- Maximizing your color board
- Mastering speed effects
- Working with Compressor
- Learning helpful keyboard shortcuts
- Uploading videos to the web
- Setting up workspaces
Skill Level Intermediate
- [Nick] Welcome to Final Cut Pro X Weekly. I'm Nick, Jeff's not here this week. We're going to talk about working with 180 video in Final Cut Pro X with the help of Vuze VR, and some of the key concepts we're covering this week include a little bit about Vuze Cameras, a look at 180 and 360 video in Vuze VR Studio, which is free, you can download it from their website and start to work with 360 footage. We're also going to talk about exporting a 180 file for Final Cut Pro X, and looking at the file inside of Final Cut Pro X. So let's start by looking at Vuze. They produce a number of 360 and 180 cameras. You can see a list of their cameras by heading to their website, and the one that we're talking about in particular is the Vuze XR Camera. It gives you a 5.7K resolution, and allows you to film in both 3D 180 and 360. While look at the specs, you can hover down and find out more information. One of my favorite things is they also have software and that software allows you to take your 360 clips or 180 clips and work inside of Final Cut with them. You might know that Final Cut doesn't support 180 as of now. Let me close down this window, and let's head into the Vuze VR Studio. Now here inside the studio, I'm currently in the File Director on my system, and I've downloaded a few files specifically from Vuze Cameras. I'm going to head over to this clip right here, and the trick is to select it and then open it by pressing here at the bottom right of this window. Since I want to see this a little bit better, I'm going to click on the File badge here and that closes out that window. It just gives me a lot more space for working with my 360 VR stereoscopic clips. This is known as the left and right eye, and the whole reason that you're filming stereoscopic in the first place is to add a little bit more depth between your foreground and your background images. When you look at this in experience, let's say watching this on YouTube or through another type of social media network, ideally you would see your motorcycle very close and the background really far. There are a number of different ways to see how parallax works within these clips and right now I could change this from stereo to anaglyph. This is sort of set up to be seen as if you had your 3D glasses right now in front of you, and the blue and red overlays are sort of trying to tell you how things are going to appear in terms of depth when you look at this in your player. In order to get a fresh start from this, I'm going to just actually come here on this button, which allows me to sort of align my 360 stereoscopic image, and I'm going to remove the current frame, and see that my default as this motorcycle moves throughout the scene, there happens to be some alignment issues, specifically in the background, which we don't want. We don't really want this background to pop out in front of this if to ever wear 3D glasses. So if I chose this frame and choose Add Current Frame, you'll notice it aligns the background much better. I didn't have to necessarily choose that frame. I'll just show you another example of this, move earlier in the scene and remove the current frame. You can see the little difference between those blue and red lines. You add the current frame, it's going to change that alignment. You'll see here the motorcycle will pop in front of you while everything else will remain in the background. There are a number of different tools you can use also for 360 or 180 productions. A lot of times these action cams, especially the Vuze VR is very portable, and in certain cases, you might want to flip the camera around to capture imagery, then flip it back in order to see that material appropriately just with this Flip 180 button. We've got options for editing a patch, which is to kind of cover up where the camera might be in the scene, the nadir at the bottom of the frame, as well as you've got adjustments for speed, as well as advanced tools for color correction and stabilization. Since I want to get this over to Final Cut Pro X, I'm just going to choose to render, and in order to see this 180 clip inside of Final Cut, I need to change the render type. We're going to change it from 3D 180 to Expand 180 to 360. We're going to make sure that we're using maximum resolution, but for encoding, let's change it to an Apple-friendly format, you have a number of pro-res options. You've got Pro-Res HQ as well as Apple Pro-Res 422, which is great for the purposes of the camera as well as working inside of Final Cut Pro X. In order to now work with this file, this custom resolution, let's browse to choose a place where we might want to save, and I will choose to save it to my Mixed External Media Drive. Let's choose a new folder. I'll call it 180 Example for FCPX. Create this folder, choose to open it, and let's render this. On the top left hand corner, we'll see a Progress Bar estimating the amount of time this might take, but this is a great time if you have a very long 360 clip to go and grab a coffee. I will join you inside of Final Cut Pro X in a second. So the render is now complete, and I'm looking at the drive in the folder that I saved the 180 in 360. We can see its size, and most notably this was about a four-minute or just an over four-minute clip. You can see how much space this actually takes up. It's about 44 gigabytes in the Apple Pro-Res 422 format. So you definitely want to keep in mind that if you are doing stereoscopic 3D 360 content, you're going to want to have a lot of storage space. So let's bring this into Final Cut and take a look at working with this 180 footage. We're going to head over into Final Cut where you can see here that I currently have a library of 180 in Final Cut Pro X. I'm just going to drag this clip in particular and import it into the default event that comes up here. I'm going to close down this window. This is looking great, we can sort of see this footage, and I right now know that I'm not able to work with this clip in a 360 timeline. How I know that is I don't see the 360 badge. In order to activate that, I'm going to select the clip, head over to the Inspector, into the Info Inspector, and I want to make sure that the 360 projection mode is set to eqour rectangular and the streoscopic mode is set to in this case over under what still also referred to as top and bottom. Now that this is set up, I'm good to go and bring this into a 360 Final Cut pro X timeline. I'll choose to create a new project. We'll just use the default automatic settings, okay. And I'll call it 180 in 360 timeline. I'll choose okay. And I'm now going to grab the 360 clip and press e to extend the timeline we can see the format that it is currently going to use. I'll choose okay and this is looking really good. Press shift Z to fit that clip to the window. Let's just do a few more things. I'm going to head over here to where I can see my clips. I'll click on the view menu. Let's choose the 360 viewer. We can get a sense, going to close down my inspector, as well as give me a little bit more real estate here with my 360 viewer, which is now active and its currently at 77 degrees. Sort of mimicking a field of view. But as I look, I can see the image as if I had a head mounted display on or how it might appear on my phone and the minute I start to drag or look around or move my phone to the opposite end the whole entire area is black which is typical of 180 degree content. And that's how easy it is to work with 180 footage final cut with the help of Vuze studio. I'm Nick and thanks for tuning in to final cut pro 10 weekly.
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