| | 02:25 | So if I want this to take a little longer,
I may change it to, say, maybe six seconds.
| | 02:30 | Notice we also have the option to make
this the default duration for all still
| | 02:33 | clips, but I will leave
that unchecked and click Done.
| | 02:37 | So now it's a six-second clip, and you
can notice that it got longer in the
| | 02:40 | Project pane. So if I press my Spacebar now,
it takes six seconds to get the full frame.
| | 02:47 | Now if we want to lose the Ken
Burns effect altogether just go back and
| | 02:51 | double-click the Crop button
again, and in here, just click Fit.
| | 02:55 | That just fits the entire frame to
your project and takes away all motion.
| | 02:59 | Then click Done, and now it's just a still
image that takes six seconds of screen time.
| | 03:03 | See there is no motion,
but the playhead here is moving.
| | 03:08 | And you can still adjust how long
it's on screen by going back to your Clip
| | 03:11 | Adjustments and changing
the duration, if you need to.
| | 03:16 | So that's how to create a still frame
from your footage, and some options you
| | 03:19 | have for presenting it in your project.
| | Collapse this transcript |
| Incorporating photos| 00:00 | In addition to grabbing still frames
from your video footage to incorporate into
| | 00:03 | your iMovie projects, you can also
incorporate still photos that you shot with
| | 00:07 | your digital still camera, or perhaps
scanned into your Mac, which makes sense
| | 00:11 | that if you have video footage of say
your vacation, you most likely have still
| | 00:14 | photos from your trip, too, and you'll
probably want to incorporate them into
| | 00:17 | your iMovie project.
| | 00:18 | And it's really easy to do.
| | 00:19 | I have copied a folder called beach
pics from the Exercise Files folder to my
| | 00:24 | Desktop, and in here I have a handful of photos.
| | 00:27 | Now the easiest and quickest way to
add photos right now, since I'm looking
| | 00:30 | right at the images in a Window
sitting on top of my iMovie window, is just
| | 00:34 | to drag the photos in.
| | 00:35 | So maybe I want this photo of
beach_surfboards in my project.
| | 00:37 | I just drag that right in.
| | 00:38 | You can see the green line
appears wherever I drop that.
| | 00:42 | That's where it will be.
| | 00:42 | I will just put that at
the beginning of my project.
| | 00:44 | And now if I go look at my
project, there is my still photo.
| | 00:49 | You can see it's at the default
duration of four seconds, and again, we have
| | 00:52 | that Ken Burns effect applied to it,
which we looked at in a previous movie.
| | 00:56 | And just as we saw in the previous movie
, I can double-click the Crop button and
| | 01:00 | the thumbnail and adjust the Start
and End points of the Ken Burns effect.
| | 01:04 | Or I can click Fit if I just want the
photo to be still for the entire duration.
| | 01:07 | So it's very easy to just drag
photos right into your iMovie project.
| | 01:12 | But if you have a lot of photos and
you're using iMovie, that means you also
| | 01:15 | have iPhoto, and you really should be
using iPhoto to manage your pictures
| | 01:19 | instead of just keeping them in a folder.
| | 01:21 | So, let's go to my Desktop here.
| | 01:22 | I am just going to drag this entire beach
pics folder to iPhoto, sitting here in my dock.
| | 01:29 | You can see that now imported all of
those photos right into my iPhoto Library.
| | 01:33 | Now, let's go back to iMovie.
| | 01:35 | In here, I can go to the Photo Browser,
which is where I can access the photos I
| | 01:39 | just imported in iPhoto.
| | 01:40 | Now, it might take a moment for your photos
to show up in here if you just drag them in.
| | 01:44 | Like if I go to Last Import, I
am not seeing them right now.
| | 01:47 | Maybe if I go to Photos, it
will appear. Nope, not yet.
| | 01:51 | In some cases, you might need to
actually quit iMovie and then restart it for
| | 01:54 | your photos to appear.
| | 01:55 | Let's go back to our Photo Browser, check
out the Last Import, yeah, and there they are.
| | 02:04 | This is nice because I can preview
the photos right here in iMovie without
| | 02:07 | having to switch over to iPhoto.
| | 02:09 | So let's say I want to grab
this photo of the seagull.
| | 02:11 | Notice I click on it, it appears right here.
| | 02:13 | And again, I can drag it into my
project and drop it anywhere I want.
| | 02:16 | But notice you can also drag a still
image over an existing still image, or
| | 02:20 | even over a video clip.
| | 02:21 | You see this red playhead appear as
I am dragging over, and notice the
| | 02:26 | information that appears at the bottom of
the Project viewer right here as I roll over.
| | 02:31 | You can see at the bottom there, it says
, 0.4 seconds from clip start, or I am
| | 02:34 | 1.4 seconds from clip start there.
| | 02:36 | So if I drop this photo say a second from the
start of the clip, you can see a menu pops up.
| | 02:43 | This lets you specify what you want to
do with this photo in relation to the
| | 02:46 | clip you dragged it on top of.
| | 02:47 | We have Replace, which as you can see,
removes the video clip and replaces it
| | 02:52 | with the photo I dropped in.
| | 02:54 | iMovie is smart enough to make the
still image exactly as long as the duration
| | 02:57 | in the clip it replaces, so it
won't throw off the time of your video.
| | 03:00 | You can see it's 3.1 seconds.
| | 03:02 | You might need to use this particular
feature if you found you don't have the
| | 03:05 | rights to use a particular video clip
in your project and you need to replace
| | 03:08 | it with a still image.
| | 03:09 | I am going to undo that by choosing Edit > Undo.
| | 03:11 | Let's drag it over again.
| | 03:13 | You can see another option that appears
here is Insert, and that actually splits
| | 03:19 | the clip and places the
photo between the two pieces.
| | 03:21 | So you can see I have half a second
of footage of the boots being put on
| | 03:25 | here, then we see the image for four seconds
, and then we see the rest of the clip here.
| | 03:30 | And you can adjust the duration of the
still clip as usual by clicking Action
| | 03:33 | button, choosing Clip Adjustments, and you
can change the duration here, if you need to.
| | 03:37 | Again, I am going to undo that.
| | 03:39 | Let's drag it on again.
| | 03:40 | We also have Cutaway.
| | 03:44 | Now, what this does is it keeps the
audio from the video clip playing in the
| | 03:47 | background while the photo appears on screen.
| | 03:50 | You see this sort of thing applied in
documentaries sometimes where maybe an
| | 03:53 | old-timer is describing an event of
the past, and as he is talking maybe a
| | 03:57 | photo of the event appears on screen
while you continue to hear his voice
| | 04:00 | describing what's going on.
| | 04:01 | So if I play this clip, you'll still be
able to hear the background noises and
| | 04:04 | sounds from the original video clip,
but you'll see the picture instead.
| | 04:07 | (Birds chirping, engine revving)
| | 04:14 | You can see in this
case my photo being four seconds long, by
| | 04:16 | default, actually overlaps into the next clip.
| | 04:19 | But you can always adjust the length
of how long the photo is going to be on
| | 04:22 | screen by dragging its edges
left and right. Let's undo again.
| | 04:27 | Now, we also have Picture in Picture.
| | 04:34 | You can see the results of that.
| | 04:35 | It just puts the photo here in the
upper right-hand corner, although you can
| | 04:37 | move it and resize it as well.
| | 04:40 | You can see what that looks like if I play it.
| | 04:43 | (Birds chirping, engine revving)
| | 04:47 | Again, you can do things
like adjust duration by double-clicking
| | 04:50 | it here in the Project window.
| | 04:51 | This is probably a good time to
mention that everything I am showing you here
| | 04:55 | can also be applied with video
clips as well, not just still photos.
| | 04:58 | So you can have a video clip playing
inside another video clip if need be.
| | 05:01 | Let's do a couple more undos, again.
| | 05:08 | Next, we have Side by Side which works
similarly to Picture in Picture, only the
| | 05:13 | frame is split down in the middle.
| | 05:15 | This might be useful if you're doing a
shot where two people are talking on the
| | 05:17 | phone to each other and you want to do a
split screen effect so you can see them both.
| | 05:22 | But there are no controls to adjust the
positioning of the video in each half,
| | 05:25 | so you have to make sure to shoot your
video with your subjects on the left and
| | 05:27 | right side of the frame in anticipation
of them being in a split shot like this.
| | 05:33 | Now the final two options here are
Green Screen and Blue Screen, but those are
| | 05:37 | some specific video effects we'll look at later.
| | 05:39 | I am just going to go ahead and choose
Cancel, and for now those are some of the
| | 05:42 | options available to you when you
insert both still photos and videos over
| | 05:45 | existing clips in your project.
| | Collapse this transcript |
| Adjusting color| 00:00 | As you work with your clips and still
images in iMovie, you might find that some
| | 00:04 | clips look dull or flat or may be overexposed.
| | 00:07 | Fortunately, iMovie 11 comes with some
pretty powerful tools for adjusting the
| | 00:10 | color of your images to make
them more vibrant and dynamic.
| | 00:14 | Now when it comes to adjusting color,
you can work with either the clips in the
| | 00:17 | Event Browser or in your Project pane.
| | 00:19 | Any changes you make to the clips in
your Project pane will have no effect on
| | 00:23 | the original source clips in the Event
Browser. But if you make changes to the
| | 00:26 | clips in the Event Browser, those
changes will be reflected in any future
| | 00:29 | project in which you use those clips.
| | 00:31 | Instances of the clips that are already
in the current project won't be changed.
| | 00:35 | So if you have some footage that
you know could use some overall color
| | 00:38 | correction, correct it in the Event
Browser so you don't have to re-correct it
| | 00:41 | every time you use that footage.
| | 00:42 | But color adjustments can also be used
for special effects like turning your
| | 00:45 | footage to black and white or sepia
toned, which you will probably use only
| | 00:49 | in certain instances.
| | 00:50 | So in those cases you would make your
adjustments to the clips in the Project pane.
| | 00:53 | Okay, so let's take a look at how we can
play with the color settings of our clips.
| | 00:57 | I am going to use this clip of our
surfer catching a wave here, and this is a
| | 01:01 | fairly dull, low-contrast clip that
could stand to pop out a little bit more.
| | 01:05 | Now again, in a real-world editing
scenario, I would probably make my
| | 01:08 | adjustments to the clip in the
Event Browser, because I would want a
| | 01:10 | good-looking version of this footage
no matter what project I put it into.
| | 01:14 | But in this case I am just using it
as an example, so I am going to adjust
| | 01:16 | it here in my project.
| | 01:17 | I'll start by double-clicking on the
clip and going over to the Video tab, and
| | 01:23 | here is where you will find all the
different color adjustments you can make.
| | 01:26 | So let's just work our way down here.
| | 01:27 | First of all, we have our Level meter,
which is under our histogram up here.
| | 01:31 | Basically, Levels allow you to
change the black-and-white levels.
| | 01:34 | You would drag the left slider to
increase the black or dark areas of your footage--
| | 01:39 | so if I wanted a little bit more
darkness in the dark areas, I could drag that
| | 01:42 | slightly to the right--and use the right
slider to adjust the light level, so you
| | 01:47 | can see if I drag it all the way,
it sort of blows the whole thing out.
| | 01:49 | But I might want to adjust the
levels in just a little bit.
| | 01:53 | Next we have the Exposure slider, and that
changes the shadows and highlights, as it says there.
| | 01:59 | So dragging to the right
intensifies the highlights--
| | 02:02 | again, I can blow that out--or dragging
to the left minimizes the highlights.
| | 02:06 | So in this case, maybe I want to add a
little bit more exposure. Here we go.
| | 02:09 | Next, we have the
Brightness and Contrast sliders.
| | 02:14 | Now these sliders change the overall
levels of the brightness and contrast
| | 02:18 | of the entire image.
| | 02:19 | So dragging the Brightness slider to
the right makes the entire image lighter;
| | 02:23 | dragging to the left
makes the entire image darker.
| | 02:25 | I tend not to like this slider too
much, because I don't like changing the
| | 02:28 | entire image all at once. But maybe in this
case, I will add just a little bit of brightness.
| | 02:33 | And the Contrast slider, similarly,
changes the relative contrast of the light and
| | 02:37 | dark tones in your image.
| | 02:38 | So dragging to the right makes the
edges between light and dark areas a little
| | 02:41 | bit more stark. But again,
this changes the overall image.
| | 02:44 | I generally try not to apply too much
brightness and contrast, and prefer to use
| | 02:48 | the Levels and Exposure sliders.
| | 02:50 | Next, we have Saturation,
which changes the color intensity.
| | 02:53 | Dragging to the right makes
the colors a little bit richer.
| | 02:55 | Now, we don't have too many
colors to begin with here.
| | 02:57 | We can see that it does intensify
some of the colors if I drag to the right.
| | 03:01 | If I drag all the way to the left, that
basically sucks all the color out of the
| | 03:03 | image and turns it into a black-and-white image.
| | 03:06 | So in this case, maybe I'll
add a little bit of saturation.
| | 03:10 | Next, we have the Red, Green and Blue
Gain sliders, and that changes the amount
| | 03:14 | of red, green and blue coloring.
| | 03:15 | Dragging to the right
increases the intensity of each color.
| | 03:18 | So dragging the red slider to the
right, you can see adds more red. If I
| | 03:21 | drag to the left, it decreases the amount of
red, which you can see gives us a blue cast.
| | 03:25 | I don't think I need too much red in
here, so I am going to leave that about
| | 03:28 | where it was to begin with.
| | 03:29 | You can maybe add a little bit of green,
| | 03:34 | bring out some of the water a
little bit more, and maybe a little blue.
| | 03:37 | I don't want to give it
too much of a blue cast, though.
| | 03:40 | Now, at any time if you want to compare
to what the original image looked like,
| | 03:44 | you can click Revert to Original to see
that and then hit the command for Undo,
| | 03:48 | which is Command+Z, to get your changes back.
| | 03:52 | Next we have a White Point wheel, and
this allows you to change the color range
| | 03:55 | by resetting the color white.
| | 03:57 | You basically click anywhere in the
circle and drag around to maximize the white
| | 04:00 | tones, or to change them.
| | 04:02 | You can see dragging into the yellow
areas sort of gives me a sepia tone. Or you
| | 04:05 | can drag down to the blue and the
green areas, right about in the middle.
| | 04:10 | Now similarly, note that you can also
adjust the white point, as it says here, by
| | 04:14 | clicking on a white or gray area in the viewer.
| | 04:16 | So if I click maybe somewhere in
here, you can see how that shifts my
| | 04:19 | white point a little bit.
| | 04:21 | Now if using all of these sliders is a
little overwhelming, you can also try the
| | 04:24 | Auto button, which examines the clip
and then tries to adjust it for you.
| | 04:28 | So I'll click that. But your
results may vary depending on your clip.
| | 04:32 | Still, you can use the Auto setting as a
jumping off point and then continue to
| | 04:35 | fine-tune from there.
| | 04:36 | I really don't like what it did too
much, so I am just going to Undo that.
| | 04:39 | Go back to the original settings I applied,
| | 04:41 | though I do maybe want to adjust the
Exposure just a little bit more here.
| | 04:46 | Again, it's just something you will have
to play around with for each individual
| | 04:48 | clip to see if you can make
it look a little bit better.
| | 04:51 | When you're done, you can click Done.
| | 04:52 | Of course, you can watch your
entire shot to see how it looks.
| | 04:55 | Now if you are happy with your results
and you have other shots with similar
| | 05:03 | color or exposure issues, another
thing you can try is to select the clip you
| | 05:06 | just adjusted and then choose Edit > Copy.
| | 05:10 | Then select the next clip you want to adjust--
| | 05:12 | maybe this clip here, which also
looks like kind of dark and overcast.
| | 05:15 | Let's select that, and then choose
Edit > Paste Adjustments, and notice here we
| | 05:20 | can apply all the effects we have
copied from the clip, or just video, audio,
| | 05:25 | crop, or any other effects we've applied here.
| | 05:27 | I am just going to choose to
apply my video adjustments.
| | 05:29 | So now you can see this has basically
received the same settings that I had
| | 05:34 | applied to the other clip.
| | 05:36 | So this way you don't have to redo all the
slider movements for each clip you're adjusting.
| | 05:39 | Now, if the same settings don't
quite work for your other clip, you can
| | 05:42 | again just use this as a starting
off point and then continue to redefine
| | 05:45 | your adjustments. And when you've
achieved the look you want, just click
| | 05:49 | Done to close the window.
| | Collapse this transcript |
| Using transitions| 00:00 | At this point, you should be pretty
comfortable with the idea of assembling your
| | 00:03 | movie by dragging in various clips and
still images from your Event Browser.
| | 00:07 | But the way our movie is set up right
now, all of the clips are basically going
| | 00:10 | to cut very abruptly from one to another,
which might be the effect you're going
| | 00:14 | for in some movies, but most likely
you will more often want to have smoother
| | 00:18 | transitions between clips.
| | 00:19 | That's where iMovie's
transitions come in to play.
| | 00:22 | Whether or not your viewers are
conscious of it, transitions act to smooth
| | 00:25 | the movement from one click to
another and give you a project a more
| | 00:28 | professional appearance than that of
a video that just looks like it was
| | 00:31 | assembled with scissors and tape.
| | 00:32 | You can see iMovie's available
transitions here in Transition pane.
| | 00:35 | So these are the 24 transition
effects you can apply between your clips.
| | 00:41 | Placing your mouse over a transition
gives you a little a preview of the effect.
| | 00:48 | Now generally speaking, if you want
your video to have a more professional look
| | 00:51 | to it, you will probably want to limit yourself
to the Cross Dissolve and the two Fade effects.
| | 00:57 | Cross Dissolve is probably the most
useful transition to smoothly move from
| | 01:01 | one scene to another.
| | 01:02 | Fades are useful at the beginning or
end of your project, and you can put them
| | 01:05 | between clips to dip to black or
white before coming in with the next shot.
| | 01:09 | Now the rest of the effects, while
cool looking, can be kind of cheesy if you
| | 01:13 | use them too much, especially if you
use things like the Page Curl effect or
| | 01:16 | the Cube Effect here.
| | 01:19 | But really, the decision is entirely yours.
| | 01:21 | If you feel the transition works for
your project, then go ahead and use it.
