IntroductionWelcome| 00:04 | Hi, I am Abba Shapiro, and welcome to
Creating a Sports Highlight Reel with iMovie.
| | 00:09 | In this course, we are going to take
a look at some advanced techniques in
| | 00:12 | iMovie that you can use to make
an exciting sports highlight movie.
| | 00:16 | We will start with some
specific editing strategies.
| | 00:19 | We will kick off the sports
movie with a quick action to get the
| | 00:22 | viewer's attention.
| | 00:23 | Next, we will use an interview with
one of the players to add structure and
| | 00:27 | focus to the story.
| | 00:28 | We will use specialized themes and
titles in iMovie to give your sports reel
| | 00:33 | authentic motion graphics.
| | 00:35 | And even boring footage can be made to
look more exciting with music. We will
| | 00:39 | look at a few ways to add music and
mix it cleanly with the interview audio.
| | 00:44 | Finally we will look at a few special-
effects tricks to add some extra dynamic flair.
| | 00:49 | In this course, I am assuming you've
already used iMovie or have gone through
| | 00:53 | the iMovie Essential Training on lynda.com.
| | 00:56 | If you haven't checked out that
course yet, be sure to take a look.
| | 01:00 | Now let's get started with creating
a sports highlight reel with iMovie.
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| Using the exercise files| 00:00 | If you are a Premium member of the
lynda.com Online Training Library or if you
| | 00:05 | are watching this tutorial on a DVD,
you have access to the exercise files
| | 00:09 | used throughout this title.
| | 00:11 | Once you've downloaded and unzipped the
exercise files what you will have is a disk
| | 00:16 | image and then if you double-click on
the disk image, a virtual drive will
| | 00:21 | appear on your desktop.
| | 00:22 | Now in some cases if you're using Lion,
you may not see this virtual drive, but
| | 00:27 | don't worry; iMovie will.
| | 00:29 | With this virtual drive
mounted, go ahead and launch iMovie.
| | 00:35 | Now, depending on how your system is set
up, and if you have used iMovie before,
| | 00:40 | your screen may look a little bit different.
| | 00:43 | The first thing you might notice is
that you don't actually see the disk that's
| | 00:46 | been mounted, and this is simply a
preference setting within iMovie.
| | 00:51 | If you don't see the disk, go up to View
and click on Group Events by Disk.
| | 00:56 | As you see, the exercise drive will
appear and the event library with Soccer
| | 01:01 | Highlights is within it.
| | 01:03 | Now if we click on the Soccer
Highlights event, you will see all the footage
| | 01:07 | that we are going to be using
to cut our sports highlight reel.
| | 01:11 | You should also see all the
projects in your Project Library.
| | 01:15 | If you have worked on additional
movies prior to watching this course, your
| | 01:19 | movies may also be there. If you look
up in the Project Library, you will see
| | 01:24 | the starting points for all the
lessons that you can follow along with.
| | 01:27 | Now let's take a closer look at how
your Project Library might appear.
| | 01:32 | In the Project Library, you will see
all the different hard drives that are
| | 01:35 | attached to your computer,
both internally and externally.
| | 01:38 | So if you have worked in other
iMovie projects, you might see one labeled
| | 01:42 | Macintosh hard drive or
however you have labeled it.
| | 01:45 | By clicking the disclosure triangle,
you can reveal or hide these projects.
| | 01:49 | The projects we are going to be working on
are all contained within the exercise drive.
| | 01:53 | And if you create any new projects
related to this course, you can save them on
| | 01:58 | this virtual exercise drive and they
will appear every time you launch the
| | 02:02 | image and then iMovie.
| | 02:04 | Notice there are no projects for
you to work along with until 02_03.
| | 02:10 | One more caveat before we get going,
and that is if you launch the disk image
| | 02:15 | and actually import the assets or simply drag
them over to your desktop, iMovie won't see them.
| | 02:21 | And if it does, it may not have any
of the metadata or keywording that we
| | 02:25 | have already applied.
| | 02:26 | So make sure you leave everything on the
disk image and you can work from there.
| | 02:31 | Now when you are finished working
with the exercise files, go ahead and quit
| | 02:35 | iMovie. The next step is simply
ejecting the virtual disk. By right-clicking on
| | 02:41 | it, you can simply hit Eject
and it will put the disc away.
| | 02:45 | Now this disk image has been
updated with all of your changes,
| | 02:48 | so the next time you want to work with
these media files, simply double-click,
| | 02:52 | load the disk image again,
launch iMovie, and get back to work.
| | 02:57 | If you are not a Premium subscriber to
lynda.com you don't have access to the
| | 03:01 | exercise files, but you can follow
along from scratch with your own assets.
| | 03:05 | Let's get started.
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1. Getting Your Feet WetCapturing the moment: things to remember when shooting| 00:00 | Before we dig in and actually start
editing our sports highlight reel, let's
| | 00:04 | take a look at some do's and
don'ts of when shooting your video.
| | 00:09 | The first thing you need to keep in mind
is that televisions are wider than they
| | 00:13 | are tall, but people have a tendency to
turn their camera sideways or shoot with
| | 00:18 | their phones, which actually has
what's called a portrait aspect ratio.
| | 00:22 | You always want to shoot everything
landscape; otherwise, you are going to be
| | 00:25 | fighting this when you start editing.
| | 00:28 | Another huge mistake that people make is
that when they are shooting their video,
| | 00:32 | they don't use a tripod.
| | 00:33 | It's really easy to bring a tripod
to the game and if you can't bring a
| | 00:37 | tripod, find something nice and firm
to lean your camera against, such as a
| | 00:42 | gate or a fence. Or you can even sit down on
one knee and hold your camera on the other knee.
| | 00:48 | A steady shot is really important
when you are cutting together your video.
| | 00:54 | A huge mistake people make is actually
changing their shot in the middle of the
| | 00:58 | shot, zooming in and out too much.
| | 01:01 | They will start with a wide shot, push in
to the person being interviewed, and the
| | 01:05 | camera is moving the whole time, you
are going to end up with a nauseous
| | 01:07 | audience and a hard-to-cut interview.
| | 01:11 | One of the tricks when shooting
interview is get close. Zoom out or widen out
| | 01:17 | your camera and get as close to the
person as possible, because this is going to
| | 01:20 | give you not only a more stable shot, but
the audio is going to be so much better
| | 01:24 | because you are not going to be
far away from the person speaking.
| | 01:30 | Make sure you get establishing shots.
In this case, we got there before the game
| | 01:34 | started and we were able
to shoot the entire field,
| | 01:37 | so we had something to use to work
our way into our highlights reel.
| | 01:42 | Don't forget to get some pre-game
footage, in this case people walking onto the
| | 01:47 | field. You might even start your video
at home, with the players assembling their
| | 01:51 | gear and getting into the car.
| | 01:53 | You are telling a story, so make sure you get
pre-game footage as well as post-game footage.
| | 02:00 | Post-game footage can be as simple as
the high five at the end of the game,
| | 02:04 | people packing up their gear, getting
the car and driving away, or maybe just
| | 02:08 | celebrating afterwards at a local restaurant.
| | 02:16 | Another nice trick is shoot multiple
angles for editing. In this case, we shot a
| | 02:21 | wide shot of the coin flip, but just to
make sure we had something to cut, we
| | 02:25 | shot a variety of other angles.
| | 02:29 | We got a close-up of each of the players
as they were looking at the referee, so
| | 02:33 | we had something to cut with.
| | 02:38 | And finally, we did get a close-up of
the referee flipping the coin, so now we
| | 02:42 | had three different angles to cut together,
which made the shot that much more interesting.
| | 02:49 | Be creative where you put the camera.
| | 02:52 | This shot is much more exciting because
we were directly behind the goal than it
| | 02:55 | would have been shooting it from the sidelines.
| | 03:01 | And low-angle shots can be quite
dramatic, because people normally don't see the
| | 03:05 | game from this perspective, so it makes
it interesting and makes your video stand
| | 03:09 | out amongst the rest.
| | 03:13 | Don't forget to get cutaways. A lot of
times you might have two shots next to
| | 03:17 | each other and if you keep them that
way, it would be a jump cut, but by cutting
| | 03:20 | to some B-roll or a cutaway, you can
make that quite smooth. And a cutaway
| | 03:24 | doesn't always have to be people.
| | 03:29 | In this case, shots without specific
people are great for cutaways because this
| | 03:33 | could be any player on the
field picking up their shoes.
| | 03:38 | And don't be afraid to set up a shot.
| | 03:41 | A lot of times some of the best footage you
are going to have has been set up before hand.
| | 03:46 | Here we have a simple ball and a great kick.
| | 03:49 | And finally, keep in mind that most shots
on television last only four to six seconds,
| | 03:55 | so don't shoot a 20-, 30-second shot or
a two-minute shot because you won't be
| | 03:59 | able to use it and if you do, your
audience is going to get bored. As a matter of
| | 04:03 | fact, most of the shots we are going to
use in our highlights video may only be
| | 04:06 | one or two seconds long because we
want a fast-paced, exciting program.
| | 04:11 | So remember, if you want to end up with
a great highlights real, it is not just
| | 04:15 | the editing; think about the story and
the shots while you are at the game.
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| Previewing the project| 00:00 | Before we dig into editing our sports
highlight reel, let's take a look at what
| | 00:04 | we are going to end up
with when we are done editing.
| | 00:07 | (video playing)
| | 00:11 | (Roberto: Hello my name is Roberto, and today we
are going to play soccer, at Viola Park.)
| | 00:15 | (The Viola Park is located south of Carpinteria.)
| | 00:19 | (It's right on the cliff.
It's a gorgeous location.)
| | 00:22 | (Today I am going to go play against
a bunch of coworkers and just random)
| | 00:28 | (people here from Carpinteria.)
| | 00:30 | (video playing)
| | 01:32 | Well, now that you know what our final
show will look like, let's get started
| | 01:36 | with creating our sports highlight reel.
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| Exploring important settings and editing basics| 00:00 | Before we start digging in and editing
our first project, let's make sure that
| | 00:04 | our preferences are set for advanced
iMovie editing. And I also want to make
| | 00:08 | sure that your screen looks a lot like
my screen, because maybe you have been
| | 00:12 | working in iMovie and you
have changed some things around.
| | 00:15 | So let's go ahead first and focus on
the preferences and then we may quickly
| | 00:18 | modify the iMovie interface.
| | 00:21 | To get to the preferences for
iMovie, click on the iMovie dropdown menu
| | 00:25 | and select Preferences.
| | 00:27 | The keyboard shortcut for this
is Command+Comma.
| | 00:31 | Now there is only two preferences that
I want to make sure to change right now,
| | 00:35 | and the most important
one is Show Advanced Tools.
| | 00:39 | Now when I click on this, I want you
to look underneath the Preference pop-up
| | 00:43 | window to the toolbar and see how that changes.
| | 00:46 | When I click on Show Advanced Tools, you will
see several new buttons are added to the mix.
| | 00:52 | These buttons allow you to do some
advanced editing that you wouldn't be able to
| | 00:55 | do if they are not turned on.
| | 00:57 | So if at any time during the course you
don't see the buttons I am referring
| | 01:00 | to, make sure to go back to your
preferences and see that Show Advanced
| | 01:05 | Tools is turned on.
| | 01:07 | The other setting that I want to
change is underneath the browser.
| | 01:11 | If you look at the bottom of the
browser list, there is a choice for when you
| | 01:14 | click on a clip in the event browser.
| | 01:16 | The default is it will select four
seconds of that video, and that's useful
| | 01:21 | because usually scenes last about four
seconds before you get bored of them and
| | 01:25 | want to switch to the next one.
| | 01:27 | But if you want to be more precise,
I like to select Clicking in Event
| | 01:31 | Browser deselects all.
| | 01:33 | That way when I click on a clip, I can
simply drag to get the exact range of
| | 01:37 | media that I want to put into my show.
| | 01:40 | Go ahead and close your iMovie
preferences by clicking on the red button.
| | 01:45 | Now your interface may look a little
bit different than mine, because you might
| | 01:48 | have been using iMovie prior to
watching this course or your screen resolution
| | 01:53 | may be much greater so you
are seeing a lot more media.
| | 01:56 | A couple of things that are really
useful to change when editing in iMovie is
| | 02:01 | switching around your Project
Library and your Event Library.
| | 02:06 | Now to do this, you will simply press
this button here, and what happens is your
| | 02:11 | Event Library moves to the upper left-hand
corner and your projects move down to the bottom.
| | 02:16 | Now we're looking at all of our
projects. Let's go ahead and create a new
| | 02:20 | project and just throw some clips in
so that you can see how this works.
| | 02:24 | To create a new project, you could go
up to the File dropdown menu and say
| | 02:28 | New Project or Command+N. Now I want
to point out one thing before we go
| | 02:33 | ahead and make a new project.
