As we're aware by now, Final Cut Pro X is built upon the principle of building sequences on storylines, rather than tracks. Now so far, we've only been working in the primary storyline where we build the foundation of the program. Now we can add supplementary material to that foundation. So in this movie, we're going to explore the first type of supplementary material that we can work with called connected clips. So, I'm going to go into the 5.1 project, and I'm back into the firm to table project, and we've got our basic foundation of our intro laid down.
But let's continue to lay down on our B roll. Got a few opening shots of the close up of our fruit and then out to the orchards, so let's continue with visuals of harvesting and the farmers market and so on, over this interview clips. In most other track based editing applications, you have several methods in which you can lay down B roll. Now one way is to overwrite the B roll on the existing video tracks. So if I go into Farm to Table and go into the On the Farm keyword collection. Let's say that I want to bring this boxes in from the Orchard shot, down here as B D begins talking.
So let's talk about what would happen if we did overwrite this. So I'm just going to mark an in and an out in the timeline where I want this to occur, and let's mark this shot here. We want video only, so we want to make sure that we're only bringing video down, and keeping the audio, but look what happens. If I press D to overwrite, and I play through this section That's not what we want at all. So as you can see, overriding doesn't work in FinalCut Pro X. It literally overwrites the entire section of the primary storyline, even if you're bringing down a video only edit.
So, let me undo this. Now the other way that you can add B role in other track based editing applications, and the way that you need to do it in Final Cut Pro X, is to actually add the B roll physically above the existing footage. So in other applications, you just add it to a higher existing video track, but in Final Cut Pro X, there are no tracks, so instead you add it in the form of something called a connected clip. So how do you do this? Well, you just place the playhead at the location where you want the connective clip to be edited.
We've got our shot marked. And instead of using any of the editing methods that we know so far. we're going to use a different method, called a Connect a Storyline Edit. This corresponds to this onscreen key right here or the q key on the keyboard. So I'm just going to press Q. We can see that the clip is physically above my interview. And then I play it, we see this shot but still here BD. >> There's definitely a movement happening. It's not just here, it's worldwide.
>> Okay. So we've got our B roll. And if I zoom in here, Cmd+plus, plus. You can see that this shot is literally anchored to the shot below it right here. If I move the clip on the primary storyline, then the connected clip literally moves with it. So these are connected. If I should delete this clip on my primary storyline, I'll press Delete on the keyboard The connected clip goes away. Let me undo. I'm going to zoom out just a little bit. There we go. Bottom line, just be careful and be aware of what you're doing and where you're clips are connected.
Now, notice that I can move my connected clip and the connection point moves with it. If I wanted to I could attach it to another clip on the primary story line and now this is where its anchored. So that connection point is an important element. I'm going to move it back BD. This is certainly a new way of working if you're coming from another application so it might take a little getting used to. In the meantime, let's go ahead and add another connective clip to fill out our B-roll. So after the shot of the boxes coming out from the orchard, let's go to a shot of boxes coming off the truck. So I'm just going to mark it.
And I could position my playhead and press Q again. But I also want to show your that you can click and drag, and you can see that connection point is. Right here above BD, I want to make sure that it snaps right next to the previous clip, like so. Zoom out just a little bit here. And now, we've got two shots of B-roll and they're both connected to this shot on the primary storyline. The are literally anchored there. If I play this and decide that this clip is too long, I can come in and shorten it with a Ripple edit.
Now, there are some limitations about what we can do here, on the connected clips, and we're going to explore that in the next movie. But in general, Ripple edits are okay. If I ripple from this side. Notice that it behaves a little bit differently, but I can make it work. So let's go ahead and play over this, and see how we like it. >> SOUND There is definitely a movement happening. It's not just here, it's worldwide. And, in a way, like I said, it's a renaissance. So many people now. >> So I'm going to continue adding B-roll on down the line until all my talking heads are covered with interesting visuals.
Now I can also do this with audio. I know that I want music to go under this video. So I'm just going to park at the very beginning of the sequence. And press Shift+Z to fit everything in the timeline. And my music that I want to use is this one right here, the silent charm. Now I want to get the right length so I'm going to go to the very end here and I've got 38 seconds from this sequence. So I'm just going to click on this one, and as you drag here you can see.
How long this is. So I'm going to get, you know, roughly 38, 39 seconds here. So I've got enough music to cover this entire sequence now. So I'm going to park, and again, just press Q. And now I've got my music coming underneath all of my video. Now, if I zoom in here, Cmd+plus, plus. Notice that the audio too, has a connection point. So if I move this around, it's going to be connected. If I delete my orange shot, the audio is, likewise, deleted.
So let me undo that. So again, just be aware when you're working with clips on the primary storyline, what's going to happen to the associated connected clips. Shift + Z. So, I'll just continue in this manner, laying in my connected clips, adding them as supplementary footage to the primary storyline. For now, just be aware of how the connection points come into play with the clips in the primary storyline, and we'll explore this dynamic in more detail as we continue through the course.
This lynda.com course and its exercise files are only compatible with Final Cut Pro X v10.1 or later. If you are running a prior version of Final Cut Pro X please upgrade your software to v10.1, or, if you chose not to upgrade, use the pre-v10.1 Final Cut Pro X Essentials course that's still available in the lynda.com library.
- Understanding nonlinear editing
- Creating, organizing and managing libraries and events
- Organizing footage with keywords and ratings
- Playing and marking clips
- Performing Insert, Append, Overwrite, and Replace edits
- Moving and removing clips
- Trimming in the timeline: performing ripple, roll, slip and slide edits
- Working with connected clips and multiple storylines
- Adjusting audio levels, EQ, and more
- Performing a multicam edit
- Adding and animating video and audio effects
- Working with motion effects, speed effects, titles, themes, and generators
- Performing primary and secondary color correction
- Importing and analyzing footage from multiple platforms
- Managing media and project data
- Sharing and exporting projects