| | 01:24 | Using these transitions is a simple
matter of dragging the one you want
| | 01:27 | between two clips. And the great thing
about the transitions in iMovie is that
| | 01:31 | they are real-time effects,
| | 01:32 | meaning you don't have to sit there and
wait for your Mac to render the effects
| | 01:35 | before you can see how they look.
| | 01:37 | All you have to do is drag in the
transition and play it to see how it looks.
| | 01:40 | So let's say I want to start the
movie with a fade-in from black.
| | 01:42 | So I will grab Fade to Black and drag
that to the very beginning of my project.
| | 01:48 | You can see now have this
transition that's been added. If I play it,
| | 01:51 | you will see I have that very quick
fade-in from black in to my first clip, which
| | 01:56 | in this case is this still image.
| | 01:58 | And as I mentioned before, maybe you want
to add one of these fades between clips.
| | 02:01 | There is a Fade to White.
| | 02:04 | I will add another Fade to White here.
| | 02:07 | Let me see what that looks like.
| | 02:11 | (video playing)
| | 02:21 | So you can this quick dip to whites.
| | 02:22 | Now I actually went to put one right here,
| | 02:24 | so I can move that from this location
by selecting it and just dragging it
| | 02:28 | between these two clips.
| | 02:29 | (video playing)
| | 02:33 | So that's how easy it is to add a transition.
| | 02:35 | Now by default all the transitions
are set to a half-second duration.
| | 02:39 | If that's too quick for you--for example
if you want a nice long dramatic fade-
| | 02:42 | up from black at the beginning of your
movie--simply double-click the transition
| | 02:46 | and then change the duration.
| | 02:47 | Maybe I will make this 1.5 seconds.
| | 02:50 | You will want to uncheck Applies to all
transitions unless you want all of your
| | 02:53 | transitions to be the same length.
| | 02:55 | Now the only thing you have to keep in
mind is that a transition can't be any
| | 02:58 | longer than half the length of the
shorter clip that's on either side of it,
| | 03:02 | meaning, for example, I can't have a
10-second transition between a 5-second
| | 03:06 | clip and a 3-second clip.
| | 03:07 | So I will click Done, and now I will
have a slightly longer fade-in at the
| | 03:10 | beginning, and there it is.
| | 03:15 | Now another option you have when it
comes to transitions is to have iMovie
| | 03:18 | automatically add them for you.
| | 03:20 | This is useful when you know you want
the same transition to occur between all
| | 03:23 | the clips of your movie.
| | 03:24 | Now before I do this, first note the
current length of my project is 57 seconds.
| | 03:29 | I point this out because I need to show
you something about how transitions work.
| | 03:33 | Now to add automatic transitions, you
can either click Set Theme down here in
| | 03:36 | Transitions pane or choose File > Project Theme.
| | 03:40 | In both cases, you will see this dialog
box where you can change your project's
| | 03:44 | theme if you don't like the one you
chose when you first created the project.
| | 03:47 | I'd chosen no theme for this project.
But the option I am interesting in here is
| | 03:51 | the Automatically add check box.
| | 03:53 | You can see iMovie lets you choose
a transition to automatically place
| | 03:56 | between every clip.
| | 03:57 | So I will check that box, and I
leave Cross Dissolve selected.
| | 04:00 | Notice we have the option to choose any of
the other transitions that we saw previously.
| | 04:03 | I will click OK.
| | 04:06 | So looking at my project now, you can
see that automatically add transitions
| | 04:09 | between all my existing clips, and it
will continue to do this to any new clips
| | 04:13 | that I add to my project from this point on.
| | 04:15 | Now notice that the duration of my
project has dropped to 50 seconds.
| | 04:19 | So where did those 7 seconds go?
| | 04:21 | Well, when you have a transition like,
in this case Cross Dissolve, what happens
| | 04:26 | is the end of one clip overlaps
the beginning of the following clip.
| | 04:29 | So if you have to say a one-second
cross dissolve, the last second of the first
| | 04:33 | clip overlaps with the first second
of the second clip, which shortens the
| | 04:37 | overall length of your project, because
the clips are slightly overlapping with
| | 04:40 | each other instead of playing one after another.
| | 04:42 | It might help you if you imagine laying a
deck of playing cards end to end on the table.
| | 04:47 | The rows of cards would be a certain
length, but if you slightly overlap the
| | 04:50 | ends of each card--kind of like you do
with video transitions--the overall length
| | 04:54 | of the entire row would be shorter.
| | 04:56 | It takes a little pondering to wrap your
mind around the concept if you've never
| | 04:59 | really given much thought
to how transitions work.
| | 05:02 | So anyway, now I have
transitions between all of my clips.
| | 05:05 | Now the only time this won't work
is if you split a single clip up.
| | 05:09 | iMovie won't add
transitions between split clips.
| | 05:12 | But you are free to add them yourself,
or even to remove or change any of the
| | 05:16 | once that were added automatically.
And of course you should watch your
| | 05:19 | entire movie from start to finish to make sure
you like the automatically added transitions.
| | 05:24 | If you don't like them, you can
remove them either one of the time, just by
| | 05:27 | selecting it and deleting it--
and I will talk about this in a second.
| | 05:31 | I am just going to cancel for a moment.
| | 05:33 | Or you go back to the Project
Theme and uncheck Automatic Transitions.
| | 05:39 | You are then presented with some
options on how you want iMovie to handle the
| | 05:43 | removal of the transitions.
| | 05:44 | This is why it's important to understand how
transitions affect the length of your project.
| | 05:48 | So if you choose to remove
transitions and extend clip ends, you are telling
| | 05:52 | iMovie to remove the transition, but to make
sure those clips don't each lose one second.
| | 05:56 | I think this is the most common
option, because you probably edited your
| | 05:59 | clips precisely, and you don't want to lose any
footage because you are taking out of transition.
| | 06:03 | So I will select that option, click OK,
and notice my project is now back at its
| | 06:09 | original length of 57 seconds.
| | 06:11 | Let's undo that, put the transitions
back, and then go back to Project Theme
| | 06:16 | and turn off
Automatically Add Transitions again.
| | 06:18 | Now if you select Remove Transitions
and maintain clip durations, that removes
| | 06:23 | the transitions, and the footage that
was incorporated into those transitions
| | 06:27 | will also be removed as well.
| | 06:28 | So I will select that, and notice
that further shortens my project.
| | 06:33 | I am down to 43 seconds now.
| | 06:35 | In most cases, you
probably don't want this option.
| | 06:37 | Let's undo that again.
| | 06:39 | Go back to Project Theme.
| | 06:42 | The third option is Leave
transitions in current locations.
| | 06:45 | You would choose this option if you
like the current transition where they are
| | 06:48 | but you don't want iMovie to continue to
automatically add transitions each time
| | 06:52 | you add clips to your project.
| | 06:53 | Let me cancel this for a moment,
because earlier I showed you that if you want
| | 06:57 | to delete a single transition--
| | 06:58 | if I selected and hit the Delete key--
notice that I do have to turn off
| | 07:02 | automatic transitions.
| | 07:03 | So if you only want to get rid of a
single transition, you have to turn off the
| | 07:07 | Automatic Transition option.
| | 07:08 | Let's go back to my Project Themes again.
| | 07:12 | So in this case, I am going to choose
Remove transitions and extend clip ends to
| | 07:17 | take my project back to the way it was
before I automatically added transitions.
| | 07:21 | Notice that also removes the
transitions that I manually dragged in,
| | 07:24 | so I will have to add them
back again if I want them.
| | 07:27 | So that's how transitions work.
| | 07:28 | Now if you do like having iMovie add
the transitions for you but you want some
| | 07:32 | variety, you might want to
trial some of the built-in themes.
| | 07:35 | So again go to File > Project Theme,
and you can see we have other themes
| | 07:39 | to choose from here.
| | 07:40 | I will choose bulletin board, and you can see
a little preview of it over here on the right.
| | 07:44 | I will click OK.
| | 07:47 | You can see it building project.
| | 07:52 | So in addition to these regular Cross
Dissolve transitions that we see here, you
| | 07:55 | will see stuff like this every now and then.
| | 07:58 | The special icons
indicate theme-based transitions.
| | 08:01 | So we will see what that
looks like if I play it.
| | 08:04 | (video playing)
| | 08:08 | So you can see how a little
bulletin board effect is going on.
| | 08:10 | (video playing)
| | 08:18 | Here comes another one, and there is
another one down here as well. Pretty cool!
| | 08:29 | Notice this even adds theme-specific
transitions to the Transitions pane down here.
| | 08:33 | So in addition to the regular
transitions we have, we have got these four
| | 08:36 | different transitions here,
which you can drag in as you like.
| | 08:43 | The nice thing is that you can try out
all of themes without damaging your project.
| | 08:46 | If you change your mind, just choose
File > Project Theme again, and choose a
| | 08:51 | different theme. Or if you prefer no
theme, like I do, just select No Theme.
| | 08:55 | Again, I am going to choose to Remove
Transitions and extend clip ends, click
| | 08:58 | OK, and everything is back to the way it was.
| | 09:01 | So that's working with the
transitions in iMovie 11.
| | Collapse this transcript |
| Adding titles| 00:00 | Now, let's look at iMovie titles.
| | 00:02 | Titles are basically text you can add
to your video. And of course, text can be
| | 00:05 | used for everything from showing your
project's title to displaying someone's
| | 00:09 | name to placing captions on a scene,
or even to add rolling end credits.
| | 00:13 | You will find the titles by clicking
the T button to open the Titles pane, and
| | 00:18 | there are 32 types of titles here,
covering a wide range of uses and themes.
| | 00:22 | As with transitions, you can preview
most titles by rolling your mouse over
| | 00:25 | them, and any titles that have any
kind of animation will be displayed.
| | 00:29 | Some of these titles are static, so you
won't see any changes, but you will see
| | 00:32 | the majority of these titles
do have some kind of animation.
| | 00:37 | And all you have to do here is find one
that's most appropriate for your project
| | 00:40 | and drag it into the clip
you want it to appear over.
| | 00:42 | For example, I want a title over the
opening shot of my movie, and I kind of like
| | 00:46 | this Pull Focus title here.
| | 00:48 | That kind of blurs the video
for the duration of the title.
| | 00:52 | So I am just going to select that.
| | 00:53 | Actually, before I do that, I am going to
get rid of the still image at the beginning.
| | 00:55 | We could put titles over still images,
but I think it's more impactful to have
| | 00:59 | it over videos, so I am
just going to delete that.
| | 01:01 | Now I'll grab the Pull Focus
title and drag that over my clip.
| | 01:05 | If you want the title for the entire
duration of the clip, you just drop it
| | 01:07 | while the entire clip is highlighted, or
you can highlight just the beginning to
| | 01:11 | have the title just over the
beginning of the clip. And there it is.
| | 01:15 | You can see it represented up here
in the Project pane, and we have some
| | 01:18 | placeholder text over here, so I
will just select that. We will call this
| | 01:23 | Catching Waves and for the subtitle
we will just say Ventura, California.
| | 01:28 | So let's see how this looks.
| | 01:30 | (video playing)
| | 01:34 | There it is. Now, it's kind of short
for my taste, so all I need to do is grab
| | 01:38 | the right side and just extend it out,
and I could really extend this as far as
| | 01:41 | I went over as many clips as I want.
| | 01:42 | So if you do have text that you want to
have appear constantly, or for a long
| | 01:46 | period of time during your
project, just drag it all the way out.
| | 01:48 | In this case though, maybe I just wanted to
be about 3.5 seconds. Let's see how that looks.
| | 01:53 | (video playing)
| | 01:55 | See we have the nice blurry
background, and then it comes back into focus.
| | 01:59 | Now you can't change the positioning
of the titles, but you can change their
| | 02:03 | font face and color.
| | 02:04 | So I will select the title and
here we can click Show Fonts.
| | 02:09 | That opens up the font picker and this
lets you instantly change the font face,
| | 02:13 | color, and font size.
| | 02:14 | Notice as I roll over the different
font faces they are changing automatically.
| | 02:19 | I can try different colors and different sizes.
| | 02:23 | So just click the ones you want.
Maybe I want Impact. I kind of like white, so I
| | 02:27 | will click that, and we'll choose size 8.
| | 02:31 | That's all there is to it.
| | 02:31 | Now you can also choose from the
fonts installed on your Mac by clicking
| | 02:35 | the System Font Panel.
| | 02:37 | Now we do have to highlight the
text here if wanted to see the effects.
| | 02:40 | I am going to click on there. But now
we can just select any fonts that are
| | 02:43 | installed on our systems.
| | 02:45 | Just beware that you may have some
fonts installed in your system that won't
| | 02:48 | work with iMovie. In those rare cases,
you will just have to pick another font.
| | 02:52 | I do prefer my original choice.
| | 02:54 | I am going to go back to the iMovie
Font panel and change that back to Impact,
| | 02:59 | white, and 8, and click Done.
| | 03:03 | Now lastly, titles don't
necessarily have to go over existing video.
| | 03:08 | If I drag say the Scrolling Credits
to the end of my project--scroll down a
| | 03:13 | little bit--notice I can now
select from several backgrounds.
| | 03:18 | Rolling over a background gives me a
preview of it in the viewer, and some of these
| | 03:22 | are animated backgrounds. So, like, maybe
water would be appropriate for this one,
| | 03:26 | so I will choose that one, and I am
going to preview that so you can see what it
| | 03:29 | looks like. You can see that animation
going on in the background there.
| | 03:34 | And if you change your mind on what
background you want to use, just double-click
| | 03:36 | it and you can choose
from any other one you like.
| | 03:41 | I am kind of like the Underwater
though, so I will keep that, and now way have
| | 03:49 | these credits rolling at the end of our project.
| | 03:51 | And of course, if I wanted to edit
those, I would just click the title and come
| | 03:55 | in here and edit the text as necessary.
| | 03:57 | So that's working with titles in iMovie.
| | Collapse this transcript |
| Using one-step effects| 00:00 | New to iMovie '11 are several
video effects that you can quickly and
| | 00:03 | easily apply to your projects to affect the
look and feel of your video and still images.
| | 00:08 | These are referred to as one-step effects
because they're so easy to apply. Let's take a look.
| | 00:13 | Start by selecting the clip or portion of
the clip that you want to apply the effect to.
| | 00:17 | I like this clip of our surfer coming
towards the camera, but actually, let me
| | 00:21 | go to my Clip Trimmer.
| | 00:24 | I am just going to adjust the length, so
we have a little bit more room to play
| | 00:27 | with this. Start all the way back here. Done.
| | 00:31 | Okay, that just makes my clip a little bit
longer, so I have more room to play here.
| | 00:34 | So I'm going to select the portion
where he is coming right at the camera,
| | 00:37 | maybe right here where our surfer is
holding his arm out, looking really cool.
| | 00:40 | I'll select from there backwards.
| | 00:42 | Now, it doesn't really matter
how much of the clip you select;
| | 00:45 | you just want to make sure the last
frame is the frame you want to see
| | 00:48 | the effect applied to.
| | 00:49 | So I'll choose Clip > Special
Effect > Flash and Hold Last Frame.
| | 00:53 | So you can see that adds a quick
Dip to White Transition followed by a
| | 00:58 | still frame with the Ken Burns effect
applied. And you can of course tweak
| | 01:02 | the Ken Burns effect by clicking on the Crop
icon, and we saw the Ken Burns effect earlier.
| | 01:07 | I'm just going to click Done because I
don't really want to change this here.
| | 01:10 | So let's see what this whole thing
looks like in real time.
| | 01:12 | (video playing)
| | 01:19 | Pretty cool! I kind of like that effect, so
I'm going to leave that as is.
| | 01:22 | Now also found under the Clip menu is
the Fade to menu, which lets you change the
| | 01:26 | look of a clip to black and
white, Sepia, or this Dream effect.
| | 01:30 | All you have to do is select the portion
of a clip--and let's just go with right
| | 01:37 | here--and we choose Clip, Fade to,
and we can choose Black and White.
| | 01:41 | See what that looks like.
| | 01:44 | So it fades to black and white.
Let's undo that. Let's try Sepia.
| | 01:50 | Kind of cool!
| | 01:55 | The last one of course is
Dream, which looks like this--
| | 01:58 | sort of all blown out with the highlights there.
| | 02:03 | I'm just going to undo that again.
| | 02:05 | So those are some of the cool new
one-step effects found in iMovie '11.
| | 02:08 | Be sure to take some time to play
around with them because they can really add
| | 02:11 | some fun and excitement to your footage.
| | Collapse this transcript |
| Stabilizing video| 00:00 | Probably one of the most useful
features of iMovie '11 is the built-in
| | 00:03 | video stabilization.
| | 00:05 | Unlike professional videographers,
casual shooters like myself probably don't
| | 00:09 | use the tripod as much as we should.