| | 02:34 | You will notice that iMovie actually
is seeing two hard drives, in this case my
| | 02:39 | internal hard drive and also the
sparse image or the image that you opened up
| | 02:44 | with the exercise files.
| | 02:46 | Now depending on which drive is selected
in your Project Library, when you create
| | 02:52 | a new project, that's
where it's going to be stored.
| | 02:54 | In our case we want to store all of
our new projects on our exercise drive,
| | 02:59 | so go ahead and click on Exercise Drive
and now when I hit Command+N to make a
| | 03:04 | new movie, I will get this dropdown box.
| | 03:08 | Now we will discuss using themes and
creating movie trailers in later movies.
| | 03:13 | So for now simply select No Theme,
name your project, and press Create.
| | 03:22 | iMovie will automatically open that
project and be ready for you to edit.
| | 03:26 | Now let's go ahead and throw a few clips in
the Timeline just so you can see my next change.
| | 03:32 | I am going to simply go up here, click
and drag to select the range of footage
| | 03:36 | that I want, and drag it down to my Timeline.
| | 03:40 | If I wanted to, I can also select a
range and instead of dragging it down, I am
| | 03:44 | going to use a keyboard shortcut of
pressing the E key. Think of E for edit.
| | 03:50 | Let's go ahead and throw a few clips
into our Timeline, so we can see how we can
| | 03:54 | adjust the Timeline to make it work.
| | 03:56 | I am going to simply select and press E,
select and press E, select and press
| | 04:02 | E. Now I have five clips in my Timeline,
and in my case they are all in the same row.
| | 04:08 | They may not be in your case. And I want
to point out a couple more things in the
| | 04:11 | lower right-hand corner of the screen.
| | 04:13 | There is a little slider here that let you
look at more or less detail on each clip.
| | 04:18 | If I move it to the right, I am looking
at less detail. I am grouping it by 10- or
| | 04:22 | 30-second chunks, or even a
single clip for every piece of video.
| | 04:27 | When I move my mouse over it,
I can look at the entire clip.
| | 04:31 | Sometimes I want to see more detail, so
instead of moving it all the way to the
| | 04:34 | right, I am going to
slide over here to the left.
| | 04:37 | You will notice that my clips
start wrapping around, creating stacks.
| | 04:43 | Now when I edit, I find
this a little bit confusing.
| | 04:45 | I like to work with a single Timeline
that I can look from the left to the
| | 04:49 | right beginning to end.
| | 04:50 | And I can do this very simply in iMovie
'11 by pressing this button right here.
| | 04:56 | This will show the
project clips as a single row.
| | 05:00 | If I click it again,
it goes back to multiple rows.
| | 05:04 | So for this course, we are going to
primarily be working with clips in a single row.
| | 05:08 | If I want to see the entire Timeline,
I can simply go back to my slider and move
| | 05:14 | it a little bit to the
right so I can see every clip.
| | 05:17 | The other thing I am going to do is
turn off audio scrubbing, because as I play
| | 05:22 | these clips and I talk, you will find it
becomes a little bit annoying. So I am
| | 05:26 | going to go up to the middle
toolbar and press this button.
| | 05:30 | If you notice when I press it once it
turned gray, which means it is off, and
| | 05:34 | then I can press it again to
turn it on, which is a dark waveform.
| | 05:38 | Now when I move my cursor over these clips,
I won't hear the annoying audio over my voice.
| | 05:45 | Now if for some reason it seems like
your audio has disappeared during the edit,
| | 05:48 | go ahead and check to see if you have
accidentally turned this button to mute.
| | 05:53 | So there we have covered some key
preferences you need to change and a couple of
| | 05:56 | modifications to your interface, so it's
easy to work with and it looks a little
| | 06:01 | bit more like mine while you do this course.
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2. Editing StrategiesCreating a trailer for a sports movie| 00:00 | The easiest way to make a
great-looking highlight reel is to cheat.
| | 00:04 | And I am going to show you
exactly how to do that now.
| | 00:07 | We are going to use the
Trailers feature in iMovie '11.
| | 00:10 | So the first thing we need to do is we
need to create a new project. Make sure
| | 00:14 | you have the exercise drive selected
when you hit Command+N, so the project is
| | 00:18 | saved with all of your other projects and media.
| | 00:20 | I am going to hit Command+N and we see
a traditional starting point with the
| | 00:25 | project themes and movie trailers.
| | 00:27 | I am going to scroll down and select a
unique one called sports and when I click
| | 00:33 | on that, iMovie will show me a
preview of what my trailer will look like.
| | 00:38 | (video playing)
| | 00:46 | Now, if you like the way this
looks, go ahead and give it a name.
| | 00:50 | We will call this Sport trailer and
press create. Now if you notice when you
| | 00:58 | create a trailer, you don't get the
traditional Timeline; you actually get what
| | 01:02 | looks like three different tabbed cards.
| | 01:05 | In the first card are all the titles
that are used in your film. The Game
| | 01:09 | could be the title of the film. The date.
In my case the studio, at Shapiro Films,
| | 01:14 | but I recommend putting your name
in because I have enough films in my
| | 01:17 | repertoire already. And then you can
choose a logo style. And if you click on this
| | 01:22 | little up-and-down arrow you can
choose a variety of different logos to start
| | 01:26 | out your movie trailer.
| | 01:27 | There is the Spinning Earth and Space,
a simple black background, but in my case
| | 01:34 | I like the Glowing Pyramid.
| | 01:36 | Now when you scroll down you will see
the credits, and in this case everything is
| | 01:40 | done by me, except for the director of
photography, which I changed in my last
| | 01:44 | trailer to Alan Smithee.
| | 01:47 | If I wanted to change who it was written
by, I can simply select where it said Abba
| | 01:52 | Shapiro and I could say it
was written by Shakespeare.
| | 01:57 | And if you notice, it's automatically updated
in the upper right-hand corner of your screen.
| | 02:02 | Now once you finish filling this
out, click on the Storyboard option.
| | 02:05 | Now you notice again this doesn't
look like a traditional Timeline.
| | 02:09 | There is a series of drop locations
where you can simply select footage from
| | 02:13 | your Event Library and drop it in.
| | 02:16 | Now as we go up to the Event Library
I want to point out this button here.
| | 02:20 | This button here is your Edit tool, and
it is already pressed in by default when
| | 02:24 | you switch to movie trailers.
| | 02:26 | What this allows me to do is very
quickly slug in all my shots and create the
| | 02:30 | trailer as fast as possible.
| | 02:33 | I simply put my cursor over any shot I
want to drop in. There is some good action
| | 02:37 | right there, right when he
kicks the ball. I click and I drag.
| | 02:41 | Now instead of seeing the bounding
yellow box, I actually see a solid yellow line
| | 02:45 | in the middle of my clip. When I let go,
| | 02:48 | this clip will automatically be dropped
into my Timeline. It's just like hitting
| | 02:53 | the E key after you have made
a selection, but only faster.
| | 02:57 | Let's continue to slug in some more shots.
| | 02:59 | You will notice they get dropped
directly into the Timeline, and you will also
| | 03:05 | see that there is a 0.7, 0.8, a 0.8, a
0.9 S. That stands for how long the shot is.
| | 03:11 | In this case, they are all under a second in length.
| | 03:14 | The way iMovie works, when I click and
select a range, it uses the start point of
| | 03:19 | that range and only makes the clip
as long as the trailer needs it to be.
| | 03:23 | Now, if we want to watch what we have
already built, I can simply press this
| | 03:27 | play button here and this will play
the trailer in my viewer window. Or if I
| | 03:32 | wanted to, I can press this button
here and play it back fullscreen.
| | 03:37 | (video playing)
| | 03:49 | By pressing Escape, I can get
right back to my interface.
| | 03:53 | Now as you will see, all the clips that
I put in are playing and wherever I
| | 03:56 | didn't put a clip in yet, we
just see the storyboard image.
| | 04:00 | Now if you drop the wrong clip in or you
make a mistake of what part of the clip
| | 04:04 | is in your trailer, it's very easy to change.
| | 04:06 | I can simply drag a different section of
my clip and drop it into the same location.
| | 04:11 | Now I want you to see something. This has
been turned off automatically by iMovie.
| | 04:16 | So now when I select a range of a clip,
it's the traditional way we are used to
| | 04:20 | seeing it, and I can just drag it and
drop it on the area that I want to replace.
| | 04:25 | When I let go, it simply swaps
out the old clip with the new one.
| | 04:30 | I can also remove a clip by hitting this
counterclockwise button. And if I wanted
| | 04:34 | to refine what part of the clip I show,
I can click on this button here, and it
| | 04:38 | opens up my clip trimmer. And I can
simply move to a different area of the clip
| | 04:43 | right when he gets the
ball from the other player.
| | 04:47 | Once all this is done, I can simply
export my trailer. Or we can do something
| | 04:51 | that's really clever.
| | 04:52 | I can go File > Convert to Project,
and what iMovie will do is it will take
| | 04:58 | everything I built and turn into a
traditional project that you can edit to
| | 05:03 | your heart's content.
| | 05:05 | So let's go ahead and make a few
modifications to our existing trailer.
| | 05:09 | First of all, I am not seeing my
entire sequence, so if I go ahead, I can
| | 05:14 | actually zoom in and zoom
out with my Selection tool.
| | 05:17 | If I want to add another clip to the
end, I simply go ahead. I am going to press
| | 05:22 | done because I was still in the clip
trimming mode for my previous edit, and now
| | 05:26 | I see my Event Library.
| | 05:27 | I want to go ahead and add some more
action shots, so perhaps I'm going to go up here
| | 05:32 | and select this scene here where he is
looking down the other player. And now to
| | 05:36 | add it to my Timeline,
| | 05:37 | I am going to press the E key, as in edit, and
it attaches itself to the end of my sequence.
| | 05:43 | You will also notice that I still
have some of my action silhouettes that I
| | 05:48 | never filled in from my trailer.
| | 05:50 | It is not too late to change these out now.
| | 05:53 | I can simply select a shot that I like,
pick the range--in this case I want
| | 05:58 | the range to start when he goes offscreen--and
drag it and drop it into any of the elements.
| | 06:04 | I'll get a pop-up window that says
Replace or variety of options to replace from
| | 06:08 | start, end, or playhead.
| | 06:10 | If I choose Replace, it may make this
clip longer or shorter than the clip I'm
| | 06:15 | replacing, and that would
change the timing to my music.
| | 06:18 | So I want to make sure I choose one of
these three so I don't mess up my timing.
| | 06:23 | In this case, Replace from Start just
as he kicks the ball will be perfect.
| | 06:26 | Now as you see, I haven't got the
part where he has kicked the ball.
| | 06:31 | So again, I am going to select the clip,
I go to this dropdown menu, and open up
| | 06:36 | the clip trimmer, And now I can simply
slide this to the right as he comes in to
| | 06:41 | kick the ball, let go, and we can
see the action exactly as I want.
| | 06:49 | So as you can see, creating a trailer
with a template is cool. Being able to take
| | 06:54 | that template and turn it into a
project that you can work with is even better.
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| Working with the Sports theme| 00:00 | In this movie, we are going to
examine how we can use themes to notch up
| | 00:03 | the look of your video.
| | 00:05 | Let's go ahead and create a new
project by hitting Command+N. As we have seen
| | 00:10 | before, you can choose project themes
and movie trailers, and we have been
| | 00:14 | choosing No Theme or the
sports trailer prior to this.
| | 00:18 | But there is also a Sports theme.
