Expand Your Brand: Create a 60 Second Promo Video | Duncan Rogoff | Skillshare

Expand Your Brand: Create a 60 Second Promo Video

Duncan Rogoff, Video Editing & Motion Graphics

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7 Lessons (48m)
    • 1. 01 Intro

      1:17
    • 2. 02 Organization&TimelineSettings

      10:00
    • 3. 03 EditingInTheTimeline

      23:34
    • 4. 04 Titles

      2:44
    • 5. 05 Effects&CC

      5:46
    • 6. 06 Delivery

      3:48
    • 7. 07 Outro

      0:37

About This Class

Tell your brand's story in 60 seconds with Final Cut Pro X.  Select a person, place or event in your life and create a short, 1-minute film about it.

This is the meat and bones. We’ll start the editing process and walkthrough the basics of organizing your footage, using keywords, editing in the timeline, tools, audio mixing, color correction, effects & filters, titles, and final delivery. This class is great for anyone who wants to learn how to use Final Cut. In under an hour you'll have everything you need to tell your brand's story.  Stay tuned for more classes on the rest of the editing process!

Here's a link to my first class which offers some great tips for users new to FCPX:  http://skl.sh/1WWnF4k

Also, please complete the project if you have time, and review the class if you like it. :-)

Transcripts

1. 01 Intro: everybody. Duncan Rogoff, here with another class on final cut Pro X in this class, will be learning how to create a 62nd brand promo video. Now, if you're new to final Cut Pro X are highly recommend checking out my first class called Final Cut Pro X. The interface, which talks about the interface organizing your footage, ingesting your footage, using keyword collections and beginning the editing process. I also cover some basic tips and tricks to set yourself up to succeed. I'll post a link in the description below Now, for this class will be picking up where I left off. I've already organized my footage into keyword collections and will begin. The editing process will learn how to tell a story. Using audio clips and bureau footage, we'll learn about selecting the best clips to tell your story and organizing. Using the timeline, we'll cover some of the tools you might need. Once we feel like we have our story in a good place, we'll go ahead and finalize our product with some basic audio mixing, some color correction effects and filters and basic titles. Once we have our edit lock, we'll talk about file formats and final delivery for handoff. Looking forward, seeing glass 2. 02 Organization&TimelineSettings: Okay, so here we are inside. Final Cut Pro X. I've already gone ahead and organized my footage. I'll be providing this footage to you guys in a ZIP file, so feel free to follow along or use anything. You shot yourself in our last class. We talked about creating a select sequence this size generally very helpful when working with other software. What's great about working with final Cut Pro X is that they've added keyword collections. So, as you can see here, I have all my footage under this one tab, and we went ahead and interviewed Nico. And here are the selects I've pulled from his interviews. We have things that took place at the Mall at Mill Valley Skate Park and at the proof lab skatepark as well as more Valley Middle School. Go back to all my footage here now, as you can see, this sort of has everything we worked with in determining which clips we've liked. We've gone ahead and scrubbed through each clip to see whether or not we want to use it are at it, and I've already gone ahead and made some favorites. What's great about favorites is that here We have options for filtering our keyword collections, and I can go ahead and click and go down to favorites. And now that's everything I selected that I want to use for my edit. Now See, I have this long clip here of Nico being interviewed, and I've gone ahead and already marks on my favorite sections. But if we scrub through here and I know that the part where he talks about his cousins and then like, later on my cousins come over and then they brought their boards and they kind of like talking, You have to do like the way you do it now say, I really liked that part where Nico talks about his cousins and learning toe all, I could go ahead and add that to a keyword selections by clicking on the clip pressing space bar. And then, like so I know it's soundbite starts here. Now I can isolate that part by pressing I on the keyboard to set my in point. We can go ahead and scrub through press Space bar. Delicious. You have to like it now That's the end of a sound by there, and I can press oh to set my outpoint. Now all I have to do to add that to a favorite is pressed the F. But and now we'll go ahead and filter this down to just my favorite selections. You can see it's actually broken up my interview and just the parts. I had selected favorites and gotten rid of the rest. This could be really helpful and will speed things up a lot for you. Now we have this part here in our interview select. But since this interview also took place, that proof lab. What say I want to add that to my proof lab key work. I can press command okay on the keyboard to bring up my keyword selects, and I could begin typing proof lab and in auto fill for me. If you look here, I have the set as key word shortcut one for proof Lab and I could just go ahead and press control one on the keyboard and I'll have proof lab tag and add it to my proof word collection. I can also press control to toe add that to my interview selects. Not bad. That's a little bit about keywords, keyword collections and the clip viewer. Now let's start the editing process. What's