And I think we've all been in editing
| | 00:13 | situations where you want to use a
specific clip in our movie, but the footage
| | 00:16 | is just too shaky from being shot on a
handheld camera or out a car window or
| | 00:20 | for any number of reasons.
| | 00:23 | iMovie's stabilization capability can
make previously unusable footage usable, and
| | 00:27 | it's really easy to do.
| | 00:28 | I have this footage here of my
surfer strapping on his boots.
| | 00:33 | Let's take a look at this.
| | 00:33 | (video playing)
(birds chirping)
| | 00:43 | So that's fairly shaky.
| | 00:45 | Let's see what iMovie can do with it.
| | 00:46 | I am going to click its pop-up
menu and choose Clip Adjustments.
| | 00:50 | Now, I am going to click Analyze Entire Clip.
| | 00:52 | So you can see now iMovie is
analyzing for stabilization.
| | 00:57 | Basically what it does is it checks it
out frame by frame, trying to match the
| | 01:00 | objects in one frame with the
objects in the previous frame.
| | 01:03 | The thing about clip stabilization
though is that it can take a long time;
| | 01:07 | the longer your clip, the
longer it's going to take.
| | 01:09 | Now this clip is just a few seconds,
but if you're stabilizing a clip that's a
| | 01:12 | few minutes long, you can go grab a cup
of coffee or find something else to do
| | 01:16 | while you're waiting for
iMovie to finish analyzing the clip.
| | 01:19 | But iMovie is done processing
the clip now, so let's take a look.
| | 01:21 | Now I need to add it to my
project in order to see the changes.
| | 01:24 | So, let's grab this.
| | 01:27 | I am just going to drag it to the end
of my project, and let's take a look.
| | 01:30 | (video playing)
(birds chirping)
| | 01:39 | Now, I still see some movement in
there, but it's a little bit smoother.
| | 01:42 | Ultimately, it's going to be up to you
to be the judge of whether the clip has
| | 01:45 | improved enough after stabilization is applied.
| | 01:48 | In some cases, you might even
think that the camera motion looks
| | 01:50 | unnaturally smooth.
| | 01:51 | If so, you can go back to the clip's
pop-up menu, choose Clip Adjustments, and
| | 01:56 | here you'll notice we now have
Stabilization, which is checked.
| | 01:59 | We have Smooth clip motion, and notice
we have a Maximum Zoom slider here.
| | 02:05 | By dragging that to the left, that can
bring back some of the original shakiness.
| | 02:09 | Incidentally, it's called the
Maximum Zoom slider because that's how
| | 02:12 | stabilization is applied.
| | 02:13 | iMovie zooms in on the clip and moves
the frames around on screen to try to
| | 02:17 | match the objects on screen up to
the object in the surrounding frames.
| | 02:21 | Zooming all the way in like this might
add a small amount of blurriness or end
| | 02:24 | up cropping your shot a little bit too
much or, as I mentioned, introducing an
| | 02:27 | unnatural feel to the clip.
| | 02:29 | So make your adjustments using the
Maximum Zoom slider on a clip-by-clip basis.
| | 02:34 | If you want to de-apply the
smoothing motion, just uncheck it.
| | 02:38 | Now, as I've already mentioned,
applying stabilization to even short clips
| | 02:41 | can take a significant amount of time for
iMovie to process, but there is no way around that.
| | 02:46 | If you want to stabilize your videos,
you have to give iMovie the time
| | 02:49 | to process each clip.
| | 02:50 | But you do have the choice of whether
to process the clips as you are editing,
| | 02:53 | or you can also do it when you
first import the clips from your camera.
| | 02:56 | Let me show you what I mean.
| | 02:58 | I have my camcorder attached to my
Mac, so let's pretend I am going to
| | 03:00 | import some footage.
| | 03:01 | I'm going to go ahead and turn my camera on.
| | 03:04 | That opens up the Import window here.
| | 03:07 | So I'll click Import as if I
am going to import some footage.
| | 03:09 | Now notice we have the After import
analyze for, and we can check that and
| | 03:14 | choose to analyze for stabilization.
| | 03:16 | Now this is also where you can
analyze footage and have iMovie to detect
| | 03:19 | people, so you can use the People
Finder feature we looked at earlier, or you
| | 03:23 | can have it search for both.
| | 03:24 | So if I want to choose Stabilization, I
can select that, and I prefer this method
| | 03:28 | myself because I can connect my camera
to my Mac, set up iMovie to import my
| | 03:32 | clips, and analyze for
stabilization, and then go do something else.
| | 03:35 | It still takes the same amount of time
to analyze each clip as it would if you
| | 03:38 | apply the stabilization to them after
adding them to your project, but doing it
| | 03:42 | this way gets them all analyzed at once,
so you don't have to wait around for
| | 03:45 | iMovie to process clips while you
are trying to edit your movie together.
| | 03:48 | I'd highly suggest analyzing everything
during import, especially when you have
| | 03:52 | an hour or more footage to import.
| | 03:54 | You can just let iMovie import and
analyze your footage overnight or while
| | 03:58 | you're at your day job during
the day or sleeping at night.
| | 04:00 | I am just going to cancel this.
| | 04:02 | I'll just close this window, and of
course, you always still have the option of
| | 04:07 | analyzing on the fly.
| | 04:08 | I'll select this footage of the
surfers walking towards the water.
| | 04:12 | I'll just go ahead and select
all of it, click on the clip,
| | 04:17 | choose Clip Adjustments,
say Analyze Entire Clip.
| | 04:22 | Now, you'll most likely notice that some
of your analyzed clips have these little
| | 04:26 | red squiggly lines in them.
| | 04:27 | Those indicate that those portions of
the clips are probably too shaky to use.
| | 04:31 | This also indicates to me that the
clips are analyzed for stabilization because
| | 04:34 | the squiggly red lines
wouldn't show up otherwise.
| | 04:37 | Conveniently, you can click the Now
Available squiggly red line button at the
| | 04:41 | bottom of the window to hide all the
footage iMovie thinks is too shaky to use.
| | 04:44 | You can see now that footage has disappeared.
| | 04:47 | Go ahead and close this.
| | 04:49 | That way you don't accidentally
import shaky footage into your project.
| | 04:53 | So again, it's up to you to decide when you
want to analyze your clips for stabilization.
| | 04:57 | You can do it on a clip-by-clip basis
or analyze everything at once when you
| | 05:00 | import your footage from your camera.
| | 05:02 | So that's the Video
Stabilization feature of iMovie '11.
| | Collapse this transcript |
| Using green screen effects| 00:00 | One of the more fun features you'll
find in iMovie '11 is its ability to
| | 00:03 | superimpose one clip over another
using a green or blue screen effect.
| | 00:08 | To accomplish this effect, one of your
clips has to include a green or blue background.
| | 00:12 | iMovie can automatically remove
the green or blue parts of the scene,
| | 00:15 | letting you see through those parts
of the footage to the footage from the
| | 00:17 | clip underneath it.
| | 00:19 | For this exercise, I am going to
import some footage from my exercise files.
| | 00:22 | So I'll choose File > Import > Movies,
and I've copied onto my Desktop a folder
| | 00:28 | called green screen, which
contains these three movies.
| | 00:31 | I am going to create a new event, and I'll
just call it Green Screen and import them.
| | 00:37 | And yes, I do want to
import the entire directory.
| | 00:39 | Okay, so here is my footage right here.
| | 00:44 | So to accomplish the effect, you have to
be shooting in front of a green or blue
| | 00:47 | background, and it has to be one of
those two colors and not any other color.
| | 00:52 | The brighter and more
saturated the green or blue, the better.
| | 00:54 | And even though you can buy green and
blue screen paints and backdrops, there is
| | 00:58 | no need to spend a lot of
money or to get all fancy.
| | 01:01 | To create this example, I just went to
a local hardware store and bought a can
| | 01:04 | of bright green, non-glossy paint
and painted a wall on my office.
| | 01:08 | In these shots, I am just standing
under regular fluorescent ceiling lights to
| | 01:11 | show you that iMovie can still do a
great job, even if the green background
| | 01:14 | isn't the best or even the
most evenly lit it could be.
| | 01:17 | You just have to make sure your subject
isn't wearing any green and then none of
| | 01:20 | the objects that you want to
remain on screen have any green in them;
| | 01:23 | otherwise they'll end up being see-
through along with the background.
| | 01:26 | Or if you are using blue, make sure
there is no other blue in the shot other
| | 01:29 | than your background.
| | 01:30 | Now before you can apply the green
screen effect, you should first go to
| | 01:34 | iMovie > Preferences, and under the
General section, just make sure Show
| | 01:38 | Advanced Tools is checked.
| | 01:40 | If it's not checked, you won't see
the Green or Blue Screen options.
| | 01:42 | Okay, let's see how we do this.
| | 01:45 | I am going to create a new
project. File > New Project.
| | 01:49 | Again, I will just use no theme.
| | 01:51 | I'll call this Green Screen,
Widescreen, and I know that this was shot at
| | 01:55 | 30 frames per second,
| | 01:56 | so I'll select that and I click Create.
| | 01:58 | Okay, so here is my new blank project.
| | 02:00 | So I am first going to drag in the
background clip that I want to use, which is
| | 02:04 | in this case is just these trees.
| | 02:05 | So I'll just select that
entire clip, drag it in, and now
| | 02:10 | I'll drag in the footage of
myself in front of the green screen.
| | 02:12 | Again, I'll select the entire thing,
drag it on top of my clip, like so, and you
| | 02:18 | can see now we have all these options
open and we saw some of these in the
| | 02:21 | earlier part of the chapter.
| | 02:22 | In this case, because I have a
green screen, I'll choose green.
| | 02:25 | Now if you have a blue screen,
obviously, you will choose blue screen.
| | 02:27 | That's really all there is to it.
| | 02:30 | iMovie removes the green parts of
the clip, and all that remains are the
| | 02:33 | non-green parts, which
happened to be me in this case.
| | 02:35 | Let's see what this looks like.
| | 02:36 | (video playing)
(Garrick: Ah, the great outdoors.)
| | 02:45 | There it is. Now there's no way to fade
in the Green Screen effect,
| | 02:49 | so you should probably line up the
beginning of the green screen clip to the
| | 02:52 | beginning of the clip underneath it;
otherwise, it will look like your green
| | 02:55 | screen subject suddenly pops into the shot.
| | 02:57 | Let me exaggerate that a little for you.
| | 02:59 | It will look like this.
And suddenly I just appear.
| | 03:04 | Now if that's the effect you are going
for, all the better, but if not, drag the
| | 03:07 | green screen clip to the
beginning of the background clip.
| | 03:10 | (video playing)
(Garrick: Ah, the great outdoors.)
| | 03:15 | Now, there are in actuality many other
things to put into consideration to make
| | 03:19 | your green screen effect look more
realistic, including properly lighting your
| | 03:22 | subject, so it looks more like the two
scenes are actually one scene lit by the
| | 03:25 | same light source, and making sure your
camera angles match, so it doesn't look
| | 03:29 | like you're looking down on your
scene while looking up at your subject.
| | 03:32 | But as far as parts of the process
that iMovie takes care of, that's almost
| | 03:36 | all there is to it.
| | 03:37 | Now I say almost because there are a
couple of other things you can do to
| | 03:40 | fine-tune your Green or Blue Screen effect.
| | 03:42 | For example, if your green screen
background isn't quite being completely
| | 03:45 | subtracted by iMovie--maybe you're
seeing some shadows bleeding through--you can
| | 03:49 | help iMovie learn exactly what it needs
to delete as long as the last frame of
| | 03:53 | your green screen shot is just
of the green background itself.
| | 03:56 | So if we look at this clip in the event
browser, after I walk off at the end, we
| | 04:00 | have only the green background.
| | 04:02 | So, if iMovie is having trouble with my
shade of green, I can click the Action
| | 04:06 | menu for this clip, choose Clip
Adjustments, and then here under Background,
| | 04:09 | I can choose Subtract last frame.
| | 04:12 | This helps iMovie better determine exactly
what it's supposed to remove from the clip.
| | 04:16 | But again, this only works if the last
frame of your clip is of just the background.
| | 04:19 | Now iMovie also allows you to manually crap
out unwanted portions of your green screen clip.
| | 04:25 | Down in this clip in my Event Browser, I
am standing in front of the wall again,
| | 04:29 | but one of my studio lights is in the shot.
| | 04:31 | Let me go ahead and delete this clip
and I'll select this one, drag it on,
| | 04:39 | make a green screen.
| | 04:41 | So when I play it, it's pretty much
doing exactly what it's supposed to do, and
| | 04:48 | now I see myself and the light in the shot.
| | 04:50 | But I really don't want that light in the shot.
| | 04:52 | So I am going to select the Green Screen
clip, and over here in the Viewer, I am
| | 04:55 | going to click Cropped.
| | 04:57 | Now I can drag this frame that you see here
around the portion of the shadow I want to keep.
| | 05:02 | Anything outside the cropped
area will be removed from the shot.
| | 05:05 | So, for example, I can drag this
corner here and I'll drag this corner here,
| | 05:10 | like so and you can see it
pretty much eliminates the light.
| | 05:14 | But you do need to be careful that
you don't crop the area so tight that it
| | 05:17 | crops up parts of the subject
that might move outside that area.
| | 05:20 | So if I leave this, say, tightly
cropped to where I'm standing right now and
| | 05:23 | play it, you can see I kind of walk
off the frame there, and I sort of just
| | 05:30 | disappear into another dimension.
| | 05:32 | So what I probably want to do here is
drag these corners all the way to the
| | 05:37 | edges of the frame, like so.
| | 05:40 | That way I will be able to see myself
in my entirety as I walk off the screen.
| | 05:43 | In fact, you kind of see the top
part was cut out there a little bit,
| | 05:46 | so let's raise that up, like so.
| | 05:48 | Let me see how that looks.
| | 05:52 | So you can see even though that light
was clearly in the shot, it's no longer
| | 05:55 | visible because we cropped it out, and there
| | 05:58 | I go walking off the screen.
| | 06:00 | So that's the Green Screen effect,
and remember that iMovie also comes with a
| | 06:03 | variety of backgrounds, which you will
find by going to the Maps and Backgrounds
| | 06:07 | button. And these are great if you are
creating a video report or blog and you
| | 06:10 | just don't have anything
interesting to stand in front of.
| | 06:12 | Just film yourself in front of the
green or blue background and then you can
| | 06:15 | drag in one of these clips
to act as your background.
| | 06:18 | As we have seen before, some of these
backgrounds are animated, while others are not.
| | 06:22 | I'll grab that one, grab my footage here.
| | 06:27 | Let me get a green screen, and you
can see what that looks like.
| | 06:33 | (video playing)
| | 06:37 | And if you change your mind about the
background, you can easily just drag
| | 06:39 | another one on top of it to replace it.
| | 06:46 | You can even put a green background
back there if you wanted to, which probably
| | 06:50 | defeats your purpose and is a
little redundant, but there you go.
| | 06:53 | Anyway, give that a shot.
| | 06:54 | There is really no end to the fun
stuff you can do with the Green and Blue
| | 06:57 | Screen effect here in iMovie.
| | Collapse this transcript |
| Creating movie trailers| 00:00 | Another new and incredibly fun feature
of iMovie 11 is the ability to turn your
| | 00:04 | footage into a
professional-looking movie trailer.
| | 00:07 | A movie trailer is the preview for
films that play before the movies you see in
| | 00:11 | theaters or at the beginning of your
DVD or Blu-ray discs that you watch at
| | 00:14 | home, sort of a teaser to entice you to
watch the real movie when it comes out.
| | 00:19 | While you could use the trailers you
create in iMovie for the same thing,
| | 00:21 | sort of a teaser, really iMovie
trailers are just an easy and fun way to
| | 00:25 | share your footage.
| | 00:26 | They let you quickly assemble your
best shots into a slick-looking piece,
| | 00:30 | complete with music and credit sequences.
| | 00:32 | To start, go to File > New Project, and
here under the Movie Trailers heading,
| | 00:37 | you will find 15 different templates to
choose from, each created to look like
| | 00:41 | it comes from a specific movie genre.
| | 00:43 | You can just click any one to preview it.
| | 00:45 | Now as I click each one, note that a
description will appear under the preview,
| | 00:49 | including the duration of the trailer
and how many people are suited to appear
| | 00:52 | in the selected trailer.
| | 00:53 | So if you only have one person in your
footage, but the trailer suggests two to
| | 00:57 | six people you might want to
consider selecting a different template.
| | 01:00 | So let's look at a couple of these.
| | 01:02 | (video playing)
(music playing)
| | 01:23 | Here is another one.
| | 01:24 | (video playing)
(music playing)
| | 01:53 | And let's take a look at one more.
| | 01:55 | (video playing)
(music playing)
| | 02:08 | So this is just really slick looking.
| | 02:10 | Let's go with adventure here because
it's a cast member who one in this case.
| | 02:14 | (video playing)
(music playing)
| | 02:25 | I call this Surfing Trailer, and I know its
24 frames per second and we'll create that.
| | 02:34 | Now once you select the trailer template,
you will see that your Project viewer
| | 02:37 | looks a lot different.
| | 02:39 | Now we have the Outline tab, the
Storyboard tab, and the Shot List.
| | 02:43 | Under the Outline tab, you can customize
the text that will appear in your trailer.
| | 02:46 | Now I am going to continue to use
the Surfing Clips footage that we
| | 02:49 | previously imported.
| | 02:50 | So I am going to customize
this text to go along with it.
| | 02:53 | You can see this is actually broken
down into different sections here.
| | 02:57 | So we'll say this is Tony, name of our surfer.
| | 03:00 | We will keep "and the" and
let's call this, Waves of Doom.
| | 03:06 | Leave the current Release Date.
| | 03:07 | That's fine. I know that our
surfer's name is Tony Cruz. He is a male.
| | 03:13 | Now we have got a bunch of other fun
things we can fill in. Like our Studio Name,
| | 03:17 | maybe instead of the default HighDef
Films, this will be Garricky Productions.
| | 03:22 | And you can see the preview
appearing on the right as I type.
| | 03:26 | We have different logo styles we can choose.
| | 03:27 | We've got the Snowy Mountain Peak,
got the Sunrays Through the Clouds,
| | 03:31 | Spinning Earth, and you might recognize
that these are actually sort take-offs
| | 03:35 | on other famous movie studio logos.