Go ahead and select that and you will see a
| | 00:23 | little movie playing in the right
window that shows you some of the elements
| | 00:26 | that you will be able to add:
title cards, instant replay, scores.
| | 00:33 | Let's go ahead and click on this to stop
playback. And I want you to turn off one
| | 00:37 | more element, which is
Automatically add transitions in titles.
| | 00:41 | iMovie will randomly put different
things in different locations. As an
| | 00:44 | advanced editor, you are going to want
to put your titles and your transitions
| | 00:48 | exactly where you want.
| | 00:50 | Once you have done, that go ahead, give
the project a name. We will call this one
| | 00:54 | Sports Theme Practice and press Create.
| | 00:57 | Now what I want to point out is once you
have created the Sports theme, you will
| | 01:02 | notice some additional elements in
your transitions and your theme windows.
| | 01:07 | If I click on titles, I see seven
additional titles that weren't there before,
| | 01:13 | all relating to sports. And if I go
over here to my transitions, there are four
| | 01:18 | additional transitions that are sports-related.
| | 01:21 | If you notice inside these transitions,
there is little empty boxes where I can
| | 01:25 | put the names of the teams
or the logos of the teams.
| | 01:28 | I am going to show you how you can customize
these team transitions and these team titles.
| | 01:34 | What I want you to do is go over to
the Window dropdown menu and at the very
| | 01:38 | bottom, you will see Sports Team Editor.
| | 01:42 | Now once this window appears,
you can go ahead and create your team.
| | 01:46 | To do that, simply press the plus
button and you will see a default layout.
| | 01:51 | Now we are going to change this from
Spring 2010 to Spring 2012. And instead of
| | 01:57 | the leopards, we are going to use
something a little more modern; we are going to
| | 02:00 | call them the Snow Leopards.
| | 02:02 | Now we are playing soccer here, and
there is actually a lot of defaults that you
| | 02:06 | can choose: baseball, basketball, football,
soccer, or you can even make your own
| | 02:11 | custom sport by going
down to this dialog box here.
| | 02:15 | And in this case, you see soccer
does Position, Age, Height, and Weight.
| | 02:20 | Well, in our case we like Position, Age,
and Height, but instead of having weight, we
| | 02:24 | are going to have place of birth.
| | 02:26 | So let's go ahead and make a custom one.
| | 02:28 | I am simply going to press the plus key
to create a new sport, and give it a name.
| | 02:34 | We are going to call it Lynda Soccer,
| | 02:38 | so we know exactly which one we are
going to be choosing. And for our labels we
| | 02:42 | will go ahead and we will keep
Position, Age, and Height, but we are going to
| | 02:44 | change the fourth label.
| | 02:46 | To make things quicker, I will
just copy those from this board above.
| | 02:49 | I am going to select it, Command+C to
copy, select, Command+V to paste. And
| | 02:57 | finally, instead of using Weight, we
are going to go ahead and we are going
| | 03:01 | to choose Birth Place.
| | 03:05 | Now when we go back up to our teams, we
can click the dropdown menu and instead
| | 03:09 | of choosing Soccer, we will choose Lynda
Soccer, and that's going to be our team.
| | 03:14 | Now we are going to
modify this a little bit more.
| | 03:17 | I want the team logo to be here, and we
have actually placed a copy of the team
| | 03:20 | logo with your exercise files.
| | 03:22 | So go ahead, click on the plus key,
and find the drive that has the exercise
| | 03:29 | files. Inside of there, you will see an
Assets folder and Team Editor Assets.
| | 03:35 | We are going to go ahead and choose
the Snow Leopards logo and click open.
| | 03:41 | As you see, the logo is now available, and
we can start working with importing the
| | 03:44 | players to this team.
| | 03:46 | With Spring '12 selected, let's
go ahead and import a players list.
| | 03:52 | We have also placed a copy of this in your
exercise file, so you can see how to create it.
| | 03:56 | It's simply a tab-delineated file with
the players' numbers, name, position, age,
| | 04:01 | height, and in this case, their birthplace.
| | 04:04 | Click on Import Players List. Again
drill down to the Team Editor Assets and
| | 04:09 | you will see there is one here for the
Snow Leopards and one for the competing
| | 04:13 | team, the Mountain Lions.
| | 04:15 | Select that and simply press Open.
| | 04:19 | If you forgot how to create this,
just take a look at the red dialog box, which
| | 04:23 | explains how to create the RTF file.
| | 04:27 | As you can see, everything is
automatically imported and we are almost ready to
| | 04:31 | go. What would a good sports highlight
reel be if you didn't have a picture of
| | 04:35 | the player when you went to their stats?
| | 04:37 | Let's click on Roberto, click on the
plus, and once again in your assets folder
| | 04:43 | is a picture of Roberto.
| | 04:46 | For now, we are going to just bring
in Roberto's stats because I want to
| | 04:50 | create the other team.
| | 04:51 | To create the other team, I do exactly
the same thing I did before, which is
| | 04:55 | press the plus key, change it again to
Spring '12, and in this case instead of
| | 05:01 | the Snow Leopards, we are going to go
to the Mountain Lions, and switch from
| | 05:07 | Baseball to Lynda Soccer.
| | 05:10 | To save time, I am going to go ahead and skip
ahead, but it's the same steps as we just saw.
| | 05:15 | I am going to slide the dialog box up a
little bit so you can see in the bottom
| | 05:19 | right-hand corner the button for done.
| | 05:21 | Now let's go ahead and drag in one piece of
video so I can show you how these titles work.
| | 05:29 | Let's go ahead and grab a
shot of Roberto in play.
| | 05:33 | I am going to press the E key to put it
onto my Timeline and then I am going to
| | 05:44 | go over to the Titles window and in
this case I will choose Player Stats.
| | 05:49 | To put a title on this clip, I can
simply drag it and drop it exactly where I
| | 05:53 | want the shot to start.
| | 05:55 | When I let go of my mouse, the title will
appear directly above the scene. Now if
| | 06:01 | you notice, this is a blank title. Don't panic.
| | 06:05 | These dropdown windows allow you to
switch to the team that you want, in
| | 06:08 | this case Snow Leopards '12, and
once I do that, I can choose any of my
| | 06:13 | players. And look at this here.
| | 06:15 | There is his picture, his name, all of
his stats, as well was the team logo.
| | 06:20 | Go ahead and drop some other clips
into your Timeline and just try out some
| | 06:25 | of the other titles.
| | 06:27 | In this case, I am going to try the
Team vs Team score. Grab it, drop it,
| | 06:33 | and if you notice, it says Leopards 2 versus
Snow Leopards. Well that's not what I want.
| | 06:38 | I am going to just go to this
dropdown menu and choose Mountain Lions versus
| | 06:42 | the Snow Leopards, and I am good to go.
| | 06:46 | In addition to titles, iMovie
has added Sports teams to your
| | 06:50 | available transitions.
| | 06:52 | Let's go ahead and drop one in.
To change it, simply select it and select which
| | 07:00 | team's logo you want to transition through.
| | 07:03 | Press the spacebar and take a
look at what you have created.
| | 07:06 | (video playing)
| | 07:15 | So as you can see, using the Sports
theme doesn't necessarily confine you to its
| | 07:20 | defaults; it opens up a whole new world
of transitions and titles to bring your
| | 07:25 | movie up to the next level.
| | Collapse this transcript |
| Exploring editing strategies| 00:00 | Now when creating a sports highlight
video, remember, you are telling a story, and
| | 00:05 | all stories should have a
beginning, a middle, and an end.
| | 00:08 | Let's take a look at some of the
strategies you should use when creating almost
| | 00:12 | any video for your audience to watch.
| | 00:15 | Let's open up project 02_03. And as
you see, I already have some clips in the
| | 00:21 | timeline, just to give you an idea of
how I might start creating a sports video.
| | 00:25 | I am going to go ahead and play this.
| | 00:28 | Now if you hit the Backslash key,
which is directly under the Delete key on
| | 00:31 | your keyboard, no matter
where your playhead is,
| | 00:34 | it will always play your
show from the beginning.
| | 00:37 | (video playing)
| | 00:42 | (Roberto: Hello my name is Roberto and today we
are going to play soccer at the Viola Park in
| | 00:47 | (Carpinteria, California. The Viola Park is located)
| | 00:53 | Now let's examine what we
just saw and remember, we
| | 00:56 | haven't fine-tuned the edit yet.
| | 00:58 | There is lots of room to
really fine-tune this program.
| | 01:01 | But what I wanted to do is I wanted
to start the show with a title and a
| | 01:05 | little bit of action to grab the
audience, and then I want an interview so we
| | 01:08 | know what's going on.
| | 01:10 | Let's go ahead and delete all these clips
from the Timeline and build it from scratch.
| | 01:16 | To select all the clips in your
Timeline, simply press Command+A and then you
| | 01:21 | can hit the Delete key.
| | 01:22 | So the first thing I want to do is I
want to come up with a good action shot.
| | 01:26 | I am not going to worry about the fade-up from
black right now; I just want to build my story.
| | 01:31 | Now one of the things you need to do
when working in iMovie is to tag all your
| | 01:35 | footage with keywords so you can easily find it.
| | 01:38 | I have pre-tagged all of this footage,
so we don't have to go through that step.
| | 01:42 | To take a look and find your keyword
tags, simply go up to your Event Library and
| | 01:48 | press the little magnifying glass button.
| | 01:50 | And as you see, there is a whole list of
tags that I applied to this footage. If
| | 01:56 | I want to refine which shots I am
looking at, all I have to do is go to this
| | 02:00 | little pill box and press the
green button for what I want to see.
| | 02:05 | So in this case, I want an action shot,
| | 02:08 | so now it's refined my list to things
that I have just highlighted as action
| | 02:12 | shots. But I want to find
out even more than that.
| | 02:15 | I want to list action shots and maybe
a shot where they are making a goal.
| | 02:19 | So by pressing the green button next to
goal! I am looking at any shots that are
| | 02:24 | action and any shots that are a goal.
| | 02:27 | If I go down here and switch from Any
to All, I will only see shots that I've
| | 02:32 | keyworded with both action and goal
and it will give me a smaller number.
| | 02:38 | Now I can easily skim through the
shots to find out which is the best opening
| | 02:42 | shot for my program.
| | 02:46 | And this is the one I like, because we are
about to go to an interview with Roberto,
| | 02:50 | so why don't we see him making the
first goal? We will select the range of the
| | 02:55 | clip that we want to put in.
| | 02:56 | Now this clip is eight seconds long, and
if we put an eight-second-long clip in,
| | 03:00 | it is not as exciting as may
be a three- or four-second clip.
| | 03:03 | Keep in mind, the faster pace you
cut at, the more exciting your show is.
| | 03:08 | If you go ahead and watch something on
television, you will see that most shots
| | 03:11 | change about every four to six seconds.
| | 03:13 | In our case, I think about two
or three seconds might be good.
| | 03:17 | So what I want to do is I want to make
sure I get the goal at the end, so when
| | 03:20 | I select the range, I am going to
start at the back and pull my cursor to the
| | 03:25 | left to select the shot.
| | 03:26 | And I want to make sure we see who
makes the goal, so I am going to pull it
| | 03:29 | back far enough that we can see Roberto
running towards the goal and kicking the ball.
| | 03:34 | Now to bring it into the Timeline,
simply press the E key--remember that stands
| | 03:38 | for edit--and it drops the clip into my Timeline.
| | 03:41 | So once we see him make the goal,
the next thing I want to do is I want to
| | 03:45 | hear his interviews.
| | 03:46 | So let's go back to our filter by
keywords and we are going to turn off action
| | 03:51 | and goal, because if I don't turn off
action and goal and I slide down to, say,
| | 03:55 | give me action, goal, and interview,
| | 03:59 | I don't see anything, because I have All
selected. And so I am going to go ahead
| | 04:03 | and turn off action and turnoff goal
and now I will see all the shots in my
| | 04:08 | program that I keyworded as an interview.
| | 04:11 | And we can go ahead and listen to what he
is saying and pick the shot that we want.
| | 04:19 | (Roberto: Hello, my name is Roberto, and today we
are going to play soccer at Viola Park in Carpinteria, California.)
| | 04:27 | That's a pretty nice sound bite.
I don't need the extra space at the end.
| | 04:29 | So I am going to go ahead and select this.
| | 04:32 | Now here is a trick, whenever you are
editing an interview: it's nice to see
| | 04:37 | the audio waveforms because I can see when
he starts talking and when he stops talking.
| | 04:41 | So I am going to go down here and click
this little button that actually shows
| | 04:45 | or hides my audio waveforms.
| | 04:47 | And I can see very easily he starts
talking here and he stops talking a little bit before the clip ends.
| | 04:53 | So I will select that range and hit the
E key to bring it down into my Timeline.
| | 04:59 | Now I have already pre-selected what I
think are some of the best sound bites,
| | 05:03 | so let's go ahead and add all three to
our show and then we will refine the edit.
| | 05:09 | (Roberto: The Viola Park is located south of Carpinteria.)
| | 05:12 | Now if you notice the last thing he
said in the clip I edited in was, "where
| | 05:16 | they are playing soccer."
| | 05:18 | And then I found a description of
the park that they are playing in, and I
| | 05:21 | thought this will be a
nice combination of scenes.
| | 05:25 | Now I have selected the clip, but I
have selected the whole clip by accident.
| | 05:29 | If I want to refine it, here is
another great trick: instead of grabbing the
| | 05:33 | end, I simply place my cursor where I
want the scene to start, hold down the
| | 05:37 | Shift key, and click. That automatically moves
the range to the beginning of my interview bite.
| | 05:44 | Now if you needed more fine-tune control,
remember, you can go down to the slider
| | 05:49 | and instead of seeing one clip or piece
of media, I can slide this to my left and
| | 05:53 | see a lot more detail and refine
my edit before I even bring it in.
| | 05:58 | Holding down the Shift key, I will
press the in point and then I will scroll
| | 06:02 | down and I will find the out point that I want.
| | 06:05 | (Roberto: It is right on the cliff.
