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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
Before we get started editing let's take a look at the new simplified preferences in Final Cut Pro X. Our goal here is to cover some of the major settings and make Final Cut Pro X work a little bit more like Final Cut Pro 7. If you click on the Final Cut Pro pulldown menu you'll see Preferences are located just where they were in Final Cut Pro 7. But you don't have as many to choose from. The keyboard shortcut if you'll be going to the Preference menu by the way is Command+Comma, just like with most other Apple applications.
Notice how simple the preferences are. There are three basic areas for preferences: Editing, Playback and Import. Let's take a look at the key ones you need to change to make Final Cut Pro X work how you would expect it to work like Final Cut Pro 7. The first one you should change is under Timeline to say Show detailed trimming feedback. With this unchecked, when you do a slip, a slide, a ripple or a roll you won't see the 2-up display that you're used to seeing. So go ahead and turn that on.
Position Playhead after edit operation is much like you would expect it to work in Final Cut Pro 7, where after you make an edit the Playhead jumps to the end of the edit point. With that unchecked it actually stays in the same position and does not move to the end. If you click Show reference waveforms, when you increase or decrease the volume of a clip, the waveform actually grows bigger or smaller. But there will be a ghost of the original waveform which is created as a reference to see what your peaks are.
As with Final Cut Pro 7 you can set the default length of all still images. Where in Final Cut Pro 7 it was 10 seconds, here the default is 4 seconds. The next selection is pretty critical to make Final Cut Pro X work like Final Cut Pro 7. The default setting is that if you apply a transition it will use full overlap. This is kind of how iMovie currently works. If you want to work the way that Final Cut Pro 7 works, you want to change that to Available Media. Now instead of shortening a clip to make sure you have enough media to do the transition Final Cut will just use what media is available.
Taking a look at the Playback preference you see you have a choice to have background rendering on or off. If this is checked whenever Final Cut is idle for 5 seconds or longer, it will start rendering in the background. My suggestion is either increase this to something greater than 5 seconds, such as 60 seconds, so that you can tweak and move things around without it having to render and create extra render files, or turn it off altogether and render when you want to by hitting Ctrl+R. Final Cut Pro will allow you to edit using media in its native format, or you can transcode that to an optimized format.
If you check the Playback: Use original or optimized media, Final Cut Pro will use the original media if you choose not to transcode it, or we use the optimized media if you choose to transcode it to ProRes. You'll notice Warn when dropping frames doing playback is now unchecked by default. Pre-roll and post-roll durations have also been changed. Instead of being 5 seconds before and 2 seconds after, it's a much more useful 2 seconds and 2 seconds. Under Import there is a couple of key things to take note of.
The first is under Organizing. If you have Copy files to Final Cut Events folder checked, Final Cut will move any media that it imports into the Events folder. If you want to work the way that you are used to working in Final Cut Pro 7 by leaving the media where it is and making an alias to it, uncheck this setting. We talked a little bit about transcoding in the Playback section, and here you can choose when you input media to use the native format, or transcode it to either optimized media, which is ProRes, or create proxy media, which is ProRes Proxy.
We'll look at some of the other details of the import preferences when we actually start importing footage. As you can see, the preference settings in Final Cut Pro X are as streamlined and efficient as its new interface.
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