I kind of like the Snowy Mountain Peaks, so
| | 03:40 | we'll stick with that.
| | 03:41 | Then we just have a bunch of credits
we can fill in here. I'm kind of
| | 03:46 | egotistical, so I'll leave my
name there for all of those.
| | 03:49 | Okay, so now let's assemble our trailer.
| | 03:51 | You can do this either under the
Storyboard tab or under the Shot List tab.
| | 03:55 | Now the Shot List tab shows you all the
types of shots iMovie would like to use
| | 03:58 | to best create this trailer.
| | 04:00 | We have got Action, Close Up, Landscapes
and so on, and each one denotes how long
| | 04:05 | the footage has to be.
| | 04:06 | I can simply select footage
and drag it into these boxes.
| | 04:09 | But I like the Storyboard layout
better because it let's you see the trailer
| | 04:12 | coming together chronologically if you like.
| | 04:15 | So we see the same sort of placeholders here.
| | 04:18 | So after the opening studio name here,
the first thing it's asking for is a 2.7-
| | 04:23 | second Landscape shot.
| | 04:25 | So I will go down to my Event Browser,
and I'll highlight some footage of these waves
| | 04:28 | rolling cross the pier.
| | 04:29 | I have tried to grab about 2.7
seconds, so I'll just click and drag.
| | 04:35 | There is 2.7, and as soon as I release,
you can see that it gets added to my
| | 04:39 | project, and it automatically
scrolls me down to the next placeholder.
| | 04:42 | Basically, now I just continue my way
down the storyboard, adding footage and
| | 04:47 | changing any of the texts that I see.
| | 04:48 | I can also preview it any time by
placing my cursor where I want to start, just
| | 04:52 | like when we are looking at a regular
Project viewer, and pressing the Spacebar.
| | 04:56 | (video playing)
| | 05:05 | And when you don't have things
in there yet, you can see just the
| | 05:07 | placeholders appear.
| | 05:10 | So the next thing it's calling for
here is I need two shots of our subject.
| | 05:13 | Now these placeholders are
calling for action shots.
| | 05:16 | So let's grab some shots of our surfer
Tony putting on his boots and wetsuit.
| | 05:20 | So with this particular clip
selected, I will find some footage.
| | 05:23 | Now it doesn't matter if I grab one
second or a multiple seconds. As much as
| | 05:28 | I grab, only one second is going to go in
there, because that's all it's calling for.
| | 05:31 | So, we have got another one asking for
the wetsuit, so let's get an action shot
| | 05:36 | here where he zips it up.
| | 05:37 | I will grab about a second there.
| | 05:40 | Again, it scrolls down for me next.
| | 05:43 | Now also worth mentioning here is that
if you're looking for footage of people
| | 05:46 | to place in your trailer, this is a
good time to take advantage of the new
| | 05:49 | People Finding feature capability of iMovie 11.
| | 05:52 | If you recall in an earlier chapter, I
showed you how you can have iMovie scan
| | 05:55 | your footage to detect the presence of people.
| | 05:57 | So now I can click the People button
to show just the footage iMovie has
| | 06:01 | found containing people.
| | 06:02 | Now, if you haven't done this to your
footage yet, you can go back and review
| | 06:05 | that movie. But quickly,
| | 06:07 | it's just a matter of selecting your
footage in the Event Browser and then
| | 06:10 | choosing File > Analyze
Video, and then selecting People.
| | 06:14 | Now there is nothing saying you have
to place exactly what the placeholders
| | 06:17 | are calling for, either.
| | 06:18 | So even though this is calling for a
medium shot of our subject, I do have a
| | 06:22 | medium shot, so I'll just select
some footage and send that up.
| | 06:25 | This is calling for a Landscape.
| | 06:27 | Let's turn off the People Viewer here.
| | 06:29 | Maybe I'll just select this, send that up.
| | 06:32 | Now this calling for a medium shot of
our subject, but maybe in this case I
| | 06:36 | want to show the surfboard being waxed. I can
just grab that and just continue through like this.
| | 06:41 | Now let's find some other shots here quickly.
| | 06:45 | I kind of like how the camera is going
under water here, so let's grab some of
| | 06:49 | that. Maybe some shots of
him coming towards the camera.
| | 06:55 | Now in reality there is not enough
footage of this event to make this a really
| | 06:58 | interesting and diverse trailer,
| | 06:59 | but I am just going to grab some shots
and complete the rest of the storyboards
| | 07:01 | so you can see in the final product.
| | 07:04 | Even though I am short of footage, you
will find that the editing and the music
| | 07:07 | really help filling for
the lack of actual content.
| | 07:09 | So next, we need some more action, grab
some action there, another medium shot.
| | 07:17 | Let's go with Tony himself there. And so
we've got a bunch of different shots to
| | 07:26 | fill in here, so let's just
grab some very quick shots here.
| | 07:28 | Got some surfing, another wide shot.
| | 07:32 | Let's find some distance here.
| | 07:36 | Other medium shot,
locking up there. More action.
| | 07:44 | Now again this is nice because we can
actually see, using the orange bars, what
| | 07:47 | footage has been
incorporated into our project already.
| | 07:48 | Once I've finished filling them all out,
you will see this dialog box telling me
| | 07:53 | it's ready to be watched.
| | 07:55 | I can either click Done, or
I can click Watch Trailer.
| | 07:55 | Let's give it a look.
| | 07:57 | (video playing)
(music playing)
| | 08:53 | So there it is. Pretty cool stuff I think.
| | 08:55 | Now just be aware that you
can make some changes here.
| | 08:58 | We do have ability to remove the clips
or to mute or disable the audio from the
| | 09:01 | clip, which they are by default, since
we have that background music playing.
| | 09:04 | There is also the ability here to do
slip-edits so you can adjust the portion
| | 09:08 | of the clip that's being used at any point,
using the Clip Trimmer like we've have seen before.
| | 09:13 | But other than that, really it's just a
matter of opening up the storyboard and
| | 09:16 | just dragging in the appropriate shots.
| | 09:19 | So that's the new Movie
Trailer feature of iMovie 11.
| | 09:22 | These are a lot of fun to play around with,
| | 09:23 | so be sure to give them a
try with your own footage.
| | Collapse this transcript |
|
|
7. Working with AudioAdjusting audio levels and position| 00:00 | Okay, at this point, we've covered pretty
much all the essential training aspects
| | 00:03 | of working with video in iMovie.
| | 00:05 | In this chapter, we're going to focus
on working with audio in your projects.
| | 00:09 | We will look at how to work with the
existing audio in your clips, as well as
| | 00:12 | how to add and
manipulate additional audio files.
| | 00:14 | I am going to go back to my Project
Library and reopen the Surfing Ventura
| | 00:19 | project we created previously.
| | 00:20 | So, we'll start by working with the audio of
the clips we've already added to this project.
| | 00:24 | Now in iMovie, you can adjust the audio of
individual clips or for your entire project.
| | 00:29 | To adjust the audio of any clip, simply click
into Action menu and select Audio Adjustments.
| | 00:34 | That opens up the Audio
Inspector. Let's see if I can reduce the volume.
| | 00:38 | (birds chirping)
| | 00:40 | Conveniently, it loops for me, so I
don't have to keep pressing Play to adjust
| | 00:46 | the audio, and I can press
the Spacebar to stop it.
| | 00:51 | Now, we have some other options in here.
| | 00:52 | We will talk about ducking
in the movie on voiceovers.
| | 00:55 | We also have Fade In and Fade Out
sliders that control how quickly the audio of
| | 00:58 | the clip comes in and out.
| | 01:00 | iMovie does a pretty good job of
handling fade-ins and fade-outs
| | 01:02 | automatically, but if you want to
extend or reduce the length of a fade, just
| | 01:05 | grab one of the sliders--
| | 01:07 | you can see Manual gets checked--and
then you can just drag the slider to the
| | 01:10 | left or to the right.
| | 01:12 | To the left shortens the fade,
and to the right lengthens it.
| | 01:15 | So, for example, you might want a
longer audio fade-out to go along with a
| | 01:18 | longer video fade-out at the end of
your movie, in which case you would just
| | 01:21 | drag this to the right.
| | 01:22 | Notice that moves the Fade In slider in
conjunction. That's because this is such a short clip.
| | 01:27 | So I can't have a fade-in
that overlaps a fade-out.
| | 01:30 | You will also find this Enhance section
that allows you to reduce background noise.
| | 01:34 | This can be used if you have footage
of someone speaking but with a lot of
| | 01:37 | ambient noise in the background.
| | 01:38 | Now we don't have anyone speaking in
any of these clips, but as an example, in
| | 01:42 | this clip where our surfer is zipping
up his suit, let's give that a listen.
| | 01:45 | (truck engine)
(birds chirping)
| | 01:52 | So you can hear that truck engine in
the background, along with some birds and a
| | 01:56 | lot of background noise.
| | 01:57 | If I turn on Reduce background noise
and then drag the slider to the right, you
| | 02:01 | will notice that the truck sound and
bird noises are easier to hear because a
| | 02:05 | lot of the sounds of the waves
and the wind have been removed.
| | 02:07 | Let's give it a listen.
| | 02:08 | (truck engine)
(birds chirping)
| | 02:18 | If I drag it all the way to right,
| | 02:19 | you can really hear the extreme settings.
| | 02:22 | (truck engine)
(birds chirping)
| | 02:31 | Now your results might vary with that,
but if you do have a lot of background
| | 02:33 | noise and you are having trouble
hearing your subject's audio, you might try
| | 02:36 | turning on the Reduce background noise slider.
| | 02:39 | Also found in here is the graphic equalizer.
| | 02:41 | This has several built in presets to
boost different ranges of audio depending
| | 02:44 | on what you're trying to do.
| | 02:45 | We can have Voice Enhancement, Music
Enhancement, Loudness to bring the overall
| | 02:50 | volume of all the different
levels up, and so on and so on.
| | 02:52 | Basically, just select the one you want to
see if it improves the sound of your clip.
| | 02:56 | You can also manually adjust the EQ
if you prefer, by dragging any of these
| | 02:59 | sliders up and down.
| | 03:00 | Without getting into too much detail
here, generally the frequencies on the left
| | 03:04 | side are the lower or the
bass-response frequencies.
| | 03:07 | As we move to the right, we have
the midrange and the higher-range
| | 03:10 | frequencies over here.
| | 03:11 | So this is just something you can play
around with to see if you can improve
| | 03:14 | the sound of your clip.
| | 03:15 | You will also find a
Normalize Clip Volume button here.
| | 03:17 | If you find that the selected clip in
your project has a lot of variance in
| | 03:20 | terms of some audio levels being really
quite and others being fairly loud, you
| | 03:24 | can normalize them, which means
to make them all the same level.
| | 03:27 | All you need to do is select the
clip and then click the Normalize button
| | 03:30 | to apply the effect.
| | 03:31 | (truck engine)
(birds chirping)
| | 03:38 | So that pretty much puts everything at
around the same volume level within the clip.
| | 03:42 | If you don't like it or if you want
to change your mind, just click Remove
| | 03:45 | Normalization and set the
clip back to its original state.
| | 03:48 | Now in previous versions of iMovie, if
you wanted all the clips in your project
| | 03:51 | to have the same relative volume, you
had to select and normalize all the clips,
| | 03:55 | just by sort of selecting all and then
opening your Audio Settings, and normalizing.
| | 03:59 | That was sort of a shotgun way of
doing it because it doesn't really give you
| | 04:02 | precise control over specific areas.
| | 04:04 | That can be a problem because you're
always going to have clips where parts of
| | 04:07 | the audio are too quiet or too soft.
| | 04:09 | But now in iMovie 11 you can have much
more control over your audio because it
| | 04:13 | let's you adjust your levels visually.
| | 04:14 | Just click the Audio Waveform button
at the bottom of the Project pane to see
| | 04:18 | visual representations of
the audio for each clip.
| | 04:21 | I can now easily see which
levels are louder than others.
| | 04:23 | For example, the waveform for the
clip of the truck sounds is really tall,
| | 04:28 | meaning it's a loud clip.
| | 04:29 | I can drag this horizontal bar
down to reduce the overall volume.
| | 04:32 | I am going to just try to make it
about level with the clip that's next to it
| | 04:35 | here, and we can hear how that sounds.
| | 04:37 | (truck engine)
(birds chirping)
| | 04:43 | So now our ears aren't suddenly being
blasted off when we switch to that other clip.
| | 04:47 | This is a nice visual way to make sure
your levels match throughout your project.
| | 04:50 | Now you can even select portions of a
clip's audio if you only need to raise or
| | 04:54 | lower a section instead of
the audio for the entire clip.
| | 04:56 | For example, if I just highlight the
section of the clip here and drag up,
| | 05:01 | notice only that section goes up.
| | 05:03 | Also notice if I drag too far up, the
peaks of my waveforms turned yellow, and
| | 05:07 | eventually they are turned
sort of orange at the top there.
| | 05:10 | This is warning me that that section
is probably too loud and may distort,
| | 05:13 | so I might want to drag that back down.
| | 05:14 | Now if you accidentally adjust the
selection, just press Delete on your keyboard
| | 05:19 | to remove that adjustment.
| | 05:20 | Also be aware that when you're
selecting in here you have to select in the
| | 05:23 | Audio Waveform portion.
| | 05:24 | If I select the actual clip itself,
that's not going to do anything.
| | 05:27 | You can see I am still
adjusting the entire waveform here.
| | 05:30 | Also notice that at the beginning and end
of the waveforms, we have these handles.
| | 05:33 | You can drag these into adjust the fade-
in and fade-out of the audio, which, again,
| | 05:37 | is a nice visual way of adjusting your audio.
| | 05:39 | Notice if I drag this all the away to
the right, or pretty far to the right,
| | 05:43 | we'll have a nice fade-in of the audio.
| | 05:45 | (video playing)
That eventually gets louder.
| | 05:49 | Being able to individually adjust the
audio of clips is a really useful feature,
| | 05:53 | especially if you're adding background
music to your project, which we will see
| | 05:55 | how to do later in this chapter,
because you don't want your background music
| | 05:58 | and the audio from your
footage to compete with each other.
| | 06:00 | All right, so that's an overview of the
audio adjustments you can make iMovie 11.
| | 06:04 | Next, we'll learn how to add
additional audio to our movie project.
| | Collapse this transcript |
| Adding music and sound effects| 00:00 | Okay, let's take a look at how to add
music and sound effects to our iMovie project.
| | 00:04 | Music can dramatically change the mood
and tone of your movie, and you're free to
| | 00:08 | drag in any MP3 or iTunes
AAC file you want into iMovie.
| | 00:11 | You can either drag them in from some
other location on your Mac. Or better yet,
| | 00:15 | if you have your music organized in
iTunes, you can access your iTunes Library
| | 00:18 | directly from iMovie.
| | 00:20 | And iMovie itself comes with tons of
professionally performed musical pieces, as
| | 00:24 | well as a huge library of sound
effects, so you're almost always sure to find
| | 00:27 | something that will enhance your movie project.
| | 00:29 | So let's see how we do this.
| | 00:30 | Let's start with sound effects.
| | 00:31 | Now, if I listen to the first couple of
clips for my project, the sound levels
| | 00:34 | are pretty inconsistent.
| | 00:35 | (video playing)
(scrubbing surfboard)
| | 00:40 | (video playing)
(birds chirping)
| | 00:43 | (video playing)
(truck engine)
| | 00:47 | Now, previously we saw how you can
manually adjust the level of volume for
| | 00:50 | multiple clips so they better match
each other, but even in this case where
| | 00:53 | I drag down the audio of this clip, we
can still hear that truck in the background.
| | 00:58 | (video playing)
(truck engine)
| | 01:02 | And a bunch of background noise there.
| | 01:04 | So another trick you can sometimes
employ is to lay in a bit of sound effects to
| | 01:07 | provide more unity and
consistency between your clips.
| | 01:10 | For example, if I open my Music
Browser, I will find access to iMovie Sound
| | 01:14 | Effects, iLife Sound Effects, my entire
iTunes Library, and if I had created any
| | 01:19 | songs in GarageBand, I
would find them in here as well.
| | 01:22 | With iMovie Sound Effects selected, you
can see I have 95 items available to me,
| | 01:26 | and the iLife Sound Effects folder
has over 400 different sound effects
| | 01:29 | conveniently organized into
categories, which I can see here.
| | 01:32 | Let's look into Ambience.
| | 01:34 | Now, to preview any sound,
you just simply double-click it.
| | 01:36 | (rushing water)
| | 01:40 | (grasshoppers chirping)
| | 01:44 | (jungle sounds)
| | 01:47 | (rain and thunder)
| | 01:53 | And here we can find Ocean Surf, which is
probably appropriate for my surfing video.
| | 02:03 | To add a sound to your project, just
drag it to the point where you want
| | 02:05 | the sound to begin.
| | 02:06 | In this case, I will just drag to the
very beginning of my surfboard waxing shot
| | 02:11 | here, and let's give us a listen.
| | 02:12 | (video playing)
| | 02:24 | So now I have the sound of waves
playing over my video. This gives me the
| | 02:27 | freedom to reduce or maybe even eliminate
the real audio from some of these other clips.
| | 02:31 | So I could drag down the audio
maybe of this clip here, since this is
| | 02:35 | mostly ocean sounds.
| | 02:39 | Same thing for this clip.
| | 02:40 | Let me give that a listen.
| | 02:42 | (video playing)
| | 02:52 | And I can even adjust the levels of
the sound itself using the same bar.
| | 02:56 | Now, remember, if you don't see these
waveform controls, make sure you click the
| | 03:00 | Waveforms button here at the
bottom of the Project pane.
| | 03:02 | Now, you can add as many
overlapping sound effects as you want.
| | 03:05 | For example, in the original audio
of some of these clips, you could hear
| | 03:08 | birds in the background.
| | 03:09 | But since I lowered the volume on the
original audio, you can't really hear them
| | 03:12 | anymore, so let's replace them.
| | 03:14 | I am going to come down here and
I will do a search for seagulls.
| | 03:17 | Now, notice nothing shows up.
| | 03:19 | That's because I'm searching
through my Ambience folder here.
| | 03:22 | I am going to switch over to iLife
Sound Effects to search the entire folder,
| | 03:25 | and sure enough, here are some seagulls.
| | 03:26 | You can see this is a 15-second clip.
| | 03:28 | Again, I just drag that into my
project where I want the sounds to begin.
| | 03:32 | In this case, I'll just do
it at the beginning again.
| | 03:34 | You can see now you have a seagulls
waveform appearing here, and let's see
| | 03:38 | what that sounds like.
| | 03:40 | (video playing)
| | 03:49 | Probably a little loud.
| | 03:50 | I can drag the level down a bit.
| | 03:52 | (video playing)
| | 04:03 | So you can drag in real time while the
audio is playing, so you can really make
| | 04:07 | sure your sound effect sits in there properly.
| | 04:09 | Just don't go too nuts with the sound
effects, and believe me, the temptation to
| | 04:12 | get silly is very high.
| | 04:14 | You could easily add some different
animals in here like, I don't know.
| | 04:21 | We have things like frogs at night and
loon calls and rooster calls. I could throw a sheep
| | 04:26 | in there if I wanted to.
| | 04:29 | (video playing)
| | 04:34 | Probably not quite appropriate for a
beach scene, so I am just going to select
| | 04:38 | that and hit Delete.
| | 04:39 | It kind of changes the mood.
| | 04:41 | In any case, each audio clip you add is
its own entity, so you can move, trim,
| | 04:45 | and adjust them all as you like.
| | 04:47 | And of course we can also add music
to our project in exactly the same way.
| | 04:50 | Again, we can go to iTunes to access
our iTunes Music Library, but I am going
| | 04:55 | to go with some of iMovie's built-in
music, since I don't want to pay anyone
| | 04:58 | royalties for using their
music in this training video.
| | 05:00 | So you will notice in iLife Sounds
Effects, we have a folder called Jingles, and
| | 05:06 | this is where you will
find lots of different music.
