Join Ashley Kennedy for an in-depth discussion in this video Focusing on timing and pacing, part of Final Cut Pro X v10.0.9: Commercial Editing Techniques.
Once you've made the decisions about what content you want its time to start getting the timing of your shots right and because we're cutting a commerical every moment counts. We really need to consider how everything fits together visually before we rejoin everything to the master sequence. I already figured out the durations that our montages need to be. Let me just refresh our memories about that, I'm going to go into the spot base. And just for the first one here I'm just going to walk in in, in and out and Ctrl + D. This very first part of the one that we've been working on the stair climbing footage has to be 4 seconds and 2 frames, at least to start with. So that we can rejoin it to our master sequence.
We can certainly tweak it afterwards. I'm going to go back out to My Project Library and I am going to go into my subsequence's Trim Start sequence here and so these are my four very lose montages. I've made the decisions about what shots I want and in what order but my timing still isn't there. I am going to take this first session the one we've been working on and lets just check the duration. I am going to mark in N and then I am just going to come down here and hover I'm not going to click. It's not going to work if you click.
So, I'm going to hover and just press Out, and that will basically select the entire range, and then I'm going to press Ctrl + D. I've got 10 seconds and three frames here. So I'm going to need to turn this down basically takes six seconds away from here and there's various ways that you can do this. I'm just going to zoom into the timeline a little bit here, command plus. One way you can do it is to perform ripple trims just literally. Go through and trim away like this. But a really nice way to actually approach this is to do top and tail editing.
And quite simply top and tail editing just means that you are extracting either the first part of the shot or the last part of the shot. I'm going to show you how to do it and then I'm going to show you why this is a really cool way to cut montage. If I want to perform a Top Edit, say, for example. I would like to basically start this shot right here and take away all of this material. I just hover my Skimmer right there and then press Option, Left Bracket. And if I wanted to perform a tail edit, I just hover my Skimmer right here and press Option + Right Bracket. It just very quickly lops off the first and the last part of the shot. So let's go ahead and use that.
But first, let's go ahead and cut in our music. Again, Montage is very music driven. And our final music is going to be the same beats per minute as the sample one that we have. So let's go ahead and use that to our advantage. I'm going to go ahead and just cut this in at the beginning. I'll connect with queue. And what I'm going to do first is add markers on the fly. So every time I hear a strong down beat, I'm going to press M and then I'm going to have a lot of markers in my music track that will determine where I want to cut. And then we'll use top and tail in conjunction with those markers. To make this easier for us, I'm just going to select my music track here and press M on the beats. (MUSIC) This can be my guide where I'm going to cut and I'm just going to use top and tail in order to make this happen.
I think when I was demoing this I got this a little bit 2 shorts, I'm going to just drag this out to here but here lets go ahead and perform a tail edit option right bracket. And then keep going and see how quick this is and lets see how long this is. We think we'll probably have to cut it down a little bit further. I mark and in and an out and control d. Yep, 704 so we still have a little bit more to go, so as we keep cutting this down we'll probably have to fit at least two of these shots in between beats and so on, I am going to come back out to the Project Library and I am going to come to subsequence's, trend end and as you can see here I've marked out my beads with markers and I've also added some gap clips that are the exact duration as my hero shots just to show you real quick. If I go into my master sequence you can see that my first hero shot here is 122 and my next one, Control + D, is 222 and so on. I've just mimicked this environment here in my sandbox with those same duratios, 122, 222 and so on.
Now let's go ahead and just play this, and see what we think at this point. (MUSIC) Okay, and then, of course, it would end there.
On the shot of the bottle. Its looking pretty good. Again this process is going to take you a while so take your time and figure out how you want to approach it. Look at the visuals. Listen to the music and keep trying things out but in our case now that we're sort of done with this messy editing part I think it might be time to join everything back up to the master sequence which is what we'll explore in the next movie.
- What is commercial editing?
- Understanding the product's audience and intent
- Marking the best shots
- Laying out the visual structure
- Building an audio foundation
- Manipulating speed
- Adding transition effects
- Adding graphics, music, and voice-over
- Delivering the project and receiving feedback