It's a gorgeous locations, it's--)
| | 06:10 | "I think it's a gorgeous location" is exactly
| | 06:13 | where I want the out point to be, so
I select that and press the E key to bring
| | 06:17 | it into my Timeline.
| | 06:18 | We are going to bring in one more clip
of an interview that was done inside, and
| | 06:23 | we will clean up the audio later.
| | 06:24 | (Roberto: Today I am going to go play against a
bunch of coworkers and just random people here from Carpinteria.)
| | 06:34 | So this clip is pretty good in its
entirety. I am going to go ahead and select
| | 06:37 | the whole clip and bring it in and we
will fine-tune it later in the Timeline.
| | 06:41 | So I will simply select the clip and
once again press the E key to bring it
| | 06:46 | down to my Timeline.
| | 06:47 | Let's go take a look at how the entire
interview sounds, as well as that grabbing
| | 06:51 | shot of Roberto making that first goal.
| | 06:54 | I am going to move my playhead to the
beginning of the show and press the Backslash key.
| | 06:59 | (video playing)
| | 07:02 | (Roberto: Hello, my name is Roberto, and today we
are going to play soccer at Viola Park in
| | 07:07 | (Carpinteria, California.
The Viola Park is located south of Carpinteria)
| | 07:13 | We have a good start with
| | 07:15 | putting our clips in the Timeline, and
we will need to refine it by tightening
| | 07:18 | them up and putting in some cutaways.
| | 07:20 | We will be working on that
throughout the rest of the course.
| | Collapse this transcript |
| Trimming with the Precision Editor| 00:00 | Let's open up project 02_04 and take a
look at how we can use the Precision
| | 00:05 | Editor to trim off all the extra bits
and pieces of our video and our interview
| | 00:10 | so it moves much more quickly.
| | 00:13 | To get into the Precision Editor,
go ahead and click on the little cog that
| | 00:17 | appears whenever you hover
your mouse over any of the clips.
| | 00:21 | You'll select it and choose Precision Editor.
| | 00:24 | The Precision Editor will open up in
place of the Event Library, but it's kind of
| | 00:29 | a small space to work with.
| | 00:30 | So we are going to go ahead and swap
out our Project Library, or our Timeline,
| | 00:35 | with the Precision Editor so
we have a little more space.
| | 00:38 | Click on the Swap Events and Projects
button and you will see, now you have a lot
| | 00:42 | more space to work with.
| | 00:44 | Now to get deeper into the Precision
Edit tool, to actually work on the edit that
| | 00:48 | we want to refine, click on the
little blue dot between the two clips.
| | 00:53 | iMovie will put the first clip, or
sometimes referred to as the outgoing clip, on
| | 00:58 | top, and the second clip, or the new
clip, or the incoming clip, on the bottom.
| | 01:03 | Now because we are dealing with sound,
we once again want to make sure that our
| | 01:08 | audio waveforms are turned on,
| | 01:10 | so go ahead and click on
the Audio Waveform button.
| | 01:14 | Now if it appears as if they are turned
on and you are not seeing them, go ahead
| | 01:18 | and click on the Audio Waveform button
to toggle it off, and toggle it back on
| | 01:22 | again, and your screen will refresh.
| | 01:25 | Now with the waveforms turned on,
it's much easier for me to fine-tune the edit.
| | 01:30 | If I want to play back the actual edit
point, I need to make sure that my cursor
| | 01:34 | is on the gray line.
| | 01:35 | Go ahead position your playhead
before the edit and hit the spacebar.
| | 01:43 | So even before we fix the interview bite,
which starts a little bit late, we are
| | 01:48 | looking at that soccer ball way too long.
| | 01:50 | So what I want to do is hover my cursor
over the exact point where I want to cut
| | 01:55 | away and when I get to the point of
the cut, I simply click on the clip.
| | 02:00 | iMovie will automatically move
my edit point to that position.
| | 02:04 | Let's go down and do the same
thing with Roberto's interview.
| | 02:07 | I am going to place my cursor over
where I see his waveform that he starts
| | 02:11 | talking and simply click.
| | 02:14 | Now let's go back and play the edit point.
| | 02:19 | It still is a little bit long for
that ball, so I am going to go ahead, move
| | 02:22 | it over here as it goes in, and just when the
pan stops, I am going to go ahead and click.
| | 02:28 | One more time. We can hit play.
But wait, we are not seeing the edit point.
| | 02:35 | Remember, wherever your cursor hovers
over is the scene you are going to play.
| | 02:40 | So if you just wanted to play the top clip--
that's where my cursor is, that's why we saw that.
| | 02:44 | Remember to move your cursor over the
gray bar and now when you hit the space-
| | 02:48 | bar to play, you will
actually see the edit point.
| | 02:51 | (Roberto: Hello my name is Roberto)
and that is a much nicer, tighter cut.
| | 02:56 | Let's go ahead and fix the next edit point
so you can see how quickly it can be done.
| | 03:01 | To go to the next edit point, I simply
click on the blue dot. It swaps out the
| | 03:06 | clips and I can see where my cut points are.
| | 03:08 | I hover our mouse exactly where
I want the edit to be, and click.
| | 03:13 | And I do the same thing at the bottom.
| | 03:16 | Now if I wanted to play around where my
playhead is parked, I can use the bracket keys.
| | 03:22 | The left bracket key will play about a
half a second before and half a second
| | 03:26 | after my edit point. It's a little tight for me,
| | 03:29 | so I am going to use the right bracket key.
| | 03:31 | (Roberto: The Viola Park is located)
| | 03:33 | And that will actually play a second
and half on either side, so I can really
| | 03:37 | feel the rhythm of the edit.
| | 03:39 | So I'm liking where this is going, but
I want to make one more change that's
| | 03:43 | really going to notch up the feel and
look of my piece, that it can only be done
| | 03:47 | in the Precision Editor.
| | 03:48 | We are going to create what's called a
J-Cut. Now it may sound a little bit odd
| | 03:53 | a J-Cut--and the other term you might
hear is an L-Cut--but what this really
| | 03:56 | means is you are seeing the video of
one scene and the audio of the next scene
| | 04:01 | is being snuck under so
the transition feels smoother.
| | 04:05 | You see this in episodic
television and movies all the time.
| | 04:08 | So what I really want to do is I want
to make sure that we hear Roberto start
| | 04:13 | talking while we still are
seeing him make the goal.
| | 04:16 | Let's step back to this edit.
| | 04:18 | The trick here is to first change the
edit point and actually step on his audio.
| | 04:24 | So if I go down here and I hit play--
(Hello my name is Roberto,)
| | 04:28 | I want to hear that under the goal,
| | 04:29 | so I am going to go ahead and when he
says "Roberto," I am going to click. And you
| | 04:33 | will notice if I play this edit by
hitting the right bracket key, the
| | 04:39 | cut is there, but I lost
"Hello, my name is Roberto."
| | 04:42 | Here is the trick: move your cursor to
the very bottom of the clip just where
| | 04:47 | it's hovering over the audio part of the clip.
| | 04:50 | Click and drag to the left. Now when I let
go, take a look how the clip is highlighted.
| | 04:55 | You will notice that it is great
here. That means that part of the clip is
| | 05:00 | offline, but the audio
starts before the picture starts.
| | 05:05 | Let's go ahead and play back the entire sequence.
| | 05:09 | (video playing)
| | 05:11 | (Roberto: Hello my name is Roberto and today we are
going to play soccer at the Viola Park.)
| | 05:15 | So that was nice. I actually hear
him talking before I see him and the
| | 05:20 | transition is much more natural.
| | 05:22 | Once I have all my edits refined in the
Precision Editor, I can simply press Done
| | 05:27 | and step back into regular editing.
| | 05:29 | Let's go ahead and switch our screens
so that our Event Library is back in the
| | 05:34 | upper-left and our timeline is at the bottom.
| | 05:38 | The Precision Editor is a great way
to very quickly refine where your cut
| | 05:43 | points are.
| | Collapse this transcript |
| Working with cutaways| 00:00 | In the previous movie, we refined out edit
| | 00:02 | so we didn't have any empty space
before Roberto started speaking, but we did
| | 00:07 | raise another issue and that is
jump cuts between his sound bites.
| | 00:11 | Let's step into 02_05 and take
a look at how we can fix that.
| | 00:15 | I am going to go ahead and play the
sequence because we are going to discover
| | 00:20 | two important things that need to be fixed.
| | 00:22 | Let's go ahead and start
already with the interview.
| | 00:25 | (Roberto: the Beulah Park in Carpinteria, California.)
| | 00:28 | (The Beulah Park is located south of
Carpinteria near Seeds, S&S Seeds.)
| | 00:37 | So I have two problems.
| | 00:38 | I obviously have a jump cut where he is
in the same location and I want to hide
| | 00:43 | that under B-roll or cutaway.
| | 00:44 | I have also discovered he is saying
the name of a building that's really not
| | 00:48 | important to my story and
I need to cut that out too.
| | 00:52 | Let's go ahead and cut that out before
we put in the cutaways, which will make
| | 00:56 | our life a lot easier.
| | 00:58 | Now if I want to see more detail, I am
going to once again go down to my slider
| | 01:02 | and simply move it to the left so I can
see more detail in the audio waveform.
| | 01:07 | I am going to grab the slider and move
it over and find the exact part where he
| | 01:12 | refers to the other building.
| | 01:14 | (Roberto: Near Seeds, S&S Seeds.)
| | 01:19 | So I want to simply grab this and I
will move it back, so I am going to place
| | 01:23 | my cursor and drag to the left. And I
want to make sure that's the exact sound
| | 01:27 | bite I want to cut out.
| | 01:28 | So I am going to press the forward
slash key--that's the key directly under the
| | 01:32 | question mark--and I can just play my selection.
| | 01:35 | (Roberto: Near Seeds, S&S Seeds.)
| | 01:40 | So what I want to do is I want to
delete this section of the clip.
| | 01:44 | I can do that by simply going up to the
Edit menu and choose Delete Selection.
| | 01:51 | I can also simply press the
Delete key on my keyboard.
| | 01:57 | So we have removed this chunk of the
clip and created another problem while
| | 02:01 | fixing the audio bite, and
that's, again, another jump cut.
| | 02:03 | (Roberto:--Carpinteria, company. It's right on the cliff.)
| | 02:07 | I still have the word "company" in there,
| | 02:09 | so let's go ahead and refine this another way.
| | 02:12 | I am going to zoom in a little bit more.
| | 02:14 | So we can see our waveform and
I am going to simply hit play.
| | 02:17 | (Roberto: The Beulah Park, company.)
| | 02:20 | So I want to get out company, so now I
am going to select the rest of the clip
| | 02:29 | and instead of going up under the Edit
menu, where we selected Delete Clip, I am
| | 02:33 | going to go up to the Clip menu,
and this time say Trim to Selection.
| | 02:38 | So now iMovie will only keep
the range that I have selected.
| | 02:43 | Let's go ahead and listen to playback.
| | 02:48 | (Roberto:--Carpinteria. It's right on the cliff, it's a--)
| | 02:51 | The audio sounds good, and
we can put in our cutaways.
| | 02:55 | I am going to go ahead and move over to the
first place there was a cut, which is over here.
| | 03:01 | Let us go ahead and take a
listen to what Roberto is saying.
| | 03:04 | (Roberto:--Viola Park in Carpinteria, California.
| | 03:07 | (The Viola Park is located south of
Carpinteria. It's right on the cliff.)
| | 03:12 | So he is describing the park.
| | 03:13 | So the first thing we want to do
is look at an image of the park,
| | 03:17 | and I can find that under the keyword
of landscape. And the first clip that I
| | 03:23 | find is a simple pan of the park.
| | 03:26 | So what I want to do is select a range
of this that looks nice, drag it down
| | 03:30 | to my Timeline, and drop it directly over the
sound bite of Roberto talking about the park.
| | 03:36 | Now it's important to note that wherever I
let go is where the cutaway is going to start.
| | 03:41 | So what I really want to do is start it
right when he starts talking about it.
| | 03:45 | So I want to move it to
the very head of the clip.
| | 03:47 | Now be careful. If you go too far, you
will see a green bar, and that is going to
| | 03:51 | basically insert the shot
between his sound bites.
| | 03:55 | So make sure that you move it over a little
bit so you don't see the green bar, and let go.
| | 03:59 | Now when you let go of the
mouse, you will see this dialog box.
| | 04:03 | We don't want to do any kind of replace;
what we want to do is we want to select Cutaway.
| | 04:09 | As soon as we select Cutaway, the video
is put on top, obscuring our jump cut.
| | 04:14 | Let's take a look.
| | 04:15 | (Roberto:--park is located south of Carpinteria.