| | 05:08 | You can see we have over 200 items in here.
| | 05:10 | Now, like sound effects, music can make
a huge difference in the overall tone of
| | 05:14 | your project, so you want to choose wisely here.
| | 05:16 | Again, you can browse
through to look for some songs.
| | 05:20 | (music playing)
| | 05:35 | So again, depending what you drag in, you
can really change the mood of your project.
| | 05:39 | I will drag in this one
called Greasy Wheels Medium.
| | 05:40 | (video playing)
| | 05:51 | Let me delete that.
| | 05:52 | So you can see that would set a
certain mood, or maybe we'll have another one
| | 05:56 | here called Dogma. Drag that one in.
| | 06:02 | You'll see this sets an entirely different mood.
| | 06:05 | (video playing)
| | 06:14 | Now, I kind of like that first one
better, so let's go back and find
| | 06:16 | Greasy Wheels again.
| | 06:17 | I am going to go with the longer
version this time. Drag that in, and again, we
| | 06:22 | can individually adjust its volume.
| | 06:24 | (video playing)
| | 06:29 | We want to bring the ocean surf sound
down a little bit more, and you get the idea.
| | 06:39 | Now, an important point to note here is
that the way I have been adding audio,
| | 06:42 | it keeps the audio attached to the clip.
| | 06:44 | I have been attaching all of my
audio clips to this first clip of the
| | 06:47 | surfboard being waxed.
| | 06:49 | Once you have attached an audio file to
a clip, it stays with that clip, even if
| | 06:52 | you move the clip to a
different location in your project.
| | 06:54 | Now, if I select this clip and move it over
here, you can see the audio moved with it.
| | 06:57 | I am going to undo that.
| | 06:59 | Now, in some cases, that may be
the behavior you want to have occur.
| | 07:03 | You may have a musical cue or a
sound effect that needs to stay with a
| | 07:05 | particular clip. But if you're
looking to add music that keeps playing
| | 07:08 | continuously throughout your movie, or
at least through part of your movie,
| | 07:11 | you need to add it as a background
music file, and we will look at how to do
| | 07:14 | that next.
| | Collapse this transcript |
| Adding background music| 00:00 | Now let's look at how to add
background music to our iMovie project.
| | 00:03 | Now previously, I added this Greasy
Wheels music to my project, but the method I
| | 00:08 | used was to drag it into my project and
attach it to one of my clips, and again this
| | 00:11 | means that if I drag the clip anywhere, all
the audio moves with it. Let's undo that.
| | 00:16 | But what I want is some music that
plays from the beginning of my project and
| | 00:20 | won't be moved if I shuffle my clips around.
| | 00:22 | So first of all, I am going to select that
Greasy Wheels Long music and delete that.
| | 00:26 | That way it won't conflict with
the music I am going to bring in.
| | 00:28 | So to add background music to your
iMovie project, you can either drag it in
| | 00:31 | from a Finder window on your Mac or
browse through the Music and Sound Effect
| | 00:34 | browser, which gives you access to your
iTunes library, any Garage Band songs you
| | 00:38 | have composed, as well as to the iMovie
and iLife Sound Effects folders, which again
| | 00:42 | contain hundreds of
sound effects and musical pieces.
| | 00:45 | If you're dragging in your own music,
just note that it has to be a QuickTime-
| | 00:48 | compatible format like an MP3, AIF, or AAC file.
| | 00:52 | In this case though, I am just going to
go into the iLife Sound Effects folder
| | 00:54 | and look in Jingles, which is where you
will find the majority of the music, and
| | 00:59 | again you can sample through just
by double-clicking on some music.
| | 01:02 | (music playing)
| | 01:23 | I think I am going to go with that one.
| | 01:25 | So to make a sound a background sound,
you have to drag it into your project as
| | 01:28 | before, but instead of dragging it on
top of a clip or between clips, drag it
| | 01:32 | into an empty area of the Project pane,
until you see the background of the pane
| | 01:36 | turned green. Then drop it.
| | 01:37 | That makes it a background sound.
| | 01:38 | You can see it's listed right here.
| | 01:40 | So our background sound is represented
by this green area, showing exactly how
| | 01:43 | much of our project it will cover.
| | 01:45 | In this case I picked a song that's
just a little bit shorter than my footage,
| | 01:48 | but we will address this momentarily.
| | 01:49 | Let's play the project from the
beginning and give it a listen.
| | 01:53 | (video playing)
| | 02:15 | So you get the idea.
| | 02:16 | Now, that's how you add background music.
| | 02:18 | Now, if have the issue I have where your
music is not long enough to cover all of
| | 02:21 | your footage, you can always drag in
additional music or the same song again.
| | 02:25 | But bear in mind that the background
music will only extend as far as your last
| | 02:28 | piece of footage and then stop.
| | 02:30 | So if I take this last piece of
footage here and delete it, notice that my
| | 02:33 | background music only goes
to the end of the last clip.
| | 02:36 | (video playing)
| | 02:42 | So you can see iMovie automatically
faded out at the end of that clip.
| | 02:46 | If you want your music to continue to
play over say a black screen at the end of
| | 02:49 | your project, you will have to drag in
more footage or a still image and set its
| | 02:54 | duration to however long
you want the music to play.
| | 02:56 | Now in this case since iMovie cut off the
music you can hear that fade at the end--
| | 03:00 | (video playing)
| | 03:04 | --which sounds a little abrupt to me,
so again, all I have to do in this case is
| | 03:07 | make sure my waveforms are showing,
again using this button here, and I can go
| | 03:11 | to the end of the background music
clip and you can see it's waveform here.
| | 03:14 | I am just going to extend that fade a
little bit, so it's a more gradual fade.
| | 03:18 | (video playing)
| | 03:25 | So that sounds a little bit better to me
to have that slightly longer fade there.
| | 03:29 | Remember, you can also fade in
tracks at the beginning as well.
| | 03:32 | If I go find the waveform here,
I have a slightly longer fade-in.
| | 03:36 | (video playing)
| | 03:46 | I think that waxing is a little out of the
beginning, so I am going to drag its waveform down.
| | 03:49 | (video playing)
| | 03:57 | Now, if you only want to use a piece of
the music clip--maybe you'll only need
| | 04:00 | the first few seconds--you can trim the
audio file just like any other clip, by
| | 04:04 | clicking the clip's Action menu and
going to the Clip Trimmer, and here you can
| | 04:08 | adjust the ends of the clip to
trim off the beginning or the end.
| | 04:19 | You can even drag to move the selection
area, and so let me exaggerate this clip
| | 04:26 | a bit little more, so you
can see what I am doing here.
| | 04:28 | So if I drag, you can see both the
beginning and end points are moving.
| | 04:31 | This is lot like slip editing a video
clip in the sense that I'm changing which
| | 04:36 | parts of the song are going be played,
but the length of the clip is going to be
| | 04:39 | exactly the same as I am moving it.
| | 04:41 | I'll just go ahead and undo that, by
dragging everything back to the beginning and end.
| | 04:46 | Now, there were probably be times when
you want a lock a piece of music or sound
| | 04:51 | effect to a specific part in your project.
| | 04:53 | Maybe you're using one of the cartoon
sound effects during a shot where someone
| | 04:56 | slips on the floor or something, or
maybe you want to make sure some dramatic
| | 04:59 | music plays when someone enters a shot.
| | 05:01 | In that case, you need to pin
the background music to the clips.
| | 05:05 | Now, the way to do this is to click
anywhere in the background music and then
| | 05:07 | drag it slightly to the right or left.
| | 05:09 | Notice that turns the clip purple, and
you can see a little pin icon has appeared
| | 05:13 | in the upper left-hand
corner of the background music.
| | 05:15 | So I also want to make sure this music
starts with the second clip, I just drag
| | 05:19 | until it locks up at the
beginning of that clip and then release.
| | 05:22 | And with the background music pinned to
this particular clip, no matter where I
| | 05:25 | move this file, the background music will
remain with it, like so. Let me undo that.
| | 05:35 | So this is similar to having the
audio attached to the clip like we saw
| | 05:38 | previously, but this is done with
background music. And again, this can be very
| | 05:41 | useful when you want to make sure the
music comes in at a very specific point.
| | 05:44 | Now if you accidentally pin your music--
and it's not that difficult to do; all
| | 05:47 | you have to do is accidentally
click on the background music and drag
| | 05:50 | slightly right or left--
| | 05:51 | you can either immediately undo it with
Edit > Undo, or if you miss that chance
| | 05:55 | like I just did since I already did
something else, you can choose Clip >
| | 05:58 | Arrange Music Tracks. And here you can
select the music under Pinned Music Tracks
| | 06:02 | and choose Unpin Track.
| | 06:03 | That moves it to the Floating Music Tracks area.
| | 06:06 | Now while we are in here, this is
also where you can rearrange the order of
| | 06:09 | your background music.
| | 06:10 | Music is added to the
background in the order you drag it in.
| | 06:12 | So if I had multiple background music tracks
in here, I could drag them and move them around.
| | 06:17 | So as an alternative to deleting all
background music and dragging them in again
| | 06:20 | in a different order, you can simply
select and drag your tracks into your
| | 06:23 | preferred order here.
| | 06:24 | I am going to leave everything the
way it is, since I only have the one song
| | 06:27 | here, and click OK, and you can see now
my background music is back to being
| | 06:31 | regular background music.
| | 06:32 | And if you want to get rid of
background music altogether, you just select it
| | 06:35 | and hit the Delete key on your keyboard.
Of course my Clip Trimmer has to be
| | 06:38 | closed first, and I could hit
Delete to delete the background music.
| | 06:42 | I kind of like having it there though, so I
am going to choose Edit > Undo Remove Music.
| | 06:45 | And that's how you work with
background music in iMovie.
| | Collapse this transcript |
| Adding a voiceover| 00:00 | In addition to letting you adjust and
add pre-recorded audio files, iMovie also
| | 00:04 | features the ability of letting you
record your own voiceover narration to your
| | 00:08 | movies live while watching the movie.
| | 00:10 | This is a great feature if you're the
type of person that likes to do a lot of
| | 00:13 | explaining while people are watching
your videos, like "the beach was completely
| | 00:16 | deserted at 6:00 a.m. in the morning," or "I
almost dropped my camera in the water in this shot."
| | 00:21 | Sure, you can also record your own
voiceover in a separate program, but the
| | 00:24 | advantage of recording directly into iMovie
is that you can watch your video as you speak.
| | 00:29 | That lets you do sort of a director's
commentary style narration, too, if you'd like to.
| | 00:33 | You can use your Mac's built-in mic, if
it has one, or you can simply pick up an
| | 00:37 | inexpensive USB microphone from
any computer or office supply store.
| | 00:41 | To record a voiceover, you click the
Voiceover button in the toolbar, and here
| | 00:44 | you can choose what audio input
device you want to record from.
| | 00:47 | If you are using your Mac's built-in
mic, you would pick it from here have--
| | 00:50 | I don't have a built in mic in this
case--or just select the input device you
| | 00:53 | plugged your external microphone into.
| | 00:54 | Next, you want to start speaking at the
same level you intend to use when you're
| | 00:57 | recording your voiceover, and you want
to keep an eye on the level meters here.
| | 01:01 | You can adjust your input volume by
dragging the slider right and left.
| | 01:04 | Now you notice that it's turning red
in this case, which means my voice will
| | 01:07 | probably be distorted when I go to record this.
| | 01:09 | So I am going to drag the slider left
to reduce the input volume as I talk.
| | 01:13 | And it's okay if it gets a little into the
yellow, but that gets a little close to
| | 01:17 | the red for me in this case.
| | 01:18 | I am just going to keep dragging down
and continue to talk in my regular voice
| | 01:21 | to check the levels as I speak.
| | 01:22 | Ideally, you want the level to be as
far right as possible without hitting the
| | 01:26 | red. And notice I hit red a little bit
there again, so I am just going to drag
| | 01:29 | down a little bit more.
| | 01:30 | Now there is also a Noise Reduction
slider, which automatically detects and
| | 01:34 | eliminates background noise, which
can be useful if you're recording in a
| | 01:37 | not-so-quiet environment.
| | 01:38 | But sometimes you might want the
background noise if you are doing some on-the-
| | 01:41 | spot reporting or something along those lines.
| | 01:44 | In that case, you can drag the slider to
the left to add more background noise in.
| | 01:47 | The Voice Enhancement check box is
supposed to automatically make your voice
| | 01:50 | sound smoother and more even.
| | 01:52 | You will have to try recording with it on
and off to see if it helps your voice or not.
| | 01:56 | Finally, if you want to be able to
hear your project's sounds while you are
| | 01:58 | recording, you can check Play
project audio while recording.
| | 02:01 | But you are going to want to make
sure you're using headphones to listen;
| | 02:04 | otherwise, your mic will pick up the
sound of your project coming through your
| | 02:06 | speakers which can cause a weird
echo-y effect, or even feedback.
| | 02:10 | I am going to leave that unchecked for now.
| | 02:12 | Once you're ready to record, you want to
place your playhead over the portion of
| | 02:15 | the movie you want to put the voiceover in.
| | 02:17 | Maybe right about here.
(beeping)
| | 02:19 | Notice as soon as I start
clicking, it starts recording.
| | 02:22 | We captured this footage
early on a Sunday morning.
| | 02:24 | There was hardly anyone around, so it
was a great chance to try our new cameras.
| | 02:28 | When you are done recording,
just press the Spacebar to stop.
| | 02:30 | You now have a voiceover audio file you
can treat like any other audio file you
| | 02:34 | have added to your project.
| | 02:35 | You can move it around,
| | 02:36 | you can trim the ends, or adjust
it with the Audio Adjust panel.
| | 02:39 | Let me give that a listen.
| | 02:40 | (audio playing)
(Garrick. And then it starts recording)
| | 02:45 | (Garrick: We captured this footage early on
a Sunday morning. There was hardly anyone around,)
| | 02:48 | (Garrick: so it was a great chance try our new cameras.)
| | 02:51 | Now you can hear at the beginning, I
was talking about recording before I
| | 02:55 | actually started recording
right around here. Not a problem;
| | 02:57 | we just come in here and I can drag the
end of this over to trim out that part.
| | 03:02 | (Garrick: We captured this footage early on
a Sunday morning. There was hardly anyone around,)
| | 03:08 | (Garrick: so it was a great chance try our new cameras.)
| | 03:10 | If you don't like what you recorded, you
can always just select the file, delete
| | 03:14 | it--and let me just close that
again--and then try it again.
| | 03:17 | Let me hit the Voiceover tool once
more, and again you just place your cursor
| | 03:20 | where you want to start recording,
click, and it will give you a countdown.
| | 03:22 | (beeping)
(Garrick: We captured this footage early on a Sunday morning.)
| | 03:29 | (There was hardly anyone around,
so it was a great chance try our new cameras.)
| | 03:34 | And there is a voiceover
that I think I'll like better.
| | 03:36 | (Garrick: We captured this footage early on a Sunday morning.)
| | 03:39 | (There was hardly anyone around,
so it was a great chance try our new cameras.)
| | 03:43 | Pretty happy with that!
| | 03:44 | If you have other audio happening while
you're speaking, it might be difficult
| | 03:47 | to hear what you're saying in your
voiceover, and sometimes just turning up your
| | 03:50 | voiceover's volume doesn't quite do the trick.
| | 03:52 | Fortunately, iMovie automatically turns on
ducking when you record a voiceover track.
| | 03:57 | Any other audio file that overlaps with
the ducks track is automatically reduced
| | 04:01 | in volume, which you can see if you look
at the waveforms for the other tracks.
| | 04:04 | Notice we have these valleys on
the Ocean Surf track here and in the
| | 04:08 | background music track.
| | 04:09 | So if you have four or five
simultaneous tracks going on, you don't have to
| | 04:12 | turn them all down.
| | 04:13 | Let me double-click my voiceover and
then go over to my Audio section, and you
| | 04:17 | can see that Ducking is turned on, and
you can see that Reduce volume of other
| | 04:21 | tracks too is set to about 15%.
| | 04:22 | So you just want to keep ducking turned
on on the voiceover track, or whichever
| | 04:26 | track is supposed to be the most
prominent, and all the other tracks will turn
| | 04:29 | down when that voiceover happens,
and then come back up when it's over.
| | 04:32 | Let me show you the difference.
| | 04:33 | I am going to uncheck that and we'll play it.
| | 04:36 | (Garrick: We captured this footage early on a Sunday morning.)
| | 04:39 | We'll turn on ducking and listen again.
| | 04:42 | (Garrick: We captured this footage early on a Sunday morning.)
