Learn how to set up libraries and events from scratch.
- [Instructor] If you've been following along in this course so far, you know that I've already supplied you with a central Final Cut library for your exercise files, The Project RELO Final Cut Pro X Essential Training library. However in this chapter, chapter two, I want to focus on how to set up libraries and events from scratch, since that's most likely how you're going to be starting out when working with Final Cut Pro X. So, to follow along with this chapter, you'll need to have also downloaded the separate Lo-Res Media folder from the exercise files tab of this course.
These are lower res versions of the media contained within the Project RELO library that we can practice with. So I'm just going to twirl up the Project RELO library that we were working with in chapter one so that it's out of my way. So I'm just going to go to File, New, and Library. And I'm going to make it go on my Desktop, and I'm going to call it PR DEMO for Project RELO Demo. And I'll save. Now you can't bring media straight into a library.
Rather, you bring it into an event, which lives in the library. And by default, the new library creates a date-stamped event. So to make this more descriptive, I'm just going to single-click in here, and then rename it PR DEMO assets. So once I've created and named the event, there are several ways that I can bring in my footage. For now, we're just going to be talking about importing media. The most obvious way to do this is to just click on this very large Import Media button here, but if this is not visible because there's already media in the browser, for example, you can also right-click on your event, and then choose Import Media, or my favorite, use the keyboard shortcut of Cmd + I.
Now the media import window is just a basic browser. Along the left side, I see the cameras I have connected to my system, which allow me to record and import video straight into Final Cut. Here are the drives connected to my system. Right now I just have my Mac hard drive. And then below that are some favorite locations. So if you find yourself repeatedly retrieving media from a specific location, I definitely recommend that you set up a favorite so you don't have to burrow down in this folder hierarchy every time you want to bring in media. So I'll show you how to do that.
I'm just going to navigate to my Desktop. Users, akennedy, and then my Desktop is right here. And I'm just going to select it, right-click, and choose favorite. So now it's in my favorites, and I can select it. And I'm just going to navigate to my Lo-Res Media folder, and I'll twirl that down so you can see what's inside. Now I could just select this parent folder here, or I can select the folders inside of it. And you might not think that it really matters, but choosing the level at which you import can be important.
So for now I am going to burrow down a level, so I'll just click on Broll, and then shift-click down to Stock Video so that I have all the folders within. I'm going to tell you exactly why in just a moment. All right, for now, I just want to come over to this side bar here, and we'll start at the top. So here is where you decide what event your media is going to go into. Because I right-clicked on my PR DEMO assets event, that's what's chosen, but you can change it here if you need to. You can also create a new event from this window, and decide what library it lives in.
So for right now, I'm happy with it going into my PR DEMO assets event. Now I'm going to come down to Files. This is a very important section. This is where you choose whether to copy your files into your Final Cut library, or leave them in place. Now if you select this first button that says Copy to Library, this means that your media will be copied at its native resolution inside of your library. If instead you choose leave files in place, then the only thing that will be placed in my library will be pointer files that will refer to the media where it currently resides.
And in this case, it resides in my Lo-Res Media folder here on my Desktop. So if you would like to copy all of your media into one location without having to worry about keeping the links to the original media, then you would choose Copy to Library. And in general, this might be the way to go if hard drive space is not an issue for you because of the convenience of having a self-contained portable library without needing to keep track of external folders of media. However, if you've already backed up your media and it doesn't make sense to have two or more sets of redundant files, then creating a link to the original files might be a better solution.
So for our purposes in this demo, I will choose to Copy to Library. The option directly underneath that is keywords, and this is actually really great. If you've organized your media in folders outside of Final Cut, then that structure will be maintained once you bring the footage into the software. This is really useful, because it allows you to first do as much organization as you like, and then you can hit the ground running with great organization once you import the footage. For our selection, I've got quite a few folders that I've already labeled, so I'll make sure to choose this option.
Now one thing to mention here, which I said I was going to come back to. Every single folder will have an influence on how the media is organized. So if I would have chosen the Lo-Res Media folder instead of the folders within, then every piece of media that I brought in would also be tagged with Lo-Res Media. So for example, let me just burrow in and give you a little bit of an example. I'm going to twirl down Broll and then also Beauty shots. So this particular file right here would be tagged with Beauty shots, Broll, and Lo-Res Media.
I think Beauty shots makes sense, I think Broll makes sense, but not necessarily that. So that's why I burrowed into this level, so that's what I'll select once again. Now again, you can always remove key words once you get in the software, but I'm just sort of thinking ahead here. Now you can always create key words from Finder tags. And if you don't know what Finder tags are, these are tags that you can apply to your files via the Finder without having to put them inside folders. So let me show you this real quick. I'm going to hide Final Cut, and I'm going to come to my Lo-Res Media folder, and let's go back into Broll for example, and Beauty shots.
And again, everything is nicely organized within folders, but let's say that I want to tag my flag shots separately. So I could put another Flag folder in here, or I can just set up Finder tags. So I'm just going to click on this and right-click, and choose tags, and I'm just going to type in Flag. And so now, instead of just a color, I have a keyword available for a tag. And then I can come down to my other flag shot and tag that with Flag as well.