really great about editing is there is no wrong way to do it. It's all about feel and intuition and trying to tell your story in the best way possible. You can start with just audio. You can start with a visual montage. Really, Anything goes now. One thing I like to do before I start to edit and I'll show you why in a minute is I like to come down to my timeline and press all W, and this year will create a black piece of slug. Right? This is just a blank clip. No audio, no visual. And you can just drag this out to fit your time on. Now I'll show you why I like to do that. Say I don't have this piece of slug here when you dragon equipped that you like. First thing you'll be prompted to do. If there's nothing in the timeline already, it's set your video properties, and these properties should match your clip and final cut. Pro is really good at recognizing the type of foot is that you've ingested. Oftentimes, if you're working for broadcast, you'll want to be working in full 10 80 p, 1920 by 10 80 Resolution. I skilled these flips down for ease of use to save you guys sometimes so you don't have to download everything. So our only options are 9 60 by 5 40 smaller 6 40 by 4 80 We also have the frame right here . I like to keep that consistent and matched equipped. That way you don't have any were jumping or jittering. This also has some presets. If you're working in five K four K two k on, here's your basic 10. 80 p timeline. We're gonna go ahead and ignore that for now. Since I have adjusted the clips myself and we'll go ahead and click. OK, so if I have a clip here and say I want to add my audio track to it I selected this clip called about to die from the dirty projectors because I really like Thea because I really like the interest section of this clip. So if I put this here, you'll notice I'm gonna zoom in here by pressing command Plus to zoom in on the timeline. You'll notice he at the very beginning, slide it over for you this this little Greengard that's connecting our audio and visual clips. Now, this can be really helpful if you're working with interviews and you want to make sure your audio stays attached to the video. But in this case, if you want to slay the audio down as a basic track and say, I insert one more clip of Nico here and I decide that I actually don't want this interview slips to be the first clip and I want to move that to the end, start with this shot of him here sitting on the cement block on. I go ahead and grab this first quip by clicking on it, and I want to move it to the end. Now the problem is here that this audio moves with it and I have to take the audio and drag it back to beginning. If I want to keep my audio in the same place, if you're OK to work that way, that's fine with me. But I find that kind of a hassle, especially when you start working with multiple audio and video layers to keep track of it , that kind of start to bug me, so I'm gonna delete everything here by dragging box over it and just pressing delete. And I'm going to go ahead and insert that black slug by pressing all W. We'll be prompted here. Select our video properties. I'm gonna go ahead and step that back to the way it was, because I know that's what Michael, if they're gonna come in as and now I have this black slope, I'll just drag that out. So now if I drop in Nico's video quip on top of the black slug, it's like my audio track and drop it on to the bottom. Now my audio is actually attached to the slugs and not attached to the video, so I'll zoom out by pressing command minus. If I want to drop this shot of Nikko City on the cement block at the end here, uh, we'll drag out the slug a little bit. I want drop in this shot of Nico sitting on the cement block here. Now I free range to reorder these video clips. However, I want keeping the audio in the same place. That's really nice for me. I like working that way. It's up to you whether you want to follow this morning when I know I'm working with a video like this. I often like to start with the music track first, so that gives me something to time things out, too. So we'll go ahead and we'll have a listen to this track here about to die by the dirty projectors and I'll press space bar to play. I really like that intrasection. And if we get into it, I'm gonna delete this video for now. We get into it a little later. Now they start singing. Now, if I'm working with interview footage, I really don't wanna have anyone singing out there and I'm just gonna isolate this beginning part. So go ahead and scrub back the beginning. What's really helpful here is we have these way form so you can sort of sense what the audio is doing. I'll go ahead and skip towards near the end of where I want to cut. Now I know right about there is where I want to cut. Now I'm going to select the blade tool by the pressing B on my keyboard or going up here to my tools. We have trim position, range selection, blade, zoom and hand on. Go ahead and select it. It's best to murder keyboard shortcuts, cause that'll save you a lot of time in the long. The other way to do it is if I want to zoom all the way out, press A to grab my arrow and dragged this end in. I can do it that way, but that may end up being a little less process. Now I see that I want to start my next clip here, and I really just want to create a loop. So I'm going to go ahead, right. It's beginning of where that starts up again. Press to be on the keyboard for my blade, make my cut just by clicking Once on the clip, Select the end of it and press delete. And now I've removed that zoom back out here a little bit. Now I consume placate this clip in a number of ways. I can select it. I can go up the edit copy