It's much easy to hear my voice there.
| | 04:46 | Of course, at the end, when the
voiceover is over, the volume comes back up.
| | 05:00 | So that's how to work with a
voiceover track and how to adjust the ducking
| | 05:03 | of audio around it.
| | Collapse this transcript |
| Extracting audio from other clips| 00:00 | Now, I would like to show you a useful
technique for extracting audio from one
| | 00:03 | clip and placing it in another.
| | 00:05 | This could really come in handy when the
audio in one of your clips might be bad.
| | 00:08 | Maybe someone said a bad word in the
background, or you just want to use some
| | 00:11 | music you recorded in another
movie in your current project.
| | 00:14 | Now you have added a lot of audio to
our project in this chapter, so I am going
| | 00:17 | to use the waveforms to drag their
volumes down to 0, so we can hear the other
| | 00:20 | sounds we'll be working with in this movie.
| | 00:21 | I am going to grab Ocean Surf down to 0,
Seagulls down to 0, and same with the
| | 00:27 | Background Music track here.
| | 00:28 | Now if you recall, in the original audio,
there is one clip where our surfer is
| | 00:31 | zipping up his wetsuit.
| | 00:32 | You can hear a truck
pretty loudly in the background.
| | 00:35 | I am going to play that for you.
| | 00:36 | (truck engine)
(birds chirping)
| | 00:41 | And that was one of the reasons we
added the iLife ocean sound effect, but
| | 00:44 | sometimes--probably most times--you
are not going to be able to find a
| | 00:47 | conveniently built-in
sound effect at your project.
| | 00:50 | In those cases, you might be able to
grab sounds from other parts of your shoot
| | 00:54 | to replace the sounds in the clips
in which you have undesirable sounds.
| | 00:57 | In fact, you might want to make it a
habit to film extra footage for the purpose
| | 01:01 | of just capturing the ambient
sounds of your shooting location.
| | 01:03 | So what I can do is listen to the audio
from a couple of my other clips and try
| | 01:07 | to find some ambient noises
that would work over this clip.
| | 01:10 | Really, I have plenty of
surf sounds in my other footage.
| | 01:12 | I am going to use the sound from the shot of
our surfer, Tony, looking out over the waves.
| | 01:15 | Let me turn on the audio on for
a moment as I scheme over this.
| | 01:17 | (video playing)
| | 01:25 | So that's pretty good sound right there.
| | 01:27 | Now rolling over this wetsuit clip,
I can see this is 7.3 seconds long,
| | 01:30 | so I need that many seconds
of audio to place over it.
| | 01:33 | In my Event Browser down here,
fortunately I have 10 seconds of sound.
| | 01:36 | Now I could also grab it from another
location in my project itself, but my
| | 01:40 | clipping here of this shot
here is only 3.8 seconds long.
| | 01:43 | So in this case, I am going to
grab the audio from the Event Browser.
| | 01:46 | So again, this is 7.3 seconds long,
| | 01:48 | so I am going to grab about
7.3 seconds worth of sound.
| | 01:52 | Now to grab just the audio of the
selection, I hold down the Shift key and the
| | 01:57 | Command or Apple button on my keyboard.
| | 01:59 | Then I just drag the selection on top of
my clip, and I am going to attach to the
| | 02:02 | beginning of the clip.
| | 02:03 | You can look at the status that
appears down here at the bottom.
| | 02:06 | You can see it currently says 0
seconds from clip start or release.
| | 02:11 | If I look at down here, there is the
audio that I just attached. That's it.
| | 02:17 | Now, I can drag the original clip volume
all the way down, so I don't really need
| | 02:20 | it anymore, and let's give it a listen.
| | 02:28 | (video playing)
| | 02:29 | So now we no longer hear the truck
noises, but we still have natural-sounding
| | 02:32 | background noises with the clip, and no
one would really know that what they're
| | 02:35 | hearing wasn't originally
recorded with this footage.
| | 02:37 | Maybe as a final touch, I will bring
Seagulls sounds back up a little bit.
| | 02:40 | That will help complete the illusion.
| | 02:42 | (seagulls in the background)
| | 02:47 | Now if I could locate the sound of a
zipper being zipped up to go along for
| | 02:51 | what we are seeing on screen that would
probably be nice, too, but I think you get the idea.
| | 02:54 | So that's how to extract and
replace audio between clips.
| | Collapse this transcript |
| Editing to the beat| 00:00 | In iMovie '11, you can synchronize
your video clips, photos, and titles to
| | 00:04 | specific points in your audio tracks.
| | 00:06 | This makes it super-easy to edit your
video to music, or to make sure a cut
| | 00:09 | happens exactly when a music cue or
sound effect occurs. And you accomplish this
| | 00:13 | by adding beat markers.
| | 00:14 | As an example, let me show you how you can
quickly create a photo slideshow set to music.
| | 00:18 | Let's create a new empty project first,
so I will choose File > New Project.
| | 00:22 | I will choose no theme.
| | 00:23 | I will call it Snap to Beat, set to Widescreen,
24 frames per second, and I will click Create.
| | 00:31 | Now, let's look for some music.
| | 00:33 | I am going to go to my Music pane, and I
have Jingles selected in the iLife Sound
| | 00:37 | Effects folder, and again, we
can just sample some music here.
| | 00:41 | (music playing)
| | 00:50 | Okay, we will go with that one.
| | 00:52 | Now this is going to be my background
music, so I will just simply drag it
| | 00:54 | into my Project pane.
| | 00:55 | So now that I have an audio clip in
my project, let's add the beat markers.
| | 00:58 | I am going to click the audio clip's
Action menu and choose Clip Trimmer, and now
| | 01:03 | I see my audio waveform at
the bottom of the window.
| | 01:05 | Now, it's just the matter of figuring
out where I want the cuts in my video to
| | 01:08 | occur by adding beat markers.
| | 01:10 | Now there are a couple of ways of doing this.
| | 01:11 | Give this a listen again.
| | 01:12 | (music playing)
| | 01:16 | So let's say I want a rapid fire
succession of photos during that opening drum fill.
| | 01:20 | Now, I can see where those hits are
occurring by looking at the peaks on the
| | 01:23 | waveform in this area, and I can add a
beat marker by right-clicking or Ctrl+Clicking and
| | 01:27 | choosing to add beat marker.
| | 01:28 | So there is the first hit right
there, so I will right-click, and I can
| | 01:32 | choose add beat marker.
| | 01:33 | You can see that puts a little
marker with a tiny dot in right there.
| | 01:36 | I can do that again where this hit
occurs, or another way I can do this is to
| | 01:40 | drag a beat marker in, which
is this little Note icon here.
| | 01:44 | Simply just drag it and I can put that
right where the next hit occurs, and I can
| | 01:47 | quickly add a couple more here.
| | 01:51 | But personally, if you are trying to
sync your video to a music track, I think
| | 01:54 | the best way is to tap out the beat
markers in real time along with the music.
| | 01:59 | As long as you have a decent sense of
rhythm, this is the fastest and most fun
| | 02:02 | way to add beat markers.
| | 02:04 | All you have to do is let the music
play and press the M key on your keyboard--
| | 02:07 | that's M, as in music--each time
you want a beat marker to appear.
| | 02:10 | Let me show you how this works.
| | 02:11 | I am going to play the music from the
beginning, and I am going to press the M
| | 02:14 | key periodically, and you'll see the
beat markers appear as I add them.
| | 02:17 | (music playing)
| | 02:38 | Okay, so I went a little bit crazy at
the end there, but let's go with it.
| | 02:41 | Now that I have my beat markers, I can
add my photos to create my slideshow.
| | 02:45 | First, I will click Done
to close the Clip Trimmer.
| | 02:48 | Next, I am going to go to the View menu
and make sure Snap to Beats is checked,
| | 02:52 | which it should be by default.
| | 02:54 | Now, I am going to go to the Photos
pane, and in here I can access my iPhoto
| | 02:57 | Library, and let's grab the
photos from my album of beach photos.
| | 03:00 | I imported these in an earlier chapter.
| | 03:02 | So I am just going to select the first
one, hit Command+A to select them all, and
| | 03:05 | I am just going to drag
them all into my project.
| | 03:07 | If you don't have your photos in iPhoto, you
can also just drag them in from a Finder window.
| | 03:11 | So it's now adding the photos to my
project, and just like that, you can see that
| | 03:15 | iMovie has automatically aligned each
photo with the beat markers I added.
| | 03:19 | Let's see how it turned out.
| | 03:20 | (video playing)
| | 03:39 | Pretty cool! Now, I actually ran out of photos
before I ran out of music, so you can see
| | 03:43 | that's why it faded at the end there.
| | 03:45 | But how cool is that?
| | 03:46 | There is no faster way than that to
edit an entire slideshow to music.
| | 03:49 | Now, you don't have to drag all your
photos in it one time like I just did here.
| | 03:52 | If you don't have them all in an
iPhoto album, or if you just want to put a
| | 03:55 | little more thought into the order of
the pictures, just browse through your
| | 03:58 | photos and drag them in one at a time.
| | 04:00 | They will still automatically line up
to the beat markers you created, and this
| | 04:02 | works the same for video clips as well.
| | 04:04 | Dragging clips in from your Event Browser
will automatically sync them to the beat markers.
| | 04:08 | But also be aware that the clips
will be trimmed to sync to the beats.
| | 04:11 | So if you are dragging in a 10-second
video clip, but there is only 5 seconds
| | 04:15 | between beat markers, your clip
will be trimmed to 5 seconds long.
| | 04:18 | If there are times when you don't want
your clips to be trimmed, just go to the
| | 04:20 | View menu and deselect Snap to Beats.
| | 04:23 | The clips you drag into your project
will remain the length they were when you
| | 04:26 | dragged them into the project, but you
will still be able to manually sync other
| | 04:29 | clips and photos to your beat markers.
| | 04:31 | Just keep in mind that you can also
sync titles and even other audio clips to
| | 04:34 | your beat markers as well.
| | 04:36 | Now, iMovie '11 also has a new effect
called Jump Cut at Beat Markers, found
| | 04:40 | under the Clip menu.
| | 04:41 | This is an effect that automatically
cuts the number of frames from your video
| | 04:44 | footage, which makes the action look
kind of jerky, but it can really look cool
| | 04:48 | when it happens to the beat of background music.
| | 04:49 | I am going to select all my photos, by
selecting one and then hitting Command+A,
| | 04:53 | and delete them from my project.
| | 04:55 | That keeps my background music there.
| | 04:57 | I am also going to go to the View menu
and deselect Snap to Beats because that
| | 05:00 | will start trimming any video clips I
bring in and that would conflict with the
| | 05:03 | effect that I want to apply.
| | 05:04 | Now, I am going to drag some
video clips into my project.
| | 05:07 | Go ahead and close my Photo pane here.
| | 05:09 | So I am just going to select
the entire waxing clip there.
| | 05:14 | Let's grab all the boots footage here
and the zipping up shot, maybe this one
| | 05:26 | here, this one, and let's do one more here.
| | 05:33 | Now, you can see that my clips extend
way beyond the length of the music, but
| | 05:39 | that's okay because I am going
to be cutting a lot out of them.
| | 05:41 | Now unfortunately, you can only
apply this effect to one clip at a time.
| | 05:44 | So I am going to select my first
clip and choose Clip > Jump Cut at Beat
| | 05:48 | Markers, and from here I can decide how many
frames I want to remove between 3 and 30 frames.
| | 05:54 | The more frames you cut, the
jumpier your footage will look.
| | 05:56 | So I am going to go with 30, and right
away, you can see that creates these
| | 05:59 | separate clips out of that video.
| | 06:01 | Let's play it so far.
| | 06:02 | (video playing)
| | 06:06 | So you can see that rapid succession of cuts.
| | 06:09 | Actually, I think that goes on a
little bit too long after the cut,
| | 06:11 | so let's select that last chunk of
board waxing footage and just delete that.
| | 06:17 | Now I will just continue adding
this effect to the other clips.
| | 06:19 | So on this next clip here, I will
choose Clip > Jump Cut at Beat Markers, 30
| | 06:23 | frames, and let's see how that looks so far.
| | 06:28 | (video playing)
| | 06:34 | Probably too much there, too, so let's
get rid of two of these boot-fitting clips.
| | 06:39 | I'll select the zipping up clip
here, 30 frames. Let's take a look.
| | 06:43 | (video playing)
| | 06:53 | I like that so far.
Let's keep going with this one.
| | 07:00 | (video playing)
| | 07:10 | Like that. Let's cut that last one there.
Let's do this next one here.
| | 07:16 | (video playing)
| | 07:22 | I'd like to see him throwing the board in there,
| | 07:24 | so let's get rid of these two at the beginning,
and then we have one more clip to split up here.
| | 07:29 | Cool! Now let's see how this looks.
| | 07:33 | (video playing)
| | 07:51 | Not bad! Now bear in mind that you don't have to do
this to your entire project like I am doing here.
| | 07:55 | It's probably a stronger effect if
you only apply it to key moments of action.
| | 07:59 | But I just wanted to demonstrate how
easily and quickly you can add this effect.
| | 08:02 | All right, so those are some very cool
options you have for easily editing your
| | 08:06 | project to the beat of your background music.
| | Collapse this transcript |
|
|
8. Sharing Your MoviesExporting to iTunes| 00:00 | Once your movie is complete, it's time
to share it with friends, family, or the
| | 00:03 | rest of the world. And in this day and
age, there are lots of ways to do it.
| | 00:08 | You can send your movie to your iPod;
| | 00:10 | you can post it to a MobileMe web gallery;
| | 00:12 | you can burn it to a DVD;
| | 00:13 | you can post it on YouTube;
| | 00:14 | or just save it to your Mac as a QuickTime
file and decide what to do with it later.
| | 00:18 | So in this last chapter, I am going to
walk you through the various methods you
| | 00:21 | can use to share your completed iMovie Project.
| | 00:23 | I am going to go back to my Project
Library and open up the Surfing Ventura
| | 00:29 | project we've been
working with this entire time.
| | 00:31 | Now, each time you export your from
iMovie it has to be compressed, which can
| | 00:34 | take a fair amount of time depending
on the length of your movie and speed of
| | 00:37 | your Mac. So in the interest of saving
time, I am going to truncate my movie a
| | 00:41 | little bit, so you don't have to sit here
and watch it compress forever. So let's see.
| | 00:45 | I am just going to get rid of these
credit sequences, the still image.
| | 00:48 | I don't really need that either.
| | 00:51 | All right, that will probably do.
| | 00:56 | We're only at 48 seconds right now.
| | 00:58 | So all the options for sharing your
movie are found here under the Share menu.
| | 01:02 | Now, I am going to start with iTunes first and
talk about the Media Browser in the next movie.
| | 01:06 | I think it helps to make more sense of how these
options relate to each other to do it this way.
| | 01:10 | So let's choose to send this movie to
iTunes, which is best for when you want to
| | 01:13 | put a copy of your movie on your iPod,
or if you want to view it with Front Row
| | 01:17 | or on your Apple TV, if you
have on. So I'll select iTunes.
| | 01:22 | Now, this dialog box is going to
look very similar, no matter which Share
| | 01:25 | Option you choose. So you can see at
the top it says Publish your project to
| | 01:28 | iTunes, and you can choose what size
movie you want to export based on where
| | 01:32 | you'll be viewing your movie.
| | 01:33 | So we have Mobile, Medium,
Large, HD 720p, HD 1080p.
| | 01:37 | Now, depending on the original
resolution of your video, all of these options
| | 01:42 | might not be available.
| | 01:43 | For example, HD 1080p won't be
available unless your footage was 1920 x 1080 to
| | 01:48 | begin with. Or anything over the
Large size might not be available if your
| | 01:52 | original footage was under 960 x 540.
| | 01:53 | In this case my footage was at a high enough
resolution that all the options are available.
| | 01:59 | So maybe for this example I'll choose to
export both a mobile and a Medium file.
| | 02:04 | Now, these dots that appear in each
options' row give you an idea of what device
| | 02:07 | a movie at this size will look
good on, or will even play on.
| | 02:10 | For example, if you export an HD 1080Pp
video, that's going to be way too large
| | 02:15 | a resolution for a regular iPod to play.
| | 02:17 | But fortunately, as you saw, you can
check as many of these boxes as you like to
| | 02:20 | export multiple versions to iTunes.
| | 02:23 | But it will take longer because iMovie
has to compress each movie individually.
| | 02:26 | Notice you can also see some more
information about how each version will be
| | 02:29 | exported if you roll over the i icon.
| | 02:32 | So, for example, the Mobile file
will be compressed with the H.264 codec.
| | 02:36 | It will be 24 frames per second, 1
megabit per second, and the file size will
| | 02:41 | be about 6.1 megabytes.
| | 02:43 | The most important thing that probably
concerns you with this information is how
| | 02:46 | large the file is going to be.
| | 02:48 | So you can see if I go all the way up
to 1080, this would be a 121-megabyte
| | 02:52 | file. But since I am exporting at Medium,
it's only going to be 10.3 megabytes,
| | 02:56 | while the mobile one is only 6.1.
| | 02:58 | Now, that is just an approximate
estimate, but the files will be just
| | 03:02 | around those sizes.
| | 03:03 | So with those options checked,
let's go ahead and click Publish.
| | 03:07 | So iMovie has to prepare the project,
and then it starts creating the movies
| | 03:11 | based on the options you chose.
| | 03:12 | And it's doing it fairly quickly
because this is a relatively short movie.
| | 03:16 | And once the Medium project is done, you
can see it's now creating the Mobile movie.
| | 03:24 | And once the export is done, you
can see it pops us over to iTunes.
| | 03:27 | If I go check out my Recently Added
Smart Playlist here, and you can see, sure
| | 03:31 | enough, those are the two
movies that we just added.
| | 03:32 | And now I can play them on my Mac from
here just by double-clicking either one.
| | 03:36 | It might be kind of hard to tell here,
but this is the Mobile version, so it's
| | 03:45 | looking kind of pixelated as this
larger resolution here. I can close that.
| | 03:50 | Maybe check out the Medium version,
and it look a little bit better.
| | 03:58 | (Garrick: It was a great chance to
try out our new cameras.)
| | 04:00 | I will jump ahead here.
| | 04:05 | That was the effect we added
earlier. Let me close that.
| | 04:15 | So that's it.
| | 04:15 | I now have two copies of my movie
stored in iTunes, and I can now play them on
| | 04:19 | my Mac from here or export a copy to my
iPhone or iPod or iPad, or even play it
| | 04:24 | through my Apple TV, if I have one.
| | 04:25 | Also, notice, if I go back to iMovie
now, I see this message telling me that
| | 04:30 | I've shared this project to iTunes.
| | 04:32 | Clicking this iTunes icon gives me the
options to visit, meaning I can go to
| | 04:37 | iTunes to see the movie,
| | 04:42 | I can publish to iTunes if I want to
publish different versions of that over to
| | 04:46 | iTunes again, or I can remove the
files from iTunes if I no longer want those
| | 04:51 | files stored in iTunes.
| | 04:54 | So that's how you export a copy
or copies of your movie to iTunes.
| | Collapse this transcript |
| Exporting to the Media Browser| 00:00 | Now, let's continue looking at our Sharing
options in iMovie, found under the Share menu.
| | 00:05 | Previously, we exported a mobile and
Medium version of our project to iTunes.
| | 00:09 | Now, let's look at the Media Browser option.
| | 00:11 | The Media Browser is sort of the
central location, or library, shared by all the
| | 00:15 | iLife applications from where you can
access your photos, music, and videos from
| | 00:20 | all the other iLife applications.
| | 00:22 | Now what's not really obvious is
that when I shared these versions of the
| | 00:24 | iMovie project with iTunes in the
previous movie, I actually added those
| | 00:28 | versions to my Media Browser.
| | 00:30 | Again, I can see that I shared this
with iTunes by going over to iTunes, and
| | 00:35 | here I can find those copies
of the video that I exported.
| | 00:41 | But if I open up other iLife
Applications, like iWeb, and I create a new page,
| | 00:47 | maybe a movie page, and I go over to the
Media Browser here under Movies, notice
| | 00:51 | we have iMovie listed here,
and here I find my Surfing Ventura movie.
