Join Ashley Kennedy for an in-depth discussion in this video Working with still photos and graphics, part of Final Cut Pro X 10.2 Essential Training.
- So far, we've primarily been dealing with video. In the world of video editing though, you often work with still images like photographs and graphics. And in this movie, we'll take a look at working with still images. All right, so I'm gonna click on the Stills keyword collection here. And you can see that we have quite a few photographs. If I click on one of these, it's going to select a four second duration of the still. And you can set that to whatever you like. You go up to Final Cut Pro and then Preferences, under "Still Images: Editing duration is".
Right now it's set at four seconds. So if you think you would generally like it shorter or longer, you can change that. I'm gonna leave it at four. All right, now I'm gonna go over to List View here so that we can get some information about these clips. I wanna make sure that Frame Size is visible so if it's not for you, you can right click and make sure that Frame Size is checked and then you can drag around these columns as needed. All right, so you can see here that the images have very different frame sizes and thus, different shapes. Some are horizontally oriented, some are vertically.
And that's one of the big differences between video and images. Typically, video comes in at the same basic aspect ratio. Most often, 16 by 9. So while there are lots of video formats, there's little room for vast differences in aspect ratio among those formats. But images on the other hand, can come in any shape or size. It could be 40 pixels by 20 pixels or 4,000 pixels by 2,000 pixels. The possibilities are limitless. So as you can see, lots of differences even in this batch.
So therefore, there are quite a few things that are useful to know when working with stills. All right, so let's go ahead and just take one of these. Go ahead and take Jean-Michel standing in front of his shop. 5,184 pixels by 3,456 pixels. So very large. And right now we're seeing the entire thing. But we're only seeing it at 9%. If I wanted to look at it at 100%... We are now seeing this pixel for pixel. And you can see that we have a little red box in here and if I drag that around, allows me to see various parts of this image.
And as I go through each of these images at 100% you can see that we have a lot to work with. Still images give us vast resolution to work with. All right, I'm gonna go back to Fit here. All right, now I've placed several of these images in my sequence down here set to music. By the way, these are all at three seconds I believe. Let's just check this, ctrl + d. And if you quickly want to change a lot of images' duration at once, it's really easy to do.
You just select them and then press ctrl + d and then type in the duration that you want. So if I wanted them at four seconds again, I could just type in four zero zero and enter. And they all expand by a second and now they're all at four but I'm gonna send them back to three. Ok, so I'll undo, cmd + z. Now, let's go down to 10.2 and I am in my "stills BEGIN" sequence. And I wanna come to this first image here. I'm gonna open up the Inspector, cmd + 4.
And I wanna come to the very bottom where it says "Spacial Conform". Now just like in the browser, the Fit option is chosen where the image is fit within the video frame. This often results in some letter boxing or pillar boxing which just means that you end up with these black bars along the sides or along the top and the bottom because of the discrepancy between the shape of the image and the shape of the video frame. So if you change this from Fit to Fill then there are no black bars around it.
So what it's done is, it's zoomed in and this means that some of the edges of the image probably aren't going to be visible. And then finally, there's None. And this is basically the same as 100%. It doesn't do any type of scaling but it leaves it alone and you're looking at it pixel for pixel. So those are all available options. I'm gonna change this back to Fit for now. And in the last movie, we talked about various motion effects like Transform, Crop and Distort. And you certainly have all of these at your disposal when you're working with still images as well.
I'm not gonna be explaining what each of these does again but I'll demonstrate how you can do any of the same operations with stills. I'm gonna take this image of Jean-Michel in front of his shop. And I can change this to Transform. And I can rescale, I can reposition. I can change this to Crop and I'll do a trim. So let me just get... him and his sign. And then I can manipulate this however I like.
I'm gonna reset this, both Crop and Transform. Because the big one for stills is usually gonna be your Ken Burns effect. So I'll go to the very beginning here and select it. And we wanna go from Transform to Crop and Ken Burns. And the reason that this is so popular for still images is just because it adds some interesting movement into otherwise static shots. So, I'm just going to give myself a simple start and end here. Start in on just this one chocolate and it'll go to the rest.
And I'll do a little preview. (French music on accordion) All right, perfect and I'll go to the next shot and we'll also do a Ken Burns. And before we zoomed out but now it's switched it. Now it's zooming in. So it kind of knows that you might wanna change that around. All right, good. And we'll go to the next shot. Ok, and again it knows that I probably wanna switch this up a little bit. So now we're zooming out again. And so on and so forth.
Ok, so we'll continue on but you can see that we are well on our way to a nice Ken Burns look here. I'm gonna go to this sequence here where I've already done it to all of my shots. So you can see that everything is looking good. Now if I want to just add some softness in between each of these shots, I can select everything and then I'm going to just add dissolves. So I'll press cmd + t and you can see that dissolves get added to each of these shots. All right, so let's go ahead and play this simple montage of stills.
(French music on accordion) Ok, you get the picture. But as you can see, there are many creative ways to work with stills in Final Cut Pro 10. And fortunately, the built in motion effects make it really easy to isolate or emphasize the area of the frame that you want.
Often with some integrated motion.
Learn how to build and refine your story with the powerful editing toolset in Final Cut Pro X 10.2. In this course, author Ashley Kennedy gets you comfortable with each aspect of the editing process in Final Cut. She begins with a Quick Start chapter to quickly take you through an entire project from start to finish, and then dives deeply into each step of the post-production process—from preparation and organization, to editing and refining, to audio and effects, to media management and exporting. Each stage of the postproduction workflow is explained thoroughly and concisely, and uses real-world examples from both narrative and documentary workflows.
This lynda.com course and its exercise files are compatible with Final Cut Pro X v10.2 or later. Upgrade your software to v10.2 to take this course. For training on older versions of the program, watch Final Cut Pro X 10.1.x Essential Training or Final Cut Pro X 10.0.9 Essential Training.
- Touring the interface
- Ingesting and organizing assets
- Navigating and marking footage
- Performing basic edits
- Moving and removing clips
- Trimming in the timeline
- Working with connected clips and secondary storylines
- Editing audio
- Multicam editing
- Working with effects
- Correcting color
- Managing libraries and projects
- Sharing and exporting projects