at it paste. And then I placed a quick right at my play head here, and if I want to contract it back animals and it'll line up real nice for me. That's one way to do it. Another way to do it is by clicking on the quip, holding down old and dragging out to the right to create a copy. I like doing it that way. It's a little bit fast, Eric. A little easier. You can also use the copy paste shortcut. Command C, Command V. Okay, so I'm going to go ahead and press play and listen. All right? That transition seems nice and smooth, so I'm gonna go ahead and make a couple more copies in this. So we have a nice sound bed tow work with gonna grab both these clips, pull down all quick and drag to the right looking drag here. And I will just snap these back into place animals ahead and do that one more time. And there we go. Now we have a little music track. Now we have to decide how we want to get started. 3. 03 EditingInTheTimeline: Now we have to decide how we want to get started. I do like to start with some sort of visual montage to kind of get the viewer familiar with the subject that we're going to be discussing. So maybe I'll try to find a couple clips to really set the scene and bring you into the story. So we'll go up here, maybe try to find something that's matching started the mall. Maybe we could start a proof lab, which is where Nico's interview is. Maybe we'll just have a couple clips from the Mill Valley Escape are, um I like the shot here of Miko tying sneakers just because it's not too much action. I kind of like to build up to the scene. So maybe I'll start Cliff here a quick and drag all press I for in friends forward. All right, there is good and presto for out. And then I'll begin to drag this onto our timeline Press command plus to zoom in couple times, and here we go. Way now it's a little short for May. Like I said, editing is all about feel. So if you feel like a clip is happening, a little too quickly. Just grab the end, drag it out a little bit and check it again. Right now, I have a little too much time. Maybe always trim the end back a little bit, and that should be good for now. I also don't like to start right on the quit. Maybe a little fade up might be nice, so there's a couple ways to do that. The easiest way to do this. It's too quick on the end of your quip and press command T on your keyboard and here you go . Now we've inserted across this off here, So if we press play, got a nice fate up. If we think that fatal happens too quickly, weaken. Treat the crosses all of just like a clip itself. We could take the end here, and we can drag it out, extending the length of time of that faith. Now I have a little bit slower faded. Likewise, if we think it happens too slowly, weaken. Grab the end and shrink it have now all these transitions air found right here in the transitions window. Cross is always three D rectangles, arrows. What's really cool about the window and final cut Pro X is that in order to preview the effect, you could just slide your mouse over it, and you can see how that would happen. Months of arrows some bands cross is always the most basic one. You could see what these effects do, so likewise, Instead of pressing command T, I could click on the cross, dissolve and drag it straight onto my clip. There to create is all. Same thing goes for, say, we have two clips next to each other. Maybe we'll find a good second shot of this. Is Nico dropping in? It's good to cut on the action. So once he leaves Crane, it's probably best to cut, as opposed to continuing the shot with nothing really going on for the viewer. Throw that under. The timeline scooted in. Wait, There we go. We want to add another resolve. We could quick, in this gap between the two clips, we could press command T again says there's not enough extra media beyond quick pledges to create the transition. Do you wanna overlap or trim your media to the transition? And I'll usually just all hit? Yes, in this case, just to show you now I have across is all maybe like that. Maybe we don't. Maybe we think it's too long. We can show or not shortened, not make a quicker transition on. And they haven't. I personally don't like to use the crosses off here, so I'm just gonna go ahead and press delete on it, as you can see here by creating the transition between the two clips. It's also put them in a group together with this with this grey outline box. And so now we can drag these all is one unit if we want to keep them together, sort of a way of organizing. Now the other thing is happening is we don't really want any audio clips because Niko is not speaking. There's no important audio reminds. We'll get rid of it a really easy way to do that. It's just grab this line here along the way, form at the bottom, which you can see. It displays the way form of the audio itself, and we can just click this line, which is currently at zero decibels, and drag it all the way down to negative infinity. And we've now gotten rid of all the idea that go ahead and do that for the 2nd 1 Now there are other ways of working with audio. We could click on the clip, go up the clip. Either do catch audio or break apart cliff items. If we do this, break apart quip items. Now we have audio as a separate track here on the bottom, which weaken, drag and move and rearrange just like any other audio clip. I'm gonna go ahead and press Command Z or undo on the keyboard a couple times to get back to our unified flip. And I want to show you if you got the clip detach audio, it does large with and again, we have a separate I equip, weaken, drag and move. If we really just don't want to get the audio, all we can go ahead and express Italy. And now it completely