| | 00:56 | So notice we have both the Medium and
the Mobile versions available to us here.
| | 01:00 | So I can instantly drag one of these
movies to this Movie Placeholder here on my
| | 01:03 | iWebpage, and it's instantly added.
| | 01:08 | I can publish this right to the web
without having to export another version of
| | 01:11 | this movie from iMovie.
| | 01:12 | So you can see all of my projects that
I've created in iMovie are now available
| | 01:16 | here. But notice if I click on one of
these other projects, I'll see a message
| | 01:19 | telling me that this movie project
can't be used yet because it hasn't been
| | 01:22 | prepared for sharing, meaning I
haven't shared it to my Media Browser or to
| | 01:25 | iTunes, and that's the same for Snap
to Beat and Surfing Trailer, all of which
| | 01:30 | we've created in the
course of this training title.
| | 01:32 | But I did export the movies for
Surfing Ventura, which is why they are not
| | 01:36 | showing up here. Hide iWeb for the moment.
| | 01:41 | Similarly, if I go into GarageBand and
let's say I am working with a podcast--
| | 01:45 | Just create a new one called Podcast.
| | 01:55 | Again, if I go to the Movies in the
Media Browser here, I'll see the same thing.
| | 01:59 | Here is my Surfing Ventura movies,
and again, here are my movies, and the
| | 02:03 | versions that I exported.
| | 02:05 | Again, I can just drag that
into my GarageBand project.
| | 02:07 | Once it processes it, there it is!
| | 02:14 | You can see a little preview playing up here.
| | 02:25 | So again, when you export the iTunes
you are exporting to the Media Browser.
| | 02:29 | This means that you only have to export
your movie once to use it in any other
| | 02:32 | iLife application that can work with video.
| | 02:34 | But if you don't want your movie to be
stored in iTunes, you can also just go to
| | 02:37 | the Share menu and choose Media Browser.
| | 02:41 | Notice that the Mobile and Medium
versions are already grayed out because I've
| | 02:44 | already published versions at
that size to my Media Browser.
| | 02:47 | So let's choose Large and then click Publish.
| | 02:53 | That's all I really had to do:
just pick a size and click Publish.
| | 02:56 | So now iMovie is doing its thing again where
it's creating the large version of the movie.
| | 03:00 | Now, it's done.
| | 03:01 | So if I go back to one of my other
iLife applications, like GarageBand, and now
| | 03:06 | when I look under the Movies in Media
Browser, you can see we have the Mobile,
| | 03:11 | Medium, and now we also have the Large version.
| | 03:13 | So all three versions are now
available here, and the same would go if we look
| | 03:16 | the Media Browser in iWeb or in iDVD.
| | 03:19 | The movie does not get added to iTunes, though.
| | 03:22 | There's no media browser in iTunes.
| | 03:23 | So if you want to send the movie to iTunes,
you have to choose that option in iMovie.
| | 03:27 | Again, that's Share > iTunes.
| | 03:30 | So that's what happens when
you share to the Media Browser.
| | 03:32 | It's very useful when you plan on using
your movies in other iLife applications.
| | Collapse this transcript |
| Sharing to iDVD| 00:00 | The next Sharing option is to share to
iDVD, but we are not going to get into
| | 00:04 | iDVD in this course.
| | 00:05 | All this option really does is send
your iMovie project over to iDVD so you can
| | 00:09 | work with it and prep it for burning to a DVD.
| | 00:12 | But that's a completely separate
application, and that is covered in our iDVD
| | 00:16 | Essential Training course, so be sure
to check out that title on the lynda.com
| | 00:19 | Online Training Library if you're
interested in working with iDVD.
| | 00:23 | There really are no other settings
or options related to iDVD in iMovie.
| | 00:27 | When you choose share to iDVD, it just
preps the project and then it opens the
| | 00:40 | project here in iDVD.
| | 00:42 | And at this point, everything you do
is within iDVD and not within iMovie.
| | Collapse this transcript |
| Publishing to a MobileMe web gallery| 00:00 | The next option that's available for
sharing your movie project is to publish it
| | 00:03 | to a MobileMe gallery.
| | 00:05 | As you probably know, MobileMe is
Apple's Internet-based service that provides
| | 00:10 | you with web hosting space, e-mail
addresses, backup storage, and a ton of other
| | 00:15 | services, for about $100 per year.
| | 00:17 | And one of those other services is the
hosting of web, photo, and movie galleries.
| | 00:21 | An iMovie web gallery allows you to
quickly and easily share pictures and movies
| | 00:25 | with friends and family by posting them
to your MobileMe account and displaying
| | 00:29 | them in an attractive and easy-to-use interface.
| | 00:31 | Now if you aren't a MobileMe
subscriber, you can still try out this feature
| | 00:35 | if you like by going to apple.com/mobileme
and signing up for a free 60-day trial account.
| | 00:40 | You will get access to all the
features of MobileMe to try out, the only
| | 00:43 | limitation being you won't get the
full amount of storage space that members
| | 00:46 | get. But you will get enough to try out
the service to see if it's worth your while.
| | 00:50 | So if you want to try out publishing
your movies to a MobileMe gallery, sign up
| | 00:54 | for a trial account, and once you have signed up,
| | 00:57 | you will need to enter your
user information into your Mac.
| | 00:59 | You do this by going to your System
Preferences, and in here you will find
| | 01:04 | MobileMe, and then enter your member
name and password, and then click Sign In.
| | 01:17 | This information has to be entered
here in System Preferences in order for
| | 01:19 | iMovie to be able to publish to your account.
| | 01:21 | So now that that info is published, I
can go back to iMovie and choose Share >
| | 01:27 | MobileMe gallery, and now all I have
to do is fill out this information.
| | 01:32 | I will leave the Title called Surfing Ventura.
| | 01:34 | I could type a short description here.
| | 01:45 | Next, we can choose which
sizes we want to publish.
| | 01:47 | The more sizes you choose, the more options
people will have when they visit your site.
| | 01:51 | So if they're visiting on an iPhone,
they could choose from the Tiny, Mobile, or
| | 01:54 | Medium sizes, or maybe even the
Large size if you allow that as well.
| | 01:59 | Again, you can roll over i icon to see
how large these files are going to be.
| | 02:02 | Now, in interest of saving some time,
I am just going to go with the Mobile
| | 02:08 | and Medium sizes here.
| | 02:10 | We can choose whether our video are
viewable by everyone or only me, but you
| | 02:13 | choose Edit Names and Passwords if
you want to password-protect your movie.
| | 02:16 | This is a nice way to be able to
publish your movie yet only allow family and
| | 02:20 | friends to whom you provide
the password to see the movie.
| | 02:26 | If you want to make it harder for
people to find your movie, if you don't
| | 02:28 | password protect it, you can choose
Hide movie on my gallery homepage.
| | 02:32 | That way, only people to whom you
have provided actual address of the movie
| | 02:35 | will be able to find it.
| | 02:37 | Finally, we have Allow movie to be
downloaded, which if checked, will allow your
| | 02:40 | visitors to download a copy of the
movie onto their own computers, so they will
| | 02:44 | be watch it off their computer instead
of having to connect to the Internet each
| | 02:47 | time they want to watch it.
| | 02:48 | Once you have made your
selections in here, just click Publish.
| | 02:50 | iMovie is doing its thing.
| | 02:54 | Now you might have noticed that it
didn't have to compress the movie or prep it.
| | 02:57 | It started the uploading right away.
| | 02:59 | That's because previously, I had
already created a Medium and Mobile version of
| | 03:03 | this movie when I exported it to iTunes.
| | 03:06 | So iMovie is using those same
versions to upload right now.
| | 03:08 | And when it's done, we see this
message telling me that the project has been
| | 03:11 | published to the MobileMe gallery.
It gives me the exact address, if I wanted to
| | 03:15 | copy and paste that into my web browser.
| | 03:18 | If you want to e-mail a friend with
this information, you can just click Tell a
| | 03:20 | Friend to open your e-mail program.
| | 03:22 | You can click View to go directly to
the gallery or just click OK to close this
| | 03:26 | dialog box and stay in iMovie.
| | 03:27 | Let's click View, and here is the video.
| | 03:36 | And notice we have the option to choose both
Small and Medium versions of the movie.
| | 03:42 | So if somebody with a slower Internet
connection visits or a lower-powered
| | 03:47 | device visits, they can choose to play
the smaller versions, so it doesn't take
| | 03:50 | so long to view the entire movie.
| | 03:52 | Notice we do have a Download button
available because we allowed that, and up
| | 03:55 | here we can see the title we created,
and down here we can see the description.
| | 03:59 | So that's how we publish our
movies to a MobileMe gallery.
| | 04:03 | Now, we can see that MobileMe has
been added to the list of places we have
| | 04:06 | shared our movie to.
| | 04:08 | From here, we can click on the menu
to visit the site again, tell a friend,
| | 04:12 | republish it, or remove it from the gallery.
| | 04:14 | So that's how we publish our
movies to a MobileMe web gallery.
| | 04:18 | Again, if you like this service,
you can change your trial account to a
| | 04:21 | full account by going back to System
Preferences and choosing to upgrade
| | 04:25 | your account.
| | Collapse this transcript |
| Publishing to YouTube, Vimeo, and iReport| 00:00 | Next under the Share menu, let's look at
the YouTube, Vimeo, and CNN iReport options.
| | 00:06 | Now, chances are pretty
good you've heard of YouTube.
| | 00:09 | It's a site where anyone can upload
movies for free, so people all over the
| | 00:12 | web can watch them.
| | 00:13 | It's definitely the most
popular video sharing site today.
| | 00:15 | Vimeo is also movie sharing site similar
to YouTube, and you may have come across
| | 00:21 | people debating which
service is actually better.
| | 00:23 | Some people argue that Vimeo's
videos look better than the way YouTube
| | 00:26 | compresses videos; other
people will argue the opposite.
| | 00:29 | Some people will say Vimeo
offers better services than YouTube;
| | 00:32 | some people will argue the opposite.
| | 00:33 | I am not going to take a side here;
all I want to point out is that both
| | 00:36 | sites require you to sign up for a
free account if you want to upload videos
| | 00:40 | to be hosted there.
| | 00:41 | Just visit youtube.com or vimeo.com to
create your account if you don't already have one.
| | 00:45 | If you're in Vimeo, you would click Join Vimeo;
| | 00:47 | if you are on YouTube, you
would click Create Account.
| | 00:50 | Now, if you weren't using iMovie, you
would have to export for your video from
| | 00:56 | whatever video application you are using
and then upload the video to YouTube or
| | 01:00 | Vimeo through their web site.
| | 01:02 | You would also have to read up on their
guidelines for properly formatting your
| | 01:04 | video to work best with their site.
| | 01:06 | But since you're using iMovie, you
can skip all that stuff and upload your
| | 01:09 | content directly from iMovie.
| | 01:12 | Just choose Share >
YouTube to upload to YouTube.
| | 01:15 | Here you can enter your account name
by clicking the Add button, and I already
| | 01:20 | have a user account name, so I will
enter that here, and enter a password, and
| | 01:26 | you can categorize your movie.
| | 01:30 | I'll say this is Travel and Events.
| | 01:34 | You can give it a Title.
| | 01:36 | I'll keep Surfing Ventura
there. Add a description.
| | 01:40 | So I might type "surfing,
surfboard, beach", and so on.
| | 01:58 | Then you can choose what
size you would like to publish.
| | 02:00 | I suggest choosing the largest
possible size your movie will allow.
| | 02:04 | YouTube will compress your movie into
multiple formats that viewers will be
| | 02:07 | able to choose from.
| | 02:08 | So you want to give them the
highest-quality video to work with.
| | 02:11 | By checking Make this movie personal,
it won't be able to be found by people
| | 02:14 | browsing or searching on YouTube.
| | 02:16 | Only you will be able to get to or
through your account, or by providing the
| | 02:19 | address to your friends.
| | 02:21 | When you're ready, you can click Next.
| | 02:22 | You'll have to agree to the terms of Use
here, and you do so by clicking Publish.
| | 02:26 | So when you are ready to go, click Publish.
| | 02:28 | Now, because I haven't exported an HD
1080p version of this movie yet, iMovie has
| | 02:37 | to do that first before it can upload
it, and once it's done creating the movie,
| | 02:42 | iMovie will then automatically publish
or upload the movie to YouTube for you.
| | 02:48 | And when it's done, you will see this dialog
box telling you the web address for your movie.
| | 02:52 | Do note that it says it may be several
minutes or hours before your video is
| | 02:55 | processed and viewable
depending on YouTube's server load.
| | 02:58 | But this is the address where the
video is now going to be located.
| | 03:01 | If you want to send an e-mail to a friend
containing address, you can click Tell a Friend.
| | 03:05 | You can go directly to that address
by clicking View or just click OK to
| | 03:10 | close this dialog box.
| | 03:12 | But notice that it does say that I
have now published this video to YouTube,
| | 03:14 | and again I can click that icon to Visit,
Tell a Friend, Publish or Remove from YouTube.
| | 03:19 | If I click Visit, I'll go to that web page.
| | 03:21 | It's asking me to sign in.
| | 03:31 | And here is my video, and you can see
right now it says the video is not yet
| | 03:34 | processed. But this is where I'll
find the video once it's been completely
| | 03:37 | processed by YouTube.
| | 03:44 | Now, publishing the video
is pretty much identical.
| | 03:46 | I just choose Share > Vimeo, and you can
see this dialog box looks exactly the same.
| | 03:52 | You'll just have to click Add to
add your Vimeo account here.
| | 03:54 | Let's cancel that. But once you filled
in your account and password again you
| | 03:58 | can just choose who it's going to be
viewed by. Title, Description is the same,
| | 04:02 | Tags are probably the same, and then
choose which size you want to publish.
| | 04:05 | I am just going to cancel this.
| | 04:07 | Now, iMovie also offers the ability to
publish to CNN's iReport site, which is the
| | 04:13 | portion of CNN's web site where members
can publish their own news reports, and
| | 04:17 | again, in iMovie, the
interface is pretty much the same.
| | 04:20 | We just choose Share > CNN iReport,
fill in your account information and all
| | 04:26 | the other information here, and then
you can publish your videos directly to
| | 04:30 | iReport from iMovie.
| | 04:33 | So there you have the options to
publish your iMovie videos to YouTube,
| | 04:36 | Vimeo, and iReport.
| | Collapse this transcript |
| Publishing to Facebook| 00:00 | Now, let's take a look at how to share
your videos from iMovie to Facebook.
| | 00:04 | This requires that you have a Facebook
account, but given that more than 250
| | 00:08 | million people have a Facebook account,
chances are you're probably one of them.
| | 00:11 | But if not, you can skip this movie.
| | 00:13 | Now publishing to Facebook is incredibly
simple, much like publishing to YouTube
| | 00:17 | as we saw in a previous movie.
| | 00:18 | In iMovie, just go to Share > Facebook.
| | 00:22 | Here next to Accounts, you
need to add your Facebook account.
| | 00:30 | This is not my actual real Facebook account;
| | 00:32 | this is just a fake Facebook account I've
created, but it will work for this exercise.
| | 00:36 | Next, you can choose your privacy
level by selecting who'll be able to see
| | 00:41 | this video, and if you're a frequent user of
Facebook, you're familiar with this dialog box.
| | 00:45 | You can say Only Me, Only Friends,
Friends of Friends, or Everyone, meaning
| | 00:49 | everybody on Facebook could see this video.
| | 00:51 | I'll choose Friends of Friends in
this case, so that way people who are my
| | 00:54 | friends and their friends
will be able to see my video.
| | 00:57 | So they have to have some kind of
connection to me or people who know me in
| | 01:00 | order to see this video.
| | 01:01 | I'll leave the Title the same,
I'll leave the Description the same.
| | 01:04 | Then you could choose a size.
| | 01:05 | Currently, you can publish up to HD
720p resolution videos on Facebook.
| | 01:10 | I suggest choosing the size for
the best quality. Then click Next.
| | 01:16 | You'll see the Terms of Service, which
you'll agree to by clicking Publish.
| | 01:18 | Now, it is possible you'll be asked to
confirm and allow iMovie to publish to
| | 01:28 | your Facebook account.
| | 01:29 | If you see a message or web site like
that pop-up, just agree and then come
| | 01:32 | back to iMovie and then click Publish again.
| | 01:34 | Now again, even though I've created
other versions of this movie for iTunes,
| | 01:38 | MobileMe, and YouTube, I have not yet
created a 720p version of this movie, so
| | 01:42 | iMovie has to create that for me
first before it can upload it.
| | 01:45 | Had I wanted to upload, say, the
Medium version of this movie, that's already
| | 01:49 | sitting in my Media browser, and iMovie
would've been able to just grab that one
| | 01:53 | and immediately begin to upload it.
| | 01:55 | But because this is the first time I've
created a 720p movie, it has to create
| | 01:58 | the movie for me first.
| | 01:59 | And now we see that it's publishing to Facebook.
| | 02:04 | Once it's done, you'll see the
message that your video has been uploaded to
| | 02:10 | Facebook, and again, like YouTube, it
may take some time before your video is
| | 02:13 | processed and viewable.
| | 02:14 | The address is provided for you here in
case you want to highlight and copy it
| | 02:18 | and paste it into an e-mail.
| | 02:19 | Of course, you can always click Tell a
Friend to send an e-mail, you can click
| | 02:22 | View to go directly to the page, or
click OK to close the dialog box.
| | 02:25 | I'll try clicking View.
| | 02:27 | Of course, it's going to ask me to log in,
and this is the page where it will be published.
| | 02:39 | Now currently, it's telling me that the
video is still processing, but once it's
| | 02:42 | done, I'll be able to come back to
this page and see my video, and so will
| | 02:45 | anybody else, depending on the Privacy
Settings I've chosen for this video.
| | Collapse this transcript |
| Exporting QuickTime movies| 00:00 | Now, let's look at some final
options we have for exporting and sharing
| | 00:03 | our iMovie project.
| | 00:05 | Below the dividing line under the Share
menu, we have Export Movie, Export using
| | 00:09 | QuickTime, and Export Final Cut XML.
| | 00:12 | Now, Export Movie is just like
exporting to iTunes or to the Media Browser
| | 00:16 | in terms of options.
| | 00:17 | You can choose Mobile, Medium,
Large, HD 720p, or HD 1080p.