It's right on the cliff, it's a gorgeous--)
| | 04:21 | Well that's really nice.
| | 04:22 | It does hide our jump cut. But it is a
little bit long, and I would like to see
| | 04:26 | what he is talking about, which is that
it is situated overlooking the cliff.
| | 04:30 | So let's go ahead and shorten this clip
by grabbing the right side and dragging
| | 04:34 | it right to the edge of our cut point.
| | 04:37 | Now the next clip we want to put in is
the cutaway shot. I think this is a
| | 04:41 | really pretty shot of the boats.
| | 04:43 | I also have a pan here.
| | 04:45 | Since we're going from a pan already,
I think putting another pan in will
| | 04:49 | be nice continuity.
| | 04:51 | So I am going to pick it up where we
are panning over and seeing the ships,
| | 04:54 | select the range I want, and once
again, drag it down to my Timeline.
| | 04:58 | I want to place it just at the edge of
the outgoing point of our cutaway, let go
| | 05:05 | of the mouse, and choose Cutaway.
| | 05:08 | Let's go see how that plays back.
| | 05:10 | (Roberto: south of Carpinteria.
It's right on the cliff.)
| | 05:14 | Well it's almost perfect,
but it's not quite there.
| | 05:17 | If you notice, we saw a flash frame of
Roberto's interview, because if I looked
| | 05:22 | very closely, I would see these
two clips are not quite touching.
| | 05:26 | Let's zoom in so you can
actually see this on the Timeline.
| | 05:34 | There is our little gap right
there where we see his face pop in.
| | 05:38 | All I want to do is move this clip
over a couple of frames, so I can simply
| | 05:42 | select it and using the
left and right arrow keys,
| | 05:45 | I can move it left and right to remove
that frame and cover it with my cutaway.
| | 05:50 | Let's see how that looks.
| | 05:52 | I am going to hit the right bracket key
to play a second and half before and a
| | 05:56 | second and half after the cut point.
| | 05:58 | (Roberto:--south of Carpinteria. It's right on the
cliff. It's right on the cliff.)
| | 06:03 | Perfect. Let's go ahead zoom back out a little
bit and add one more clip for our cutaways,
| | 06:08 | because if we come to this point where
he is talking about who is going to play
| | 06:12 | with, the audience is going to go, "Wait
a second, wasn't he just outside, what
| | 06:15 | is he doing inside?" and they will be confused.
| | 06:17 | So we are going to cover this over
because we like the sound bite but we
| | 06:21 | don't like the image.
| | 06:23 | So what we want to use is we want to
use a shot of the players walking onto the
| | 06:28 | field, and I have labeled
one of our keywords pregame.
| | 06:32 | I am going to click on that to select it,
and let's go ahead and turn off landscape.
| | 06:37 | Now I found the shot of all of
his friends walking onto the field.
| | 06:41 | We will select a range and do
the same thing that we did before.
| | 06:45 | I am going to drag it and
drop it onto my Timeline.
| | 06:49 | Now I don't want this cutaway to be
too long. I want it to be balanced with
| | 06:52 | the other cutaways.
| | 06:53 | So I am going to drop it over here and
even though I am going to have a huge
| | 06:56 | gap, I can go ahead and edit
this clip and stretch it out.
| | 07:02 | So this covers our B-roll, but
what we need to cover this up.
| | 07:05 | So I am going to select the clip, go to
the dropdown menu, and I am going to go
| | 07:09 | to the Clip Trimmer.
| | 07:10 | And the reason I am going go to the
Clip Trimmer is because if you try to
| | 07:13 | grab this edge, you can move it to the left,
but you can't move it anymore to the right.
| | 07:19 | If I go into the Clip Trimmer, I can see that
what I have done is I have run out of media.
| | 07:25 | So I am going to do a cool little trick
here. I am going to move the clip over
| | 07:29 | so it starts earlier and grab the end
and stretch it out, and now it bumps into
| | 07:35 | the other shot and we
should have a nice smooth edit.
| | 07:38 | I am going to click done, go back
here to my Timeline, hit the spacebar--
| | 07:43 | (Roberto:--this location. Today I am going to go
play against a bunch of coworkers.)
| | 07:48 | And I have the edit that I have always wanted.
| | 07:50 | As you can see, as long as you know a
few tricks, using cutaways to cover over
| | 07:55 | jump cuts is pretty easy.
| | Collapse this transcript |
|
|
3. SoundReducing background noise and normalizing audio| 00:00 | Now that we have the interview edited,
let's take a look at making sure
| | 00:04 | the sound sounds good.
| | 00:06 | Let's step into project 03_01.
| | 00:10 | Now if we listen to Roberto's audio
at first blush, it sounds pretty good.
| | 00:15 | (Roberto: Today we are going to play
soccer at the Viola Park.)
| | 00:18 | It's just a little bit soft.
| | 00:19 | So to increase the volume, I am
going to open up the Audio Inspector.
| | 00:23 | I simply hover my mouse over the clip, go to
the cog and go and select Audio Adjustments.
| | 00:30 | A great keyboard shortcut is
simply pressing the A key, as in audio.
| | 00:37 | Now if we look at this dialog box,
there is a lot of things we can do to our
| | 00:40 | audio to make it better.
| | 00:42 | Well, the first thing I may
want to do is increase the volume.
| | 00:45 | So I am going to notch the volume up
and press the spacebar and listen to it.
| | 00:50 | (Roberto: Today we are going to
play soccer at the Viola--)
| | 00:52 | Now in addition to listening to the
way it sounds, I also have an audio level
| | 00:56 | meter over here on the right where
I can see the volume as it plays.
| | 01:01 | (Roberto: Today we are going to
play soccer at the Viola Park.)
| | 01:04 | Now the key here is to make it as
loud as you can without going into this
| | 01:08 | yellow or red area.
| | 01:10 | Let's go ahead and increase the
volume all the way and see what happens.
| | 01:14 | (Roberto: Today we are going to
play soccer at the Viola Park in Carpinteria.)
| | 01:19 | This audio is pretty quiet,
so I can keep it at that level.
| | 01:23 | Other things that I can do to fix my
audio would be to enhance it or to reduce
| | 01:28 | the background noise.
| | 01:29 | I am going to go ahead and turn this on and
play with the slider while I play the clip.
| | 01:34 | (Roberto: Today we are going to
play soccer at the Viola Park in Carpinteria, California.)
| | 01:39 | Well, we went from noisy to
good, to too much correction.
| | 01:44 | If you move this slider too far to
the right, not only are you removing the
| | 01:48 | background noise, you're actually
removing the frequencies of some of his voice.
| | 01:52 | So don't go too far with the slider.
We are going to slide it back to the middle
| | 01:56 | and get it just right.
| | 01:57 | (Roberto: Today we are going to
play soccer at the Viola Park in Carpinteria, California.)
| | 02:02 | Now another great feature of
iMovie '11 is the Equalizer option.
| | 02:07 | If I click where it says Custom, I get a
dropdown menu where I can enhance the
| | 02:11 | quality of the audio, if it's voice, if
it's music, if I want to reduce hum, and so on.
| | 02:17 | We are just going to select voice enhance.
| | 02:19 | (Roberto: Today we are going to
play soccer at the Viola Park.)
| | 02:23 | And what iMovie has done is it's boosted
the natural tone of his voice so it
| | 02:28 | sounds richer and clear.
| | 02:30 | Now there is another button
here called Normalize Clip Volume.
| | 02:34 | Sometimes this can be really helpful and
other times it is too much of a good thing.
| | 02:39 | What Normalize Clip Volume does is it
takes the softer part of the audio and makes
| | 02:43 | it louder and the louder part of
the audio file and makes it softer.
| | 02:48 | In this case if I turn on
Normalize Clip Volume and I hit play--
| | 02:52 | (Roberto: Today we are going to
play soccer at the Viola--)
| | 02:55 | it boost my audio so loud that it
gets over-modulated and distorted.
| | 02:59 | So I'm going to go ahead and remove
the normalization, and I am pretty happy
| | 03:03 | with how that sounds.
| | 03:04 | (Roberto: Today we are going to
play soccer at the Viola Park.)
| | 03:06 | I see it's a little bit hot, so I can
bring that slider down. And if I look at
| | 03:11 | my waveform, it is no longer touching red
or yellow, and let's go ahead and click done.
| | 03:17 | We are going to do the same thing to
the next clip, and I want you to see how
| | 03:20 | fast I can make that sound good.
| | 03:22 | I am going to press the A key to open
up the audio tool, press the spacebar.
| | 03:26 | (Roberto: Today we are going to
play soccer at the Viola Park.)
| | 03:34 | Reduce my noise and enhance the voice.
| | 03:39 | So now I very quickly fixed this audio.
And instead of doing the same thing over
| | 03:44 | again--reinventing the wheel, as they
say--I can simply select this first clip,
| | 03:51 | choose Copy, select any other clips
with the same location and same audio
| | 03:56 | quality, and choose Paste Adjustments > Audio.
| | 04:02 | Now if we go down to this clip and
select the Audio Inspector you will see
| | 04:07 | that all of the changes I made have been
applied, a really quick way to fix your audio.
| | 04:14 | Now you might be saying to yourself
"Why didn't you just copy all the
| | 04:18 | adjustments off the first clip you
repaired onto clips two and three?"
| | 04:22 | I want to point out that you need to be
sensitive that the quality of the audio is the same.
| | 04:27 | In this case, the camera was actually
further back and zoomed in, so his audio
| | 04:31 | was much softer and we were
picking up a different noise background.
| | 04:35 | So just because the clip may look the
same, listen to the audio before you
| | 04:41 | randomly start pasting adjustments.
| | 04:44 | Let's go ahead and listen to clips one,
two, and three in succession to see how
| | 04:48 | they sound against each other.
| | 04:51 | (Roberto:--At the Viola Park,
in Carpinteria, California.)
| | 04:54 | (The Viola Park is located south
of Carpinteria. It's right on the--)
| | 04:59 | So two and three sound pretty good
because they came from the same location, but
| | 05:03 | one is still a little bit soft. So I
could go ahead and grab the slider and
| | 05:08 | bring it up to make it louder or
bring it down to make it softer.
| | 05:12 | Let's see if we can fine-tune it,
just so it is about the same level of
| | 05:16 | clips two and three.
| | 05:18 | (Roberto--at the Viola Park in
Carpinteria, California.)
| | 05:21 | (The Viola Park is located--)
| | 05:23 | I think that sounds pretty good.
Making sure that your audio levels are all
| | 05:29 | equal and your noise is reduced is the
important first step in making sure your
| | 05:34 | movie sounds great.
| | Collapse this transcript |
| Mixing interviews and natural sound| 00:00 | Now that we have our interview more
fine-tuned, let's go listen to some other
| | 00:04 | problems that we might have with our program.
| | 00:07 | I'm going to step into project 03_02 and
take a listen to some of the audio in my B-roll.
| | 00:15 | (Roberto: The Viola Park is
located south of Carpinteria.)
| | 00:18 | Now I have a problem with clips one and
three because people are talking, and I
| | 00:22 | find this distracting, especially in the
first clip, because I don't even see any people.
| | 00:27 | So what I want to do is bring the audio
levels down for my cutaways, but I want
| | 00:31 | to replace it with some nice, ambient sound
that you would have heard during the interview.
| | 00:36 | So let's go up to our Event Library--and
I've already clicked on, I only want to
| | 00:40 | look at my establishing shot. I'm going
to go ahead and unclick that because your
| | 00:43 | window might look like this, and I'll
just refine my keyword search to the
| | 00:48 | establishing shot, because that's
where the audio is that I want to grab.
| | 00:51 | I'm going to select the whole clip and
drag it down to the Timeline and drop it
| | 00:57 | directly on Roberto's interview.
| | 01:00 | Now when I let go of the mouse,
you will see a pop-up window that looks
| | 01:03 | similar to what we have seen, but you
will notice there is no option to add a
| | 01:07 | cutaway. That's because there
is a cutaway in our show already.
| | 01:10 | But now we can focus on another
great option, which is Audio Only.
| | 01:14 | By selecting Audio Only, iMovie
places the sound from that clip in my
| | 01:19 | Timeline and not the video.
| | 01:22 | I'm going to go ahead and drag that
to the left a little bit so the ambient
| | 01:25 | sound starts when we go to the cutaway.
| | 01:28 | Now my ambient sound isn't long
enough to go through clips two and three,
| | 01:33 | so what I want to do is that another clip of
ambience to the back half of the interview.
| | 01:40 | Going through the same steps, I can
select the whole clip and bring it down and
| | 01:45 | drop it directly on clip number three.