removed the audio from the time working with audio something that you'll do a lot. So it's really good again to learn your keyboard shortcuts. So to break apart these clip items, you could press shift command G and that all. And then I'll break out the audio now again, if I do a couple steps back. Audio here, Drag it up so you can see we're going equipped. Expand audio slash video. Now, what this has done is showing you the audio, but it's actually still attached to the video. These are not two separate items. I can't move them one at a time. So that's just something for you to see and be able to work with. It's so why don't we go ahead and build out a little video montage for this beginning? Maybe we'll start with a quick there. I really like this dolly shot of Nico on the ramp. All press I place on, We'll cut there right before he Now, if you like a little humor feel free to add But in its up to you again I'm just gonna go ahead and lower the audio volumes that we don't listen. So now it's kind of set the stage and our viewers aware of what we're gonna be talking about in this video. So it might be a good time now to start bringing in. Somebody goes interview. So maybe I'll go into our interview selects and I like the shot here of him sitting on the block just a sort of a way to introduce Nneka and to set the scene. So I'll press I right around here, go forward a few frames, all press. Oh, and I'll drag this clip into the view. And now we're ready to start editing the audio. So let's have a listen to what Niego has to say. Time skateboard was like when I was nine years old, but boarding, which is sick, and I like a press out there where he's talking about the first time he was on a skateboard . So here's what we can do here. We can drag this clip into the viewer and now we have this cook overlap it. I was like, Now the video footage here is really shaky. What we can do here is actually bring the audio up over the previous clip of Nico sitting on a cement block. So what we'll do here will go up the clip Detach audio. That's control shift. Yes, on the keyboard. And now we have our separate audio. So what we can do is we can roll back the video footage of Nico editing, but just grabbing the end and dragging it backwards. And if you listen here. Now they have any goes audio coming up over the previous clip. But since he's talking, our music track is too loud. So what we have to do? We want to keep the music track intact, but we just want to lower the volume. But we don't want to lower the volume of the entire clip. We just want to fade it down. Underneath me goes talking. What we can do is we can come down to the audio clip we compress all on the keyboard, and now we get this little plus right next to our era toe. Add a key friend so we can just click on the decibel line. And now you can see we've added a key frame here represented by the little. And now nothing's happened it because we have to add a second key frame. After Nico begins to speak, we'll press off on the keyboard again. Well, quick on the line. And now we can take this key frame and weaken, drag it down, and now notice that the wave form gets smaller or if we drag it up, it gets bigger meaning louder. But if we drag it down say, you know, minus 16 decibels and play it back skateboard. We've kept the music track, lower the volume and kept the audio of Nico speaking. Now, since this audio soundbite is a little bit longer right, we've come here a second music clip. We're gonna want to lower the volume of this underneath Deco's interview as well, so we'll just drag that down. 14 5 Maybe we can extend the footage of Nico back out. First time skateboard was like when I was nine years old. Waken cut to him. So now we can actually see Nico on the shot and get an idea of who he is and what he looks like while he's speaking to the camp. So at the beginning of the Saudi equipped Nico kind of mumbles a little bit and doesn't really get to the meat of what he's trying to say. You want to try to clip out anything that's unnecessary, otherwise you're gonna bore your audience, and it's going to sound less professional. So if you press play kind of says I before it starts to talk and you can sort of see that spike right here in the audio. So if we just go ahead. When we dragged that first time skateboard was like when I was nine years old. And there we have it. Now again, the camera footage is a little shaky, so roll this back to kind. After that shake stops, we neither extend out the end of this clip. But now we've run out of room. So maybe we don't want to do that, maybe want to grab video, we press command and click on the audio clip to move these two as one now. And maybe we slide these Ford a little bit would extend out the concrete clip. We're also gonna have to move our key friends. You can do the same thing. You can click the 1st 1 shift, select the 2nd 1 and dragged these both backwards in our fadeout. Happens a little sooner. First time skateboard was like when I was nine years old. But boarding No. Go ahead and continue our edit. Maybe we'll search through Nico's interview footage to find some other good quotes. Let's see what the next cousins over. And then they brought their boards and they like the home and do it I saw about right there Now, if you drag in our timeline, we zoom out a little bit. We can see by these numbers of top these air seconds, so this clip goes from 13 seconds to 23 seconds Now for a 62nd brand promo. 