And you can see that my tag is down here. So then if I come back into Final Cut, and I choose from Finders tags, which I will just to show you this, then it will bring in those tagged shots. So if I stopped there, that would be much of what you need to know about importing, but I'm going to continue on and talk about some of these other options, which can also be very important. Below that is an Audio Roles option, and this allows you to assign specific Audio Roles to footage that you import. We'll talk a lot more about Audio Roles later in this course, but basically they are categories of different types of assets, and in terms of audio, that could mean dialogue, music, effects, and more.
And sometimes Final Cut does a really good job of automatically setting these roles, sometimes not. In fact, I'll tell you that a lot of times, when you're importing music, for example, it incorrectly identifies it as dialogue. So, if you're importing a lot of music, you can force a specific role on import. For right now, I'm just going to leave it on an Automatic assignment. I'm going to come down to transcoding now, and I have two options. If I select Create Optimized Media, then that's going to transcode, or convert the footage, from it's native format into Apple Pro Res 422 media, which is essentially the optimal type of media that Final Cut likes to work with.
So if I do this, I'll end up with the best possible combination of performance and image quality, but I'll need some additional storage space, as optimized media is roughly 60 gigabytes per hour of material. If I select Create Proxy Media, Final Cut will convert the native media format into Pro Res 422 Proxy. This option would improve the system performance significantly and still provide a pretty good image quality, and it requires less storage space than regular Pro Res 422 at roughly 18 gigabytes per hour of material.
So if I transcode, it's going to create additional files to the files that I copied over to my library for example, which are in native format, and so I am able to easily switch between my native files and my transcoded files. And again, you'd most likely choose to transcode footage if your native footage is very high res or might give you performance issues while editing. I'll show you how to switch back and forth between your original and proxy media in chapter 11 of this course. Now I'm going to come down to Analyze and Fix, and I'm just going to go over a couple of these.
If I check Analyze Video for Balance Color, then Final Cut will extract color balance information for the entire clip, every single clip. This is useful because if you later choose to automatically color balance your clips, then Final Cut has more information about the entire clip, and balances the color more intelligently. So it's a very handy feature, but it does take time and resources to perform the analysis. We'll go over this in more detail in the color correction chapter. Here with Find People, Final Cut actually employs some facial recognition technology where it attempts to analyze your video to determine if there are any human faces in the frame.
It then analyzes the size and number of the faces, and once it's gone through the analysis, the shots are keyworded with labels such as One Person, Two Persons, Group, Closeup Shot, Medium Shot, Wide Shot, and so on. Now it doesn't always work perfectly, so you do need to go through and make sure that it did the analysis well enough, but I do have to say that it does a somewhat decent job. Now there are additional organization features right below this which I also recommend that you check, because that is going to group everything together so that you can easily find the clips within the Find People Analysis keywords.
Below that, I have several Audio Analysis options. Analyze and Fix Audio Problems will asses problems related to improper audio levels, background noise, and hum, and offer semi-automatic fixes to those problems. And below that are two other Audio Analysis options that help intelligently reorganize certain audio channels on import. We'll talk about all three of these in the audio chapter, chapter six of this course. Down here is a check box that allows you to close the import window if you're done importing so that you can automatically go back in the software, or you can import what you've got right now, and then leave this window open and import another batch in another location.
For right now I don't want to import anything else, so I will select that, and I think I will also go ahead and Analyze Video for Balance Color, and for fun I will also choose my Find People options, and I will Import Selected. So here is my PR DEMO library and my event. If I twirl this down, you can see that I've already got a lot of great organization already. The vast majority of these keywords resulted from the folders that I had at the Finder level, with the exception of this Flag keyword, which again I set via a Finder tag earlier in this movie.
So everything is looking really nice. You can see also that I have my People smart collection, and if I twirl this down, you can see that Final Cut has gone through and begun analyzing what it believes are human faces, and these are the ones that it identifies are in a group. So far so good. Here are my Medium Shots. One Person, Two Persons. Okay, so we'll have to go in and fix a couple of these, and I'll show you that later in this chapter. We'll twirl that up.
You can see that we have more keyword collections here, and we also have a folder up here at the top called Smart Collections, and this is where Final Cut intelligently categorizes all of my media into some popular blanket categories, All Video, Audio Only, Stills, and so on. So we'll take a look at that closer later in this chapter as well. So once everything's brought in, you can really start to hone in on exactly what type of organization you want in your library, and again, we will take a look at that a little later in this chapter.
For now, just to clean things up, I'm just going to twirl up my PR DEMO library, because in the next couple movies, I want to show you a few more ways of bringing in material before we dig in to our organization techniques.
- Ingesting and organizing your assets
- Editing and refining
- Basic audio editing
- Additional editing and organizational techniques
- Multicam editing
- Working with effects
- Color correcting footage
- Project and media management
- Sharing and exporting video