| | 00:21 | The only real difference here is that
instead of storing the movie in iTunes or
| | 00:25 | in the Media Browser, you're
placing the movie somewhere on your Mac.
| | 00:28 | Notice we can choose where we
want to save this movie here.
| | 00:31 | I can then expand this and then pick
any hard drive on my Mac or any other
| | 00:35 | location on my Mac to save this movie.
| | 00:38 | For instance, I might want to
save a version on the Desktop.
| | 00:40 | Actually, let's go ahead and select Desktop.
| | 00:44 | So maybe, for example, you just
edited a movie for a coworker as a favor
| | 00:48 | and you have no need to keep copy of his
nephew's eighth birthday party on your computer.
| | 00:52 | You would just choose a save location,
choose one of the sizes, and then click Export.
| | 00:56 | Once the file is on your Mac, you
can burn it to a disc or even e-mail it
| | 00:59 | if it's small enough.
| | 01:00 | Now the only thing all the share
options have had in common up to this point is
| | 01:04 | that the only decision you have to make,
in fact the only decision you can make
| | 01:07 | about the quality of the final
movie is what size you want it to be.
| | 01:12 | iMovie uses these same five
preset settings for all your movies.
| | 01:15 | Now in most cases, this is
probably all anyone is going to need.
| | 01:18 | But if you know how to use QuickTime
Pro and are educated in compression
| | 01:22 | settings for video and audio, you
might be looking to exert a little more
| | 01:25 | control over your final project.
| | 01:26 | Let me cancel out of here.
| | 01:29 | So in times like that, you can
choose Share > Export using QuickTime.
| | 01:34 | Again, you can choose a location
to where you want to save the movie.
| | 01:37 | What this option gives you is
complete manual control over the size and
| | 01:41 | compression settings of the movie you
export and what type of movie format
| | 01:44 | you want to export.
| | 01:45 | So we can choose to export this to an
Apple TV format, as an AVI file, as a DV
| | 01:51 | stream, to the iPhone, as an MPEG-4,
or you can even just export the audio
| | 01:55 | track as an AIFF, an AU, or a Wave file.
| | 01:58 | So you can choose from any of these
preset settings, but if you know what you're
| | 02:01 | doing--or even if you don't and you just
want to experiment--you can choose Movie
| | 02:05 | to QuickTime Movie and then click Options.
| | 02:08 | From here, you have access to
every single compression type that's
| | 02:11 | available through QuickTime.
| | 02:12 | Just go to Settings, and you can see
all the different compression types that
| | 02:15 | are available here.
| | 02:16 | You might even have more installed on your Mac.
| | 02:18 | Now, we could literally have an entire
several-hour-long tutorial on just using
| | 02:22 | QuickTime Pro, but for now, just know
that this option is available to people
| | 02:26 | who want more control over the
settings of the exported movie.
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| Exporting a project for Final Cut| 00:00 | As you become more proficient at iMovie,
you might find down the road somewhere
| | 00:04 | that you're starting to feel a
little limited by its capabilities.
| | 00:07 | Now, if you have made it through all of
these movies, I think you'll agree that
| | 00:09 | iMovie 11 is no slouch.
| | 00:11 | It can definitely do some very cool things
and give your movies a professional look.
| | 00:14 | But the reality is that it's a movie
editor for the masses, so it has to be
| | 00:18 | limited and easy enough for anyone to use.
| | 00:20 | So if you're getting ready to move on to
the world of professional video editing
| | 00:23 | applications like Apple's Final Cut
Express or Final Cut Pro, that doesn't mean
| | 00:27 | you have to leave all of your iMovie
projects behind you and start from scratch
| | 00:30 | to continue work on the
project you started in iMovie.
| | 00:32 | So the last option we have here
is Share > Export Final Cut XML.
| | 00:38 | What this does is export a text file
written in XML, which is what Final Cut
| | 00:44 | reads, but you can then open in Final
Cut Express or Final Cut Pro, and continue
| | 00:48 | working with your iMovie project from
there, with Final Cut's full arsenal of
| | 00:52 | editing tools at your disposal.
| | 00:54 | Now, not everything will
make it over the translation.
| | 00:56 | If you choose this option, you will
see this list of things that will not be
| | 00:59 | exported XML file. That includes things
like titles, voiceover, and sound effects,
| | 01:04 | cropping and Ken Burn's effects.
All your transitions are going to be
| | 01:07 | represented by cross dissolves, and
green screen and picture and picture clips
| | 01:10 | will not be exported.
| | 01:12 | But your basic layout and edits will
remain intact, and you can use that as the
| | 01:15 | starting point to continue
working on your project in Final Cut.
| | 01:19 | So those are the other three export and
sharing options you have available in
| | 01:23 | iMovie 11 for when you want to
step outside the borders of iLife.
| | 01:26 | Lastly, under the Share menu we
have the Remove from menu, and this is for
| | 01:30 | when you want to remove your movie
from any of the locations or services to
| | 01:33 | which you published it.
| | 01:34 | So, for example, if you want to remove
a video from YouTube, you would select
| | 01:37 | Remove from > YouTube.
| | 01:39 | Now, in some cases the files will
automatically be removed from the service or
| | 01:42 | location you selected, but in other
cases like this one, you might just be
| | 01:46 | presented with instructions to visit
the web site where you have an account and
| | 01:49 | manually remove your video.
| | 01:50 | So you can see all it's telling me
here is I have to go My Videos page on the
| | 01:55 | YouTube web site, and I could click Go to
YouTube to go directly there to delete this video.
| | 02:01 | But this Remove from menu should be
the first place you go if you were just
| | 02:04 | publishing a video or if you
just simply want to take it down.
| | 02:06 | Of course, you can also go to the
Share To bar up here, and from each one of
| | 02:10 | these places where you have shared a
video to, you can choose Remove from
| | 02:13 | Facebook, Remove from YouTube, Remove
from MobileMe, and Remove from iTunes, and
| | 02:20 | any other place you have published to
will appear in the bar up here, and you can
| | 02:23 | use its icon to remove your video.
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| Changing published projects| 00:00 | In this movie, I just want to quickly
show you what happens if you change your
| | 00:03 | project after you have already published
it to, say, MobileMe or to your Facebook page.
| | 00:08 | I am going to select this clip here and just
hit Delete on my keyboard to get rid of it.
| | 00:12 | Now notice in addition to this
dialog box appearing, I see little yellow
| | 00:16 | exclamation points next to the
places where I have shared this video to.
| | 00:19 | And it's telling me that I have
modified my project and I will need to share or
| | 00:23 | finalize my project again
when I am finished editing it.
| | 00:27 | So basically it's telling me, hey you
are making a newer version of this video.
| | 00:30 | All the places you have published this
video to are now out of date, so you are
| | 00:33 | going to share them again.
| | 00:34 | So I can either choose to click Undo,
to leave everything the way it was, or I
| | 00:38 | can click OK and then continue to edit
my video, and then once I have done with
| | 00:41 | that, I will have to re-share them to all
the locations I previously uploaded to,
| | 00:45 | if I want the most current version on those
sites. I am just going to Undo in this case.
| | 00:50 | So I just wanted to quickly point out
what those little yellow warning signs
| | 00:53 | mean, when you do make changes to a
project you have already published.
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| Finalizing your project| 00:00 | When you've reached to the point where
you are certain your iMovie project is
| | 00:02 | in its final form--meaning you are
sure you're not going to make any more
| | 00:05 | changes to it, or at least pretty sure--you
might want to consider finalizing the project.
| | 00:10 | When you finalize a project in iMovie,
iMovie saves your project in all the
| | 00:14 | possible sizes we looked at in this chapter:
| | 00:16 | Mobile, Medium, Large, HD 720p,
and HD 1080p--as long as your project
| | 00:21 | supports those sizes.
| | 00:22 | Unlike exporting your movie to the
Media Browser, the finalized versions of the
| | 00:26 | movies don't show up in
the Media Browser or iMovie.
| | 00:30 | Instead, iMovie stores them and uses
them when you share your project to your
| | 00:32 | MobileMe or to one of the social
media sites we looked at, like YouTube or
| | 00:36 | Facebook, and that cuts down the time
needed to share a movie to those sites.
| | 00:40 | Think of finalizing your movie as pre-
rendering them so they're always ready to go.
| | 00:43 | This can be especially useful if you
have a long project and don't want to have
| | 00:46 | to wait for the movie to be
compressed later before you upload it.
| | 00:50 | Also, finalizing a movie helps improve the
playback when you view your movie in full screen.
| | 00:54 | So when you click the Full Screen
button here, some older Macs have trouble
| | 01:00 | playing video in full screen.
| | 01:03 | When you finalize the video, your Mac
then choose the best version of the video
| | 01:06 | that it's going be able to play
without any hiccups or mistakes.
| | 01:10 | So let's go ahead and I'll pick the
shortest project I have here, which is just
| | 01:14 | 15 seconds long, the Green Screen project.
| | 01:16 | I'll make it even shorter, and
I'll choose File > Finalize Project.
| | 01:24 | So iMovie is now going to go through and
create all the versions of this movie that it can.
| | 01:29 | You can see it's starting with HD
720p, and it's skipped over 1080p.
| | 01:32 | That's because this was a lower-
resolution video, and it's not going to be able
| | 01:37 | to create a 1080p version of the movie.
| | 01:40 | Now it's doing the large version, and
you can actually tell by looking at these
| | 01:44 | dots here which versions of
this file are now available.
| | 01:46 | So you have HD 720.
| | 01:48 | That's the large, and that's the medium.
| | 01:50 | It did not create the mobile version here.
| | 01:52 | So when it's done, you're not going to
see the actual files it created anywhere.
| | 01:55 | But now if I go to export this movie to,
say, Facebook, iMovie will no longer
| | 01:59 | have to compress the movie;
| | 02:00 | all it has to do is upload it.
| | 02:02 | So that's how to finalize a project in iMovie.
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| Moving a project to another Mac| 00:00 | In this movie, I want to show you a
technique for completely moving an iMovie
| | 00:03 | project from one Mac to another.
| | 00:06 | This can be useful if, say, you're on
vacation and start editing an iMovie
| | 00:09 | project on your MacBook and then want
to finish working on the project on your
| | 00:12 | iMac when you get home.
| | 00:14 | This requires that you move both your
events containing the footage for your
| | 00:17 | project and the project file itself.
| | 00:19 | Now, we've already looked at how to
move and store your events onto a separate
| | 00:22 | drive back in chapter 4.
| | 00:24 | So if you just need to know how to do
that, you can go back and watch that movie.
| | 00:27 | Again, what I am going to show you here
is how to move both your event footage
| | 00:29 | and project through an entirely different Mac.
| | 00:32 | To do this, you're going to need an
external drive that's formatted for Macs.
| | 00:35 | Now, most drives that you buy in stores
or online come formatted for Windows.
| | 00:39 | And if you look here in iMovie in my
Event Library, and I do have it set to be
| | 00:41 | showing my drives that are connected to my Mac,
| | 00:44 | I have a drive here called PICODRIVE
that iMovie detects. But notice it has this
| | 00:49 | little warning icon next to it, and
that indicates that I can't use that drive
| | 00:52 | right now because it's
currently formatted for Windows.
| | 00:55 | But you can easily reformat any drive for Macs.
| | 00:57 | Just connect the drive to your Mac, and
then go into your Applications folder, go
| | 01:02 | to Utilities, and then open up Disk
Utility. And this isn't just for formatting
| | 01:11 | drives to use for iMovie.
| | 01:13 | You can come into Disk Utility anytime you
need to erase or format a drive for any purpose.
| | 01:17 | Once you're in Disk Utility, select the
drive, in this case there is my PICODRIVE.
| | 01:21 | Now what we see here is the drive itself and
the partition that's currently on the drive.
| | 01:25 | It doesn't matter which one of
these you choose, just as long as you're
| | 01:27 | choosing the right drive.
| | 01:28 | You don't want to accidentally
erase one of your other drives.
| | 01:32 | So with the drive selected,
go over to the Erase tab.
| | 01:35 | For the Format you'll notice it's
currently formatted MS-DOS (FAT32).
| | 01:40 | That's a Windows format.
| | 01:41 | I want to select Mac OS Extended (Journaled).
| | 01:45 | Give the drive a name of your choice--
| | 01:46 | I'll just call it PicoDrive
again--and then click Erase.
| | 01:51 | Now realize that this does completely
erase the drive, so make sure there's
| | 01:54 | nothing on the drive that you need to keep.
| | 01:57 | If you're sure, click Erase, and the
Disk Utility will reformat your drive. It only
| | 02:02 | takes a moment, and it's back, and now if
I go back to iMovie, there's PicoDrive,
| | 02:09 | and now it's ready to use.
| | 02:10 | Notice there is no
warning sign next to it anymore.
| | 02:12 | All right, so how do we move our project,
now that we have an external drive hooked up?
| | 02:16 | First, we're going to go to our
projects in our Project Library, and you can
| | 02:20 | see in our Project Library we also
have different hard drives that are
| | 02:23 | attached to the Mac.
| | 02:25 | So far I have been working with all my
projects on Drive A, which is my main drive.
| | 02:29 | Your drive is probably called
Macintosh HD or something like that.
| | 02:32 | So here in my Project Library, I'm just
going to select the project I want to move.
| | 02:36 | In this case, I'll just use the Snap to
Beat project since it's only 17 seconds long.
| | 02:42 | And then I'm going to drag this to
my external drive, the PicoDrive down
| | 02:45 | here. But I'm going to hold down
the Command key, or the Apple key, on my
| | 02:47 | keyboard as I'm dragging.
| | 02:49 | If you don't hold down the Command key
while you're doing this, you're actually
| | 02:51 | just going to copy the project.
But now if I hold down Command, you'll notice
| | 02:54 | that little Plus symbol goes away, which
indicates that I'm copying, and now I'm
| | 02:58 | actually going to move it.
| | 02:59 | So I am going to drag that on top of
the PicoDrive, release, and now I see this
| | 03:03 | dialog box telling me that the clips
used in this project are not all on the
| | 03:07 | disc I'm dragging the project to.
In fact, none of them are, in this case.
| | 03:09 | So now I have the opportunity to just move
the project or move the project and its events.
| | 03:15 | Since I want to work on an entirely
different Mac, I'll need to copy the project
| | 03:18 | and its events to get
everything I need onto my external drive.
| | 03:21 | So I'll click Move projects and Events.
| | 03:30 | So now, iMovie is copying
everything to my external drive.
| | 03:34 | Depending on how much footage you are
moving, this could take up several minutes.
| | 03:38 | Okay, now it's done.
| | 03:39 | Now, something very important that I
want to point out here. So we can see that
| | 03:42 | the Snap to Beat project is now on
the PicoDrive, my external drive.
| | 03:46 | It's no longer on my Drive A because we
did choose to move it and not copy it.
| | 03:50 | But also notice down here in my Events Library.
| | 03:53 | My Surfing Clips which are being used
on that Snap to Beat project have also
| | 03:58 | been moved to the
PicoDrive drive just like I asked.
| | 04:00 | They are no longer here on my hard drive.
| | 04:03 | Now this can be an issue because all these
other projects here are using that same footage.
| | 04:09 | So if you're moving a project to an
external drive, but that project shares
| | 04:12 | footage with other projects from the
same library, then you will want to
| | 04:16 | just copy that project and not move it by
holding down Command like I showed you before.
| | 04:19 | So if I want to make sure that the
other projects can still find that event
| | 04:22 | footage, I should copy that footage
back to my Macintosh hard drive before I
| | 04:27 | eject my PicoDrive here.
| | 04:28 | So I would do that, as we know, simply by
grabbing Surfing Clips and dragging that
| | 04:32 | up to the hard drive. And when you see
the Plus symbol, you know that I am making
| | 04:36 | a copy in this case.
| | 04:37 | But ideally, you wouldn't
want to have to do this.
| | 04:39 | Again, if you have projects that share
the same footage and you're only moving
| | 04:42 | one of the projects, then choose to copy
that to your external drive and not move it.
| | 04:46 | In the interest of saving time, I am not
going to bother making that copy right now.
| | 04:49 | I'll have to go back and do that later.
| | 04:50 | But as you can see right now, my project and
its associated footage are on the PicoDrive.
| | 04:56 | So at this point, I could quit iMovie--I
could also quit Disk Utility--and then I
| | 05:02 | could eject my external drive and
connect it to my other Mac, the Mac that I
| | 05:05 | want to move the project to.
| | 05:06 | And then on the other Mac, I would fire
up iMovie, and iMovie would automatically
| | 05:14 | detect that drive and any projects on
the drive, and then I could either work
| | 05:18 | with them directly from the external
drive, or more likely, I would want to move that
| | 05:22 | project onto my other Mac's hard
drive, and again we can do that simply by
| | 05:25 | grabbing the project, dragging
it onto the drive on your Mac.
| | 05:29 | Again, we can choose to copy it or move it.
| | 05:31 | I'll choose to move it in this case.
Since I'm actually using the same library,
| | 05:34 | I can kill two birds with one stone
here, and again we can choose to move
| | 05:38 | just the project or the project and
the events. And of course, I'm going to
| | 05:41 | move the project and the events because I
want to move the entire thing onto my hard drive.
| | 05:46 | And at that point, my project and its
events are completely moved to my other
| | 05:49 | Mac, and I can continue working on that
project and editing it and sharing it
| | 05:52 | directly from that Mac.
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|
GoodbyeGoodbye| 00:00 | And there you have it, all the essential
information you need to start producing
| | 00:04 | your own polished works of
video art with iMovie 11.
| | 00:07 | You know, as a lynda.com author, I am
trained and pretty well versed with
| | 00:10 | professional video editing
applications like Final Cut Pro, but I always find
| | 00:14 | myself coming back to iMovie for most
of my projects, because it's just so
| | 00:18 | simple and easy to use from start to finish.
| | 00:20 | It's really become my go-to application
when I need to put together some footage
| | 00:24 | of a family get-together or a social event.
| | 00:27 | I hope you'll take the time to import
all of your own footage into iMovie 11 and
| | 00:30 | really run it through its paces.
| | 00:31 | I think you'll be more than pleased with your
results, and you'll have a lot of fun doing it.
| | 00:36 | So that does it for
iMovie 11 Essential Training.
| | 00:38 | I am Garrick Chow. See you next time!
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