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This course helps experienced Final Cut Pro editors understand new ways of performing traditional editing techniques. New terminology and new tools for performing editing functions are also clarified.
- Touring the X interface
- Running Final Cut Pro 7 and X on the same machine
- Importing and analyzing media
- New editing methods (including append and connected clips)
- Timeline editing (including ripple, roll, slip, and slide edits)
- Adding audio
- Fine-tuning with the Precision Editor
- Adding and adjusting transitions
- Creating titles
- Applying motion effects to clips
- Performing color corrections
- Archiving and collaboration
Skill Level Beginner
Now we're going to look at audio in Final Cut Pro X, seeing some of the new features that you couldn't do in previous versions of Final Cut, as well as how we work with audio in X differently than how we used to work with it in 7. Let's step in to the Audio project file. Now the first thing I wanted to mention is that all these clips that we have in the timeline, they don't any audio attached. I removed all the audio, because I knew I was going to put my own kind of music underneath, but I want to show you how easy it is to remove audio from a video track once it's in the timeline.
We're going to go ahead and do that with the Pablo interview, but remember, after we're done, we're going to undo it so it's exactly the way it is now. If you right-click on the clip, there is an option to Break Apart Clip Items. I'll scroll down and here you can actually see both the left and right channel of his audio. If I want to delete it, I can simply select it, hit the Delete key, and it's gone and it looks just like all the other clips in our Timeline. If you followed along with me, go ahead and press undo to bring the clips back in and then press undo again, Command+Z, to return the audio to the way we want it.
Now the next thing we want to do is bring some additional audio into our program. The music we want to use is in the Music keyword collection and we're going to choose the cut called Envy. Now I want to attach that to the first clip as a connected clip in my timeline and I can do that one of two ways. The easiest way is just to simply bring it down to the Timeline, put it below the clips, and let it snap to the very first clip. If I wanted to, I could've used the keyboard shortcut Q as long as my playhead was parked over the first clip.
Now I'm going to go ahead and hit Shift+Z, so you can see that the music is much longer than the clips that I have in the Timeline. Now I could show it in the music by going all the way down to the end of the Timeline and doing a ripple delete, or I can simply select the clip in the Timeline and use a great new feature of Final Cut Pro X. There is something called trimming the tops or trimming the tails of a clip. So with the clip selected, if I hold down the Option key and press the right bracket, it will actually trim the clip down to where the playhead is parked.
I'm going to undo that if I hold down the Option key with the clip selected and hit the left bracket, it will actually trim the beginning of the clip. Let's go ahead and undo that. I'm going to trim the clip the old-fashioned way just so you can see both ways of doing it. Now once again I want to be able to see my whole timeline. So just like in Final Cut Pro 7, I'll hit Shift+Z, Fit to Window, and I'm good to go. Now we've got a music bed in our timeline, and let's listen to it a few seconds. I'm going to press the Home key just like you would in Final Cut Pro 7 and the Spacebar to start listening.
(Music playing) Now, it's about at this point that I want my interview to come in. So we're going to bring in Jackie Sound byte, which is located in the Interview keyword collection. I click on Interview, we select Jackie Sound byte, and once again, I can go ahead and drag that is exactly where I want it.
In this case, my playhead is paused at the exact spot where I want to hear her speak. So I'm simply going to press the Q key, and it brings in her sound byte and attaches it to that piece of video. Let's listen how that sounds. (Music playing) (Female speaker: Hi, I'm Jackie. At age 14, I created Everybody?) Well, the timing is perfect, but as you can see the audio from Jackie Sound byte and the audio from the music are competing with each other. So let's take a look at how we can actually work with audio in Final Cut X versus how we used to work with it in Final Cut 7.
The audio in Final Cut X is located in the Inspector which you see in the upper right-hand corner of your screen. And you'll notice a lot of the same controls that you're used to, including Volume and Pan, and as a matter of fact, underneath Pan Mode you see that there is Surround Sound options. And if I keep scrolling down I want you to take a look at something else that's very important. Suppose that Jackie wasn't recorded with a stereo mic, but was actually recorded with both a lavalier and a camera mic. So instead of it being stereo, it was dual mono.