| | 01:50 | Now you will notice the audio overlaps,
and this is great because I want a
| | 01:53 | smooth transition from the first audio
clip to the second audio clip. And there
| | 01:58 | is a nice little trick that can help you out.
| | 02:00 | If you hover your cursor on the very
end of a clip, you will see a little
| | 02:03 | nodule pop up. That allows you to put
an audio fade-in at the end of the first
| | 02:08 | clip and another audio fade at
the beginning of the second clip.
| | 02:13 | Now our ambience will smoothly transition
between the first and the second effect.
| | 02:19 | So one of the problem is solved, but
I am still hearing the voices from my
| | 02:24 | first set of cutaways.
| | 02:25 | So let's scroll back up and simply bring
down the volume of tracks three and track one.
| | 02:32 | Now even though there is no talking in
track two, if I add the sound effects
| | 02:37 | from the original cutaway and my
ambient sound, it's going to boost up the
| | 02:41 | volume a little bit, and I don't want that.
| | 02:43 | So let's go ahead and bring the
sound down on all three clips.
| | 02:47 | Let's play it back and hear how it sounds.
| | 02:49 | (Roberto:--south of Carpinteria. It's right
on the cliff. It's a gorgeous location.)
| | 02:53 | (Today I'm going to go.)
| | 02:56 | So the ambience is really nice, but
when listening to this, I just noticed
| | 03:00 | another challenge--that is, between
Roberto's first and second sound bite, it
| | 03:06 | seems to drop off. And if I look at it, it
looks fine, but I'm not sure what is going on.
| | 03:11 | If I move my cursor over the sound part of
his interview, I see there's also a fade bar.
| | 03:17 | Now let me zoom into more detail on
my Timeline so you can really see it.
| | 03:21 | I'm going to simply grab my five second
slider, move it over to the left so we
| | 03:26 | see quite a bit of detail.
| | 03:28 | Now when I place the cursor over the
audio, I can actually see that iMovie has
| | 03:33 | put in a fade at the end of my first
clip and the beginning of my second clip.
| | 03:38 | So to fix that problem, I simply grab
the nodule, drag that to the left, and grab
| | 03:43 | the nodule on the first one and drag
it to the right, and let's take a listen.
| | 03:47 | (Roberto:--from Carpinteria, it's right on the cliff.)
| | 03:50 | Much smoother. Let's go ahead and zoom back out.
| | 03:55 | Another thing I want to add is a
little bit of a sound effect at the
| | 03:58 | beginning of my show.
| | 04:00 | If we listen to that first score of the
goal, it's exciting, but it doesn't sound
| | 04:06 | as exciting as I want.
| | 04:07 | So let's go ahead and add a sound
effect which is already in my library.
| | 04:12 | Let's go ahead and add the
sound effect of people cheering.
| | 04:16 | If you go over to the right side of the
interface, you will see a little musical note.
| | 04:21 | This will allow you to take a look
at music and sound effects that are
| | 04:24 | available to you in iMovie.
| | 04:27 | When you install iMovie, you
automatically get a bunch of free sound effects, as
| | 04:31 | well as iLife sound effects.
| | 04:34 | You can also access your iTunes
library if you have any music in there.
| | 04:38 | Now underneath the iLife sound effects,
there is 418 different effects that you
| | 04:43 | can add to your show.
| | 04:45 | I'm not going to search through these
one by one because it will take me forever.
| | 04:49 | I'm going to simply go into the
search music category and type in the word
| | 04:53 | "cheer," and it refines the list to
just sound effects of people cheering.
| | 04:59 | If I want to listen to those I can select them and hit the play.
(cheering and clapping)
| | 05:08 | Clicking on it again will stop it, or simply
double-clicking on any clip and I can hear it.
| | 05:15 | Well, I think the kids cheering isn't
quite appropriate, but I do like the arena
| | 05:19 | crowd cheer, and I'm going to
drop it onto the first clip.
| | 05:22 | To do it, I just click to select it and
drag it over and drop it on my very first clip.
| | 05:28 | Now I want the cheer to happen right
when the goal is scored, so I will drop
| | 05:33 | it about right here.
| | 05:35 | You will notice it adds this new sound
effects and moves everything out of the
| | 05:40 | way, not deleting any of my other ambient sound.
| | 05:43 | Now this cheer is a little bit too
long because it's going to be distracting
| | 05:46 | while Roberto talks. Take a listen.
| | 05:48 | (Roberto: Hello, my name is Roberto and
today we are going to play soccer.)
| | 05:54 | Yeah, they are cheering a little bit too
long, but it is easy enough to fix that
| | 05:58 | by grabbing the very edge of the clip
and dragging it to the left, just ending
| | 06:06 | right when he is starting to speak.
| | 06:07 | I'll bring the volume down a little bit
and add a little bit more of a fade-out.
| | 06:12 | Let's take a listen.
| | 06:13 | (cheering)
(Roberto: Hello, my name is Roberto, and today--)
| | 06:19 | Well, it sounds good, but I think
it is a little bit over the top.
| | 06:23 | So let's go ahead and remove that.
To remove the sound effect, simply select it
| | 06:28 | and press the Delete key.
| | 06:31 | As you can see, or I should say, as you
can hear, adding ambient sound and sound
| | 06:36 | effects to your program can
really bring it up to the next level.
| | Collapse this transcript |
| Adding and mixing music| 00:00 | Now, we've put together our interview
and added some sound effects and some
| | 00:04 | ambient sound to make everything sound
smooth, but what this piece really needs
| | 00:09 | is the music to give it some energy.
| | 00:11 | Let's step into project 03_03.
| | 00:16 | To add music to any of your videos is
pretty simple. Go over to the right side
| | 00:20 | of your screen and click
on the little musical note.
| | 00:24 | This will show the musical and sound
effects browser, and inside of this browser
| | 00:29 | are your iLife sound effects, iMovie
sound effects, and if you have any music in
| | 00:33 | your iTunes Library, those
songs will also be available.
| | 00:37 | Now inside the iLife sound effects
library is a whole library of jingles, and
| | 00:42 | if I select that, I can see that there
is 200 different songs, or versions of
| | 00:47 | songs, available for you to use without
paying anybody any loyalty, because Apple
| | 00:53 | has given them to you.
| | 00:54 | Now I've already pre-selected a good
cut that will work with the soccer game.
| | 00:58 | Instead of searching through the whole
list, I'm going to click on the search
| | 01:03 | music dialog box and type in the word
"kick." And the song that I want to use is
| | 01:08 | Kickflip. And you can see there is
three different versions: an eight-second
| | 01:12 | short version, a 15-second medium
version, and a nice long 40-second version.
| | 01:18 | Since I really don't know how long
Roberto is speaking, I'm going to go and
| | 01:21 | shoot for the Kickflip Long
and bring it into my Timeline.
| | 01:25 | To do that, I simply select it like we
did with the sound effect and drag it
| | 01:30 | over and drop it right at
the beginning of our Timeline.
| | 01:35 | Now, let's go ahead and close on
music browser and listen to the music
| | 01:40 | against our action.
(music playing)
| | 01:44 | (Roberto: Hello, my name is Roberto, and today
we are going to play soccer at Viola Park in Carpinteria.)
| | 01:50 | Now I really like the way this music
picks up the pace or the feel of my movie,
| | 01:55 | but once he starts speaking, it
actually overshadows his voice, so I need to
| | 02:00 | reduce the volume. And this is
easy enough to do in iMovie '11.
| | 02:05 | All I need do is click on my audio file,
and I pick a range of the audio and I'm
| | 02:10 | just going to stretch it out
all the way to the end of my clip.
| | 02:14 | Now using the same technique that we
used to reduce the volume of our B-roll, I
| | 02:18 | can bring the volume of the music
down just a little bit and iMovie will
| | 02:22 | automatically create a nice smooth
transition from the loud music, when we're
| | 02:27 | just covering the first goal, to a
softer sound when Roberto speaks.
| | 02:31 | Let's take a listen.
| | 02:33 | (Roberto: Roberto, and today we are going to play
soccer at Viola Park in Carpinteria, California. The Viola Park is--)
| | 02:40 | Well I really like the way that it dips,
but the music by itself gets a little
| | 02:44 | bit louder here, so let's just bring
that volume just a hair to really truly
| | 02:48 | be background music.
| | 02:50 | You don't want to step all over your interview.
| | 02:53 | (Roberto: The Viola Park is located south of
Carpinteria. It's right on the cliff. It's a gorgeous location.)
| | 02:59 | Much better. It adds to the energy of my
piece without overshadowing the interview.
| | 03:05 | Another way that you can reduce
the volume of all the other sounds is
| | 03:09 | something called ducking.
| | 03:11 | I'm going to go ahead and return
the volume of Kickflip Long back to
| | 03:15 | its original levels.
| | 03:16 | I am going to press the A key to open
up the Audio Inspector and at the very
| | 03:22 | bottom, you see there is an
option that says Revert to Original.
| | 03:26 | This will bring the music back to its
pristine state. But while I have this open,
| | 03:30 | you will notice there is something
that says Reduce volume of other tracks.
| | 03:33 | This is what ducking is all about. Now
you want to be careful because you don't
| | 03:36 | want to reduce the volume of the other
tracks compared to the music; you want to
| | 03:40 | actually reduce the audio of
everything other than the interview.
| | 03:44 | So I'm going to click Done and select
Roberto's interviews. And I can simply
| | 03:50 | click on the last one, hold down the
Shift key, and click on the first one.
| | 03:54 | With all of the interviews selected, I
can simply press the A audio shortcut key
| | 03:59 | to open the inspector for all of these clips.
| | 04:02 | I'm then going to click on reduce
volume of other tracks and have it duck. And
| | 04:07 | let's go ahead and press Done.
| | 04:11 | Let's listen to the music now, from the beginning.
(music playing)
| | 04:16 | (Roberto: Hello, my name is Roberto, and today we are
going to play soccer at the Viola Park in Carpinteria, California. The Viola Park is--)
| | 04:24 | Now as you noticed, the music and
every other audio track got lower when
| | 04:29 | he starts speaking.
| | 04:30 | This is really nice because what if I
swapped out Kickflip Long with another
| | 04:34 | kind of music? I won't have to worry
about manually ducking the audio, because
| | 04:39 | iMovie automatically ducks all audio
whenever the interview comes up, because
| | 04:44 | that is what I selected.
| | 04:45 | Now another thing that happened is the
ambient sound that we added earlier was
| | 04:51 | also lowered, or ducked under the
interview, so we can't really hear it all. Now,
| | 04:56 | because we have music, we probably
wouldn't need the ambient sound--it would
| | 05:00 | have been buried in the music anyway--
but if you want to make sure that you hear
| | 05:03 | the ambience and the music, you would
probably want to go back and raise the
| | 05:07 | overall level of your ambient sound,
because it is going to get ducked
| | 05:11 | automatically under the interview.
| | 05:14 | As you can see, adding music to your
show is of critical importance to really
| | 05:19 | make it move, but it's also just as
important to make sure you can hear the
| | 05:23 | sounds of the people speaking over the music.
| | Collapse this transcript |
|
|
4. Special EffectsCreating an instant editing effect using beat markers| 00:00 | In this next movie, we're going to
start looking at how you can put special
| | 00:03 | effects into your video to raise its look.
| | 00:07 | Let's step into 04_01.
| | 00:10 | As you see, I have already
added a lot of video to our movie.
| | 00:15 | I didn't want to take the time to show
you how to do basic edits because you
| | 00:19 | should already know how to do basic edits.
| | 00:21 | I just want to point out that with any
kind of a sports video, the faster you
| | 00:25 | cut it, the more exciting it is. So in
this case most of my shots are between one
| | 00:29 | and two seconds, and maybe even less.
| | 00:31 | What I'd like to show you is how you
can add background music with beat markers
| | 00:35 | to do some really cool
cutting effects with a single click.
| | 00:38 | So the first thing we need to do is open up
our music library and grab a piece of music.
| | 00:45 | Now I found a cut called Progressive
House, which is located in your iLife library.
| | 00:50 | If you can't find it, simply start
typing P-R-O and it should pop up.
| | 00:54 | Now once you have the music cut selected,
we need to determine where we want to put it.
| | 00:59 | So ideally, I want to put it right where
the other music cut ends, so I am going
| | 01:02 | to simply drag it and drop it onto the
background--not onto a clip, but onto the background.
| | 01:09 | As you can see, it puts the
background music in all of the clips.
| | 01:12 | Let me just step back a little bit.