10 seconds is a lot of time for one clip, and it seems to me that we could chop this up a little bit. So go ahead and press space bar and they brought their boards. And you have, like, the home. This part about them Bringing the board doesn't necessarily seem necessary to the story. We understand that they're coming over to skate on cousins, so we'll go there to after, he says. My cousins came over and we can just scroll backwards, frame by frame by pressing the left. A rookie, well, press B on the keyboard to make a cut. They brought their boards and they kind of like you have to do like all we'll cut here, he says. They kind of taught me how to do the We can click on this middle section. We compress elite. We could bring these two clips to get, but because it's over, cut a little early there. We can just scoot this out, drag the beginning back and they kind of like this. They like Tom. You have to do like the way we've made already. Now we want to do in order to advance. The story is continue to work with zero Bure. Our extra shots that advance the story but aren't the main part of the story in this case are a roll. Footage is actually Nico's interview and the bureau footages Any footage of us skateboard. So maybe now we want to introduce some of the shots that proof lab, since that's where interviewing. Since I have my key work collection, I could go into the proof lab tab I can scroll down. Maybe we'll start with this skate at your own risk, a za way to kind of bring us into the scene or something called an establishing shot. Well, we can do that's really easy is we can take this and we could just drag this right on top of Negroes interview. Now again, we don't want the volume here, so just click and drag the volume down. Thanks later on, like cousins over and they kind of like so this way we can still get Nico talking and listen to his interview while we're continuing to advance the store. Later on. My cousins came over and they and again anything is about feeling. So I feel like once. Once we stayed on the shop for about a second a 2nd 1/2 we'll go ahead and weaken. Trim that down. We can continue to move on, so we have that shot here. Here's a clip I've already marked as a favorite. Make a bust in a big kick flip way. See, we need this having start off friends on and at a friend's waken cut wherever we want. So we'll go ahead and as soon as he gets off frame with press Ofer out will drag this clip onto our timeline. We'll match it up with the previous shot will lower the volume here. We've made another later on my cousins over, and they kind of like Tom, you have to do like the all and there we have it. May another at it. And since our video track of Nico Underneath is still there as soon as the shot of Nico doing his kick flip ends, we're right back into the interview. You have to do like the way you do it, and we can continue like this down the line, mixing interview clips, cutting them up to really tell our story and throwing in some bureau footage on top to accentuate the story and advance the point that we're trying to make. There's another cool thing we could do here if we like, and that's working with speed in the timeline. Now say we have to look here like you have to do like the we want to speed it up or slow it down. There's a really easy way to do that. We just go up to this arrow here, which has all our speed effects. We go into slow. We can slow it down to 50% 25% or 10%. Let's try 50. Just to see Tom, you have to do like the way and he's moving a lot slower now. If I press Command Z, we can undo that. Going to fast two times, four times eight times do four times just to show you and they like now that's really fast . But in some cases you might want that now the other thing we can do is we just take part of it and say We want toe go up here right until he's about to kick flip. Or maybe even when he's in mid air, Weaken Blade that there. We want that part of the clip to be also emotion. We want to speed up right before he lands so we could make another cut right before he lands. Now, I could just take this middle clip here, slow this one down, 50%. Scoop this one out to match the end, and they kind of like Tom, you have to do like the all and there we go. Or maybe even I want this quip at the end to be twice as fast, and they kind of like Tom, you have to do like the all That's just kind of a fun trick for your first pass at any video. It's always easier to cut down than it is to build up, so don't get too caught up in the little details right away. You want to build out your whole story first, and if you're over time, it's way easier to go in and take out things here. there that you don't need rather than trying to cut to an exact time when your first building the edit, you want to make sure you get your entire story out there first and then make all your big decisions. So one thing I really like to do when I'm working on a story like this is actually go through all my audio selects first and lay them out on the timeline and try to give it enough space to breathe something that feels right that way I'll have to do is go back in and fill in those gaps with B roll and we should be good to get. So let's listen to some more of these clips of Nico talking about skating. Okay, we'll take this clip here of him talking about when he first got into skateboarding, I noticed that I cropped the beginning off of a sound bite, so we'll just go ahead and drag that back out. That sounds pretty good. Now. I've already set you guys up with a lot of the clips that I really like, So just go ahead and take a listen here. The's air tricks he's working on right now if you're interested in that, feel free to use it. I'm gonna skip that one for now and go on to the next crazy Like I just get so like when I finally tricking, like all my friends, like I'm like, Yeah, Then I just landed that, as I think that cooks awesome. It