Well I can go ahead and switch this to Dual Mono very easily. Another advantage of being able to easily switch to dual mono is that if for instance I wanted to turn off the camera track, but leave the lavalier track on, it is simply unchecking a checkbox. So that solves one problem, but what about the fact the she is competing with the music that I want to be able to duck the music under? Well, you could keyframe the old- fashioned way and just to show you how easy that is, once again we'll go back down to the Timeline and you can put keyframes in by holding down the Option key, clicking wherever you want the keyframe, just like you did in Final Cut 7, and I could then to simply grab that audio level and bring that music down. But I'm going to show you an even more efficient way to do it.
Let's go ahead press undo and take out all those keyframes. Since we're working with audio, I want to show you one more trick of Final Cut Pro X. If you right-click here you can change the appearance of the Timeline. There are actually six options. The far right is the last thing you would want to use when working with audio, because it just breaks it down to the individual clips. I'm going to quickly step through just so you can see the different variations, focusing mostly on clips. The way we've been working, kind of splitting it 50-50, mostly audio, or if you go all the way to the left, exclusively working with our audio meters.
As you see, changing the appearance of the Timeline is simple as a click. Now what we want to do is we want to go ahead and duck our audio under. I'm going to let it see a little bit of the clip so we know exactly what's happening in the video. So what we'd like to do is actually bring the audio level down from where she starts talking to when she stops talking. Now we're going to use a brand-new tool in Final Cut Pro X. It's called the Range Selection tool. The keyboard shortcut here is R and I can go over here and select the range of when she starts talking, and simply click- and-drag my mouse all the way from left to right where I want to duck the music under.
Now without having to use any keyframes, I can simply grab those audio levels, bring them down, and Final Cut X will smoothly go from full volume to lower volume, and back again with a simple drag. Let's take another listen. (Female speaker: Hi, I'm Jackie. At age 14 I created Everybody Dance Now. I've?) So maybe we want to our audio a little bit louder. But I want to point out something else that's really cool in Final Cut that we actually adjusted in the preferences in an earlier movie. What you'll notice if you look closely at the audio timeline, this is the current volume level. As we adjust volume in Final Cut X, our waveforms actually get larger or smaller, but sometimes it's really good to see the waveform at its original height, because if you're cutting to the beat of the music and you've made it really soft, it's hard to see those peaks.
So if you recall back when we worked with our Preferences, underneath Editing, there was an option to Show reference waveforms. If I turn this off and I close the window, you'll notice that those reference waveforms, those little ghosts are gone. I actually like using these so I'm going to go ahead and turn that back on. Going to the Preference command, Show reference waveforms, and let's go ahead and close that window. Once the window is closed the GUI will update. Now that we've successfully ducked our audio under, let's go ahead to return to our Selection tool and also change our view back to our traditional way of viewing the timeline.
There is one more trick that I want to show you in Final Cut Pro X that you'll find very useful. If I wanted to work with Pablo's interview audio separately, you saw it earlier that I could actually separate them to delete them, but another thing I could do is simply double-click and it actually separates the audio from the video. This is really useful if you want to do J cuts or L cuts, but it's nice to be able to look at your audio and your video and work with them separately. So now if I wanted to do a roll edit so that we actually hear our Pablo talking before we see him, once it separated, I can simply uncheck so I don't have the audio selected.
We have the video over here, pull it over to the right, and with the magnetic Timeline, we automatically have our J cut successfully done. I'm going to go ahead and hit Play and you can see and hear how it sounds. (Female speaker (Jackie): ?and violence?) (Male speaker: I think that I decided to take classes with (inaudible) because?) Now once you're done, if you want to clean up your Timeline, simply double-click on the audio to reattach it or press Ctrl+S. As you see, working with audio in Final Cut X isn't that much different than working with it in Final Cut 7, except it gives you a lot more flexibility and a lot more control.