You can see the background music now
| | 01:16 | exists throughout the show, but I
don't want it to start until Roberto actually
| | 01:20 | finishes speaking.
| | 01:21 | Let's go back to our Timeline view and
close this window so we have a little
| | 01:26 | more real estate to work with.
| | 01:28 | To move where the background music
starts, I can simply grab it and drag it. You
| | 01:32 | will notice that it turns from green to purple
| | 01:37 | as we move it down because
we're pinning it to the shoe clip.
| | 01:40 | Now if you want to learn more about
background music, we cover that in much more
| | 01:43 | detail in the Essential
Training for iMovie '11.
| | 01:47 | Once the background music has been
positioned, let's go ahead and add beat
| | 01:51 | markers so we can create a special effect.
| | 01:53 | I'm going to scroll down the Timeline,
just where I think there will be a cool
| | 01:57 | shot that we could do some beat markers, and
this is the one that will be a lot of fun.
| | 02:01 | If I play this normally, it is just the
ref giving the yellow flag to the player.
| | 02:05 | (music playing)
| | 02:08 | Now that's frustrating for the player,
but let's notch it up a little bit.
| | 02:12 | So I want to add beat
markers to my background music.
| | 02:16 | To do that, I need to go into the Clip
Editing tool, which you can access under
| | 02:21 | the cog in the upper left-hand corner
of where the background music starts.
| | 02:26 | Open up the Clip Trimmer and we will
see our music here. And what I really want
| | 02:30 | to do is only put the beat markers into the
part of the music where I want that special effect.
| | 02:35 | So there is where the effect starts, and
that's where I want to put my beat markers.
| | 02:38 | I'll start a little bit early so I
can kind of get with the rhythm of the
| | 02:43 | music. I'm simply going to position my
playhead, hit the spacebar, and any time
| | 02:47 | I want to put a beat marker in,
I'm just going to hit the M key.
| | 02:51 | (music playing)
| | 02:59 | All I did was tap my finger on
the M key to the beat of the music.
| | 03:04 | Now once this is done, I can simply
close the Clip Trimmer. And if you notice, I
| | 03:09 | see my little beat markers
underneath where my video is.
| | 03:13 | To apply the effect, I simply select
the clip, go to the Clip dropdown menu, to
| | 03:19 | Special Effect, and choose Flip at Beat Markers.
| | 03:25 | iMovie then cuts out the video at the
beat marker and applies a Flip effect
| | 03:30 | to every other one.
| | 03:32 | Let's see how that looks.
(clip playing)
| | 03:43 | It is a pretty cool effect, a lot more
dramatic than just a single shot. Now
| | 03:48 | these are all individual clips.
| | 03:50 | So if it runs a little long, you can
just simply select one that might not work
| | 03:53 | and hit the Delete key.
| | 03:55 | Now whenever you try to re-position or
remove a clip when there is beat markers
| | 03:58 | in your background it will give you a
warning that it could throw off the
| | 04:01 | timing of the shots that occur after
this deletion. But in my case I haven't
| | 04:06 | done anything else with beat markers, so
I'm going to go ahead and hit Continue.
| | 04:10 | Using beat markers and some of the
clip effects are just one way that you can
| | 04:15 | take your program and give it even more energy.
| | Collapse this transcript |
| Creating picture-in-picture and split-screen effects| 00:00 | A really popular thing to do in any kind
of a sports video is to do pictures in
| | 00:04 | pictures or a split screen, which
in iMovie is called Side-by-Side.
| | 00:11 | Let's step into 04_02 and take a
look how Picture-in-Picture and
| | 00:14 | Side-by-Side works.
| | 00:15 | I'm going to jump to about almost a
minute into the program where we have the
| | 00:20 | ball being kicked in extreme close-up.
| | 00:22 | I have a lot of empty space on the
upper-right side, so that might be a good
| | 00:26 | opportunity to do a picture-in-picture.
| | 00:28 | Just for fun, instead of having a
direct cut between this shot and this shot,
| | 00:32 | I'm going to take a look at what it
looks like if I put the wide shot as a
| | 00:36 | picture-in-picture to
give a new feel to my video.
| | 00:40 | So let's go ahead and find the original
footage of this kick. I simply can click
| | 00:44 | on the clip in the Timeline, right-
click, and I can say Reveal in Event Browser,
| | 00:50 | and it automatically highlights those
frames of video that I've already used.
| | 00:55 | Now to do a picture-in-picture,
I grab the image from the event browser and
| | 00:59 | drag it on top of the image with the ball.
| | 01:01 | This is a lot like what we did
earlier on when we did a cutaway.
| | 01:05 | As a matter fact, when I let go, a
cutaway is one of my options. But for now I
| | 01:10 | want to do picture-in-picture.
| | 01:11 | So I'm going to click on that option,
and immediately the clip is put into my
| | 01:15 | Timeline, on top of the other clip.
| | 01:18 | Now if I move my playhead above that, I
can see that the picture-in-picture has
| | 01:22 | been placed in the upper right-hand corner.
| | 01:24 | Now I can move when the
picture-in-picture starts by simply grabbing it and
| | 01:27 | dragging it, but for now let's step
inside and see how we can modify this.
| | 01:33 | To modify the picture-in-picture, you
can do one of several things. I can grab
| | 01:37 | the edge and make it larger or smaller.
| | 01:39 | So if my picture-in-picture was too
small, I can also grab it in the middle and
| | 01:43 | reposition it anywhere I want within the video.
| | 01:46 | So if I don't want it in the upper
right-hand corner, I could simply move it down
| | 01:50 | here to the lower left-hand corner.
| | 01:52 | To bring this up to the next level,
we're going to step inside the Clip
| | 01:56 | Inspector by either clicking on the cog
in the second track and selecting Clip
| | 02:01 | Adjustments, or I could just
press the I key, as in inspector.
| | 02:06 | Now we have seen this a little bit
before, but you will notice there is something
| | 02:09 | new in here that we haven't looked at.
| | 02:11 | You will notice it says PIP effect.
What this allows me to control are several things.
| | 02:17 | Right now, it's set to none.
| | 02:18 | If I switch that to dissolve instead of
the image popping on and popping off, it
| | 02:23 | will dissolve on gradually and dissolve off.
| | 02:26 | Let's see how that looks.
(clip playing)
| | 02:32 | Now this is such a short clip that it
really doesn't work, so we will go back
| | 02:35 | and adjust that and take that off.
| | 02:38 | Other things that you can do with this
clip to kind of make it punch is to put a
| | 02:41 | border on it. You can put a thin black
border or thick black border, and you can
| | 02:47 | also change the color of the border
to either black, light gray, or white,
| | 02:52 | whatever looks best in your program.
| | 02:55 | Another nice thing to do with the
picture-in-picture is to give it a drop
| | 02:58 | shadow. A drop shadow gives it natural depth.
| | 03:01 | If I click on Drop Shadow it puts a little
bit of an edge to the right of the picture.
| | 03:06 | Let's go ahead and make it a thinner
line and turn this black, and I'm going
| | 03:12 | to move the image back up into the upper right-
hand corner, so you can see it a little better.
| | 03:17 | Let's go ahead and turn the drop
shadow on and off, so you can see, it's very
| | 03:21 | subtle, but it does add depth to your image.
| | 03:24 | Now another effect I could do here is
not necessarily the picture-in-picture; I
| | 03:29 | might want to do a side-by-side cutaway.
| | 03:32 | So let's go ahead, click done, and I'm
going to remove this clip from my Timeline
| | 03:35 | by selecting it and pressing Delete.
| | 03:38 | Let's go ahead and drag it back in,
but this time instead of choosing
| | 03:41 | picture-in-picture, we are going to
choose the other option, which is side-by-side.
| | 03:45 | To find the clip quickly again, I'll
click over here on the right, right-click,
| | 03:50 | and say Reveal in Event Browser.
| | 03:53 | Dragging it back down on top of the
soccer ball, I get the same options, but this
| | 03:57 | time I'm going to choose Side by Side,
and here it creates a split screen and it
| | 04:01 | tries to center the image on the left and right.
| | 04:05 | Let's go ahead and open up the
inspector by pressing the I key and see what our
| | 04:08 | options are with Side by Side.
| | 04:10 | Well, I really don't have a lot.
I could simply switch left to right and right
| | 04:14 | to left, but I don't have any way to
actually position what part of the image is seen.
| | 04:19 | iMovie makes the best guess
and tries to center the image.
| | 04:23 | The other option you have here is the
Slide option, and that's kind of like the
| | 04:27 | Fade Up option for the picture-in-picture.
| | 04:30 | When I click it over to Manual, when I
bring the clip in instead of it popping
| | 04:34 | up, it actually slides into the image.
(clip playing)
| | 04:38 | Now it wants to slide in and it wants
to slide back out, and in this case it
| | 04:43 | doesn't work very well, because they're
such short clips. So we are going to
| | 04:47 | just click on Done, and ultimately, I'm
going to remove this effect because I
| | 04:50 | don't think a picture-in-picture or the
cutaway is the best use of this clip in my video.
| | 04:56 | These effects can be great to enhance
the look of your video, but they do require
| | 05:00 | a little planning ahead. One of my
favorite uses of picture-in-picture perhaps
| | 05:04 | would be a person being interviewed and
instead of going to a full cutaway, I'll
| | 05:08 | just go with a smaller image of what
they are talking about over their shoulder.
| | Collapse this transcript |
| Creating an instant replay and applying speed changes| 00:00 | One of the things you see a lot when
you are watching any kind of a sporting
| | 00:03 | event are things like slow-mo and
instant replay, and even a freeze frame, so you
| | 00:08 | can see exactly what happened during the action.
| | 00:11 | We're going to explore these effects in
this movie, so go ahead and open up 04_03.
| | 00:17 | Now as we scroll through the movie, there
is a couple of shots that I really like
| | 00:21 | that I want the audience to see.
And this is one my favorite ones.
| | 00:24 | He is going for the kick
and boom, right in the head.
| | 00:28 | At normal speed, I notice it, but I
want to really see that slowed down.
| | 00:35 | So let's go ahead and apply a
slow-motion effect to this clip.
| | 00:39 | To apply a slow-motion effect, you can
select the entire clip or you can actually
| | 00:44 | have it start at a certain point.
| | 00:45 | So, what I'd really like to see is
the ball starting to go up. I'm going to
| | 00:49 | select a certain way just as the ball starts,
and drag it to where it hits him in the head.
| | 00:55 | So now we have this range selected.
We're going to go up to Clip > Slow Motion,
| | 01:00 | and choose how much we want to slow it down.
| | 01:02 | I think we will start it around 25%.
I think 10% is probably too slow, and 50%, I
| | 01:08 | don't get to see him get hit in the head enough.
| | 01:10 | So let's go ahead and click on 25%, and
take a look what happens in your Timeline.
| | 01:15 | iMovie actually cuts the clip at the
point where the range started and applies
| | 01:20 | the slow-motion effect to only that area,
and then it picks up speed afterwards.
| | 01:24 | Let's watch it in playback.
(clip playing)
| | 01:33 | And I probably don't need the follow on
0.2 seconds because that's just blurry
| | 01:37 | camera work, and I'll just
go ahead and delete that.
| | 01:40 | Now if you wanted to refine the slow-
motion effect, you can once again step
| | 01:45 | inside the Clip Adjustments tab.
| | 01:48 | I want you to take a close look above
the little cog that I am clicking on.
| | 01:51 | You will actually see a turtle.
Anytime you see a little turtle overlay on an
| | 01:56 | image, it shows you that you have
actually done a speed effect to it, including
| | 02:00 | if you've reverse the scene by
playing it from the end to the beginning.
| | 02:03 | Let's go ahead and open up the Clip
Adjustments window or you can press I if you
| | 02:07 | want to use the keyboard shortcut.
| | 02:09 | You'll notice now the speed option
has been changed by a default of 25%.
| | 02:15 | If I feel that was too slow or too fast,
I can simply grab my slider and move it
| | 02:19 | left or right to get the timing that I want.
| | 02:23 | So let's take a look at 12.5%.
(clip playing)
| | 02:29 | Ouch! That's a little too painful in really
slow motion, so we will return it back to 25%.
| | 02:37 | If I click the Reverse button, let's
take a look at what happens to the clip.
| | 02:43 | (clip playing)
| | 02:47 | That's a pretty talented soccer player
who can take a headshot and place it to
| | 02:51 | the foot of the person kicking the ball.
| | 02:53 | I think we will switch that back, go
ahead selecting it, hit the I key to open
| | 02:57 | it up, and turn off our reverse.
| | 03:01 | Another great feature in iMovie '11
is the Instant Replay, and I love using
| | 03:06 | this in a sports video.
| | 03:08 | We're going to just move two clips down
the Timeline to where we have this great
| | 03:11 | goal. And it works pretty much the
same way as the slow-motion effect.
| | 03:15 | So I select where I want the
effect to start by clicking on it.
| | 03:18 | I want to actually see the player kick
the ball into the goal, so I'll start a
| | 03:22 | little bit early and drag across
until the goal is actually made.
| | 03:25 | Now I'll go back up to the Clip window, and
instead of going to Slow Motion, we can
| | 03:30 | go to Instant Replay.
| | 03:32 | As a matter fact, feel free to try all
the effects that are available to you in
| | 03:36 | this pulldown window.
| | 03:38 | We're going to choose Instant Replay, and
again we can choose how much we want to
| | 03:41 | slow down the replay.