gives you a really great sense of Nico's personality and manages to advance story. I'm gonna go ahead and use that. So right now I'm just kind of haphazard replacing clips in the timeline, and we'll time it all out. Wait, not these two quips in the time this clip here actually like the thing Nico says first. But I want to put that at the end. I just that little part right there. He says that feeling is crazy. So I'm gonna go ahead and zoom in here so I could see my way. Farms is gonna make it cut right after he finishes talking. Get e. He sort of stutters there. And now the magic of editing. We can just go ahead and take out that initial stutter so it sounds like a sound bite is one complete thought I got right. So if you find that you're dragging your blade tool and it's sort of snapping. You can't quite get into where you want. You just press an on the keyboard, and that takes off the snapping future so that we can slide smoothly across the time line without it snapping to any particular point. If you want to enable that feature, go ahead and just press and again and you're right back to that. I got so it's and we'll make a cut right here. We'll get rid of this section gets, like all my friends, like way right here, just right at the end after says, That's what's up. Kind of want to have to say that feeling. It's now we've got that, but we can go ahead and begin to actually time out already after he talks about getting kids, I want to have a little bit of a pause here to show some clips of them actually skating. You don't want to have too much audio back to back to back. Otherwise it might overwhelm your viewer. So try to give things a little room to breathe and like, kind of like calling up. This seems like a good spot. What's cool about the magnetic timeline is that you see, as I slide this clip in and out of the way of that 2nd 1 it moves to accommodate kind of a neat feature, e like all my friends, like again, I want to give a little more space there to include some footage, so I just take these two quips. I'll drag them out. And as you can see, we're already approaching our 62nd enter. So really, after this clip here from talking bout, how crazy it is when he glances, tricks might be a good time for a few final shots and maybe an Internet. So now that we have had it basically roughed out, we can just go ahead and drop in some B roll footage to support what he's saying. When we have our movie now, I'm gonna go in here to the shot of him kick flipping, which I really like, what we did here with the speed ramp, but in his audio sound. But he's really talking about when he first learned toe Ali. So maybe we can find a clip of him actually doing in Ali to support what he's saying. I know I have this nice one here from at the school on this big eight state. Why don't we go ahead and grab that? Build that into our timeline? We can grab these initial clips of this kick flip. We just sell these to the side for now, we'll come back. Likewise, if you're trying to match this up to that exact and time of the quick before and it's not really working, remember, you can just press end to enable snapping, and that's just sink right at. We'll get rid of the audio for this drag this dry, the sound bar down, kind of like you have to do, like the all and again way. Have a lot of time here in the beginning. So we'll just go ahead and drag this era, slide this clip back over, and they kind of like telling you have to do like the all But after he always maybe just go ahead, bring this clip of the kick flip back in 4. 04 Titles: now actually might be nice to introduce our skater with the title so everyone can see his name and associated with him. So maybe we'll find a clip somewhere at the proof lab skatepark with him skating. Maybe this one here where he drops it, We'll go ahead and throw that on our timeline. We'll get rid of the audio because again, we don't need it. And now we'll go over here to this Big T, which has all our titles. Now again, the effects you're is great because I could just skim over the title with my mouth and I can see what is going to look like a basic three D title. You need some lower thirds. Maybe just a basic title in the middle. You want to get fancy, We got some boogie lights. I sort of like this subtle, drifting type. We just drag this just like any other quip and throw it right on top of our footage. It's really cool. And there we go. It's totally customizable. We can go in. We have our tax properties where we can change the font in the font size, the alignment, the vertical alignment. We even at an outline if we want. So now you can see there's that subtle red outline. We also have total control of what that outline looks like. If we want change the color to black, we want to blur the edges out there. You have it. I don't like the outline for this, so I'm gonna go ahead and remove it. Now that we're here, we'll just go ahead and click on over to our title tab and we don't actually see anywhere to import or change your title. But if we go in and clicking the title on a timeline and double quick on that now, we actually have some adjustable parameters that apply to this specific title. So we'll just go ahead and change this to Nico and we just click right in our viewer here. I'm just gonna delete this subtitle for now because we don't actually need it. Now I have the slowly drifting sides feel free to use different titles. You can change the speed of it just like any other quip. You can also have it over black if you want, and you can just remove the clip underneath to play the title over Black if you want to bring it in that. So what you do now is you go through and you find Associated B roll clips to support what Nico saying in his interview and continue to build at your store. I'm not gonna go ahead and go through all that. I'll let you do that on your own. Really Just edit for feel on what you think is going to best convey what you're trying to say. Once it's all said and done and your pictures lock now we can get into color correction and effects. 