Again 25% is probably good.
| | 03:45 | You will notice once again iMovie has
taken the clip, chopped it into three
| | 03:51 | sections, and applied this instant
replay effect. It even adds a really cool
| | 03:55 | instant replay title in
the upper right-hand corner.
| | 03:58 | Let's go see how this looks.
(clip playing)
| | 04:07 | Pretty slick. Now if you want to modify
this, you can simply select it and jump
| | 04:11 | back into the Clip Inspector.
| | 04:13 | I think it's perfect the way it is.
| | 04:15 | Let's play to the end of the
show and see how it wraps up.
| | 04:18 | (clip playing)
| | 04:23 | You know, that's kind of nice. They're all giving
each other a high five at the end of the
| | 04:26 | game. But it's not quite the
finishing shot that I want to work with.
| | 04:30 | I think it will be really nice to end
this with a simple freeze frame of a lone
| | 04:34 | soccer ball sitting in the field.
| | 04:36 | So what we want to do to create the freeze
frame is find that shot and apply an effect to it.
| | 04:42 | Well, I have the ball right here, and I
think this would be a nice end shot. So I
| | 04:46 | am simply going to part my playhead on
the frame that I want, right-click on it,
| | 04:51 | and I'm going to select
Add Still Frame to Project.
| | 04:56 | What iMovie will do is create a four-
second default duration freeze frame and
| | 05:02 | throw it at the end of my Timeline.
| | 05:04 | I could move this clip around to
wherever I want, but I'm going to go ahead and
| | 05:07 | just create a nice transition, dissolving to
the ball, and then maybe fading out to black.
| | 05:13 | Let's see how that looks.
| | 05:14 | I'm going to jump over to my
transitions editor and throw a couple transitions
| | 05:19 | in. If you want to find out more about
applying transitions, refer back to the
| | 05:23 | iMovie '11 Essential Training.
| | 05:25 | So the first thing we are going to do
is we are going to have a nice transition
| | 05:29 | from the players to the ball, so I'm
going to just drop in a simple cross blur.
| | 05:35 | And let's take a look how that appears.
(clip playing)
| | 05:39 | It's a nice way. We are ending on a
freeze frame of the ball, and then we are
| | 05:43 | going to simply put a fade
to black at the end of that.
| | 05:46 | So you can scroll down through the
transitions, find the fade to black, and
| | 05:50 | simply drop it on the Timeline after the
ball. Let's take a look at how this feels now.
| | 05:57 | (clip playing)
| | 06:03 | There you go: three simple effects
that have notched up your sports
| | 06:06 | highlight reel.
| | Collapse this transcript |
| Analyzing and applying image stabilization| 00:00 | When shooting sports, or almost any video,
a lot of times you don't have a tripod
| | 00:05 | and your image isn't very stable.
| | 00:06 | Well iMovie '11 has a great feature
where you can stabilize your image if
| | 00:11 | it's not too shaky.
| | 00:12 | Let's go ahead and look into
04_04 and see how stabilization works.
| | 00:19 | The clip we want to stabilize is
this shot right here of the two players
| | 00:23 | fighting over the ball. If I play that--
and let me play it from the beginning--
| | 00:29 | (clip playing)
We see that the camera is pretty wobbly.
| | 00:32 | To stabilize the image, all we need to
do is select the clip, go down to the cog,
| | 00:37 | and choose Clip Adjustments.
| | 00:39 | There is a check box here for Stabilization.
| | 00:43 | All I need to do is click on it and
iMovie will automatically analyze the image
| | 00:48 | and apply whatever stabilization is needed.
| | 00:50 | Now if you didn't have it analyze the
clips when you imported them, you may see a
| | 00:55 | pop-up window that says Optimizing your
Media before it actually takes effect.
| | 01:00 | The longer your clip, the longer it will
take to analyze, to optimize that media.
| | 01:04 | Now iMovie has determined for this
specific clip that a 128% zoom factor is the
| | 01:12 | optimal amount to give us the most stable shot.
| | 01:15 | Now what happens when you zoom in is
it will get a little bit blurry, but it
| | 01:19 | will be more stable.
| | 01:20 | So you can play with the slider and
say little less stabilization, a little
| | 01:25 | sharper of an image.
| | 01:27 | Let's go ahead and see what it looks
like completely smooth and then turn off
| | 01:31 | the stabilization, so we can
remember exactly how bad it was before.
| | 01:36 | With the stabilization on, I'm going
to go ahead and hit the spacebar, and we
| | 01:41 | see the shot's pretty stable, but you will
also notice there is some distortion of
| | 01:45 | the players as it's trying to
analyze and keep everything in line.
| | 01:49 | If I dial this down a little bit, I'll
get less distortion, but you will notice
| | 01:53 | that the camera is a lot shakier.
(clip playing)
| | 01:57 | So the trick is, find the best
happy medium between stable and sharp.
| | 02:02 | (clip playing)
| | 02:06 | When you've figured out the best balance,
go ahead and click Done and you can move
| | 02:10 | onto any other clips in your show
that might also needs stabilization.
| | Collapse this transcript |
| Adding the Flash and Hold Last Frame effect| 00:00 | I think our sports highlight
reel is coming together really well.
| | 00:03 | There is just one more special effect
that I want to add to this, and it's
| | 00:07 | actually one of my favorites.
| | 00:08 | Let's step into 04_05.
| | 00:12 | There's a great shot of Roberto kicking
the ball and being midair, and I'd love to
| | 00:16 | do a special effect freeze frame to
that, and iMovie makes it really easy.
| | 00:21 | I'm going to simply select the back
range of the clip, or I could select the
| | 00:25 | whole clip, because I really care only
about the very last frame of this video.
| | 00:30 | Once the clip is selected, I can go up
to Clip, go to Special Effect and say
| | 00:34 | flash and hold my last frame.
| | 00:38 | With a simple click of the mouse, I get this effect,
(clip playing)
| | 00:45 | which is pretty close to
what I want, but not quite perfect.
| | 00:48 | I love the freeze frame, but instead of
pushing in, it is actually zooming out, and
| | 00:54 | this can easily be fixed with our Cropping tool.
| | 00:58 | So I can select the clip and I know
there is a move on it because if you notice
| | 01:01 | right next to my cursor, there is a
little cropping symbol, and I turn on
| | 01:05 | cropping. And it automatically put the
Ken Burns effect on this clip. And if you
| | 01:10 | want to know more about cropping, just
go back and look at the iMovie '11
| | 01:13 | Essential Training and you
can see exactly how it works.
| | 01:17 | All I want to do here is swap the
start and the end point, and I can do that
| | 01:21 | with a single click.
| | 01:23 | Once this is achieved, click Done, and let's
go back and click play.
| | 01:28 | (clip playing)
Pretty cool, huh?
| | 01:32 | Well there is another thing you can do
with this type of clip. I'm going to go
| | 01:36 | ahead and undo to get the
clip back to its original form.
| | 01:41 | Now that we have the clip back to its
original form, what would happen instead of
| | 01:44 | picking just the back half of the clip,
if I just chose a range in between. So
| | 01:48 | here we have the kick as being the
very last frame of our selection. If we go
| | 01:54 | back up to the selection here, say
Special Effect > Flash and Hold Last Frame,
| | 01:59 | what iMovie does is that it actually cuts the
clip into thirds, and let's look at the effect.
| | 02:03 | So we get our freeze and
then it picks up the motion.
| | 02:10 | In this case, the way the Ken Burns
effect is starting up close and ending up
| | 02:13 | wide works a lot better since we
continue the motion after the freeze frame.
| | 02:18 | As you can see, you can get a lot of
really cool effects in iMovie '11 with
| | 02:22 | just a few clicks.
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5. Finishing UpTweaking the final project| 00:00 | Well all our edits are complete and the
show is done. Let's review it, and I'm
| | 00:04 | going to talk to you about some of
the editing strategies that I did when
| | 00:08 | cutting the show that we didn't cover
in a lot of detail during the movies.
| | 00:12 | Let's step into the final
program and give it a watch.
| | 00:16 | To watch it from beginning, simply press
the Backslash key, and we are good to go.
| | 00:21 | (video playing)
| | 00:25 | (Roberto: Hello, my name is Roberto and today we
are going to play soccer at the Viola Park.)
| | 00:29 | (The Viola Park is located south of
Carpinteria. It's right on the cliff. It's a gorgeous location.)
| | 00:35 | (Today I'm going to go play against a
bunch of coworkers and just random people
| | 00:42 | here from Carpinteria.)
| | 00:45 | (video playing)
| | 01:45 | Well there you go. It's pretty close.
It could probably use a couple of tweaks
| | 01:49 | here and there, but I want to talk to
you about some of the strategies behind
| | 01:52 | how we cut this together.
| | 01:54 | First of all, whenever cutting
anything together, less is always more.
| | 01:58 | Nobody wants to watch a 30 minutes
highlights reel of a 24-minute game.
| | 02:03 | You really want to make sure everything
is shorter. All of our shots are pretty
| | 02:07 | short. If you notice, some of them are less
than a second, and that keeps the pace up.
| | 02:11 | So that 20- or 30-second
beauty shot, that's a overkill.
| | 02:15 | The other thing to keep in mind when
cutting any kind of sports video, or almost
| | 02:19 | any video, is always cut on the action.
Don't cut before the person starts to
| | 02:24 | move and then cut out after they have stopped.
| | 02:26 | If you notice, as we scroll through
and look at some of the shots, all of the
| | 02:30 | shots end on action and start
in the middle of the action.
| | 02:34 | The audience will naturally catch up with where the
play is happening and won't feel it slow down.
| | 02:39 | I tweaked a couple of things from
when we last saw the show in the previous
| | 02:42 | movie. For instance, I felt the ending
was a little bit abrupt, and I wanted this
| | 02:47 | to be a nice lingering calming
effect after this intense edit.
| | 02:52 | So I extended the duration of the last
shot to several seconds and put a nice
| | 02:56 | slow fade on in the end.
| | 02:58 | One of the things I like to do when I
think I am done with the show is I'll sit
| | 03:03 | down and I will show it to a friend or
two, and I know immediately, without them
| | 03:07 | having to say anything, if it's too long
or a cut is bad, because I am watching
| | 03:12 | them watch my show and I know what to fix.
| | 03:15 | So it is always good to get a little bit
of distance after you finish your first
| | 03:18 | cut of the show and come back a couple
days later, watch it with a friend, and you
| | 03:23 | will see lots of places where you can refine it.
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ConclusionNext steps| 00:00 | Well, I hope you enjoyed learning
how to create a much better sports
| | 00:04 | highlight video. Let me show you a
couple resources that you can go to to
| | 00:08 | further your knowledge.
| | 00:10 | Of course there is all the iMovie
training on lynda.com, and throughout this
| | 00:14 | course, I've recommended that you make
sure you get your basic understanding of
| | 00:19 | iMovie by watching the
iMovie Essential Training.
| | 00:22 | In addition to iMovie '11
Essential Training, there is also iMovie for
| | 00:26 | iPad Essential Training.
| | 00:27 | There's versions of iMovie that are
available for your iPhone and your iPad and as
| | 00:33 | a matter of fact, you can import those
movies that you create on those devices
| | 00:37 | directly into your Macintosh and
continue to edit them in iMovie '11.
| | 00:41 | Of course, another great resource for
iMovie information is at Apple itself.
| | 00:46 | So you can go to the iMovie homepage.
Just simply type in apple.com/iMovie, and
| | 00:53 | it will take you to this
page within the iLife Suite.
| | 00:57 | If you need to dig a little deeper, two
great areas of the iMovie page are your
| | 01:01 | resources, where you can find
additional information that will support you on
| | 01:06 | using iMovie, and of course there is
the lynda.com titles, but there is also
| | 01:10 | another great resource on this page,
and that is the supported cameras.
| | 01:15 | Simply click on Learn More and you can find
out if your camera works well with iMovie.
| | 01:21 | And finally, another great resource
you can find on the Apple web site are
| | 01:24 | the Apple support communities
specifically for iMovie, and here you can post
| | 01:29 | your questions and find out the latest
changes that may have happened to the application.
| | 01:33 | iMovie is a great application to get
your feet wet in the art of editing.
| | 01:38 | Now it's your turn to go ahead and
create a great sports highlight reel.
| | 01:43 | Thanks for watching.
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