5. 05 Effects&CC: here we are now at it and our pictures locked. Now say we want change the color of this and start your special effects. We could go into this filters tab here and again with this window. We could just slide over to preview exactly what that effects gonna look like on our footage. Change in black and white as a noise. Maybe If you want to really get stylized and add some age, age paper or some or some artifact ing, it's really up to you. It's all a matter of preference. I'd go through in just preview all these effects and try them out to see what you like and what makes sense. And really just to familiarize yourself with which options are available to you. Some of the effects that I really like just for basic videos are in this looks section. There really just pre made filters that change some of the color and saturation. Your footage often like this teal and orange Look, Maybe not for this shot in particular, but made for something with a little more brightness, something outdoors. And if you want a preview different clip, just move your play head to that selection and then you. I think that's kind of cool. Or maybe red. This time's different things you can do. Maybe this faded. Some look for his interview now for something like an interview. If you apply, effect toe one clip. It's best to go through and apply it to everything else as well, just to keep things consistent. So now you've got food added filters to your facts, it's time to get into color correction. Now, color correction can be really easy or really complicated. Some people make an entire career out of just being color. Specialists now, in order, actually begin to color. Correct your footage. You have to go to the color tab in effect, an ABBA color correction filter, and I'll see that appear over here in your inspector window. You can head on over to your color board Now. Here we have basic color, saturation and exposure. The main thing I learned about color correcting is that you want your darkest blacks to be black, and you want your whitest whites to be what and everything else should fall in between. That's really helpful. So here, in this case, if I take a look at the shot of Nico. It looks to me like actually his darkest blacks here in the center or a bit too dark. Now I can just go into the blacks represented by this dark black dots on the left and boost these up a little bit simply by lifting this black era. If I think there, if I want to make him darker, I could bring them down. That dark is up everything. But maybe I'll boost the blacks here. But as you can see, that sort of fades everything out. So now I might go ahead and take the mids represented by this gray and bring the mids down a little bit in order balance. I might boost my whites. Now, if you go too far, you can risk overexposure. But again, maybe that's a look you're going for, So feel free to keep it if you like it. But maybe we just learned something sort of right in there. Also, this large dot on the left represents global exposure. If I take this, move it up, it'll boost my mids lows and highs. Likewise by Bring it down. You don't lower everything. I'm gonna go ahead and undo that butt pressing Command Z and hop on over to saturation. Same thing here with the dots. We have the dark's or shadows. We have the mid tones and we have the highlights. And if we want to boost the saturation, the highlights again, we could just raise this up and you see all our lightest areas get a little more boosted with color, our mids. Same thing. Or maybe you want Take the saturation out of those minutes. Same with the darks. Could boost the color could bring it out. This kind of an interesting look was just the highlights. Saturated. Same thing. Global saturation here on the left. If you're trying to control everything at once, I'm gonna go ahead and reset all these parameters by just clicking this arrow here in the top. Right. And battle zero everything out. So say you don't like what you've done. Instead of backtracking impressing command Z over and over again, Just click that arrow and everything will reset. Now it could happen over to the color tab. This is where we're changing the hue of everything. Now this dot here is our global control again shadows mid tones and highlights, we can move these all across a spectrum left and right and up and down. So if we move these up in the highlights were adding purple to the highlights. We go below this line, we're actually removing that color now. Say, I feel like my highlights are a little too or in there a little too warm. I can either go into the blue and boost some of the blue tones. Or I can come over here to the orange and actually removed some of those orange shoes from the highlights. Maybe something like that same goes for this global control. I wanna if I want warm it up, will come over to the orange and boost it. But want to come over and cool it down, could boost the blues or even remove the blues. I'm gonna reset that again again. It's all the preference. There are specific ways of using the window. Fewer display show video scopes. They're more advanced techniques for color correction. But we won't get into that in this class. Will save that for another time. Just so you know, it's there to kind of help you as a god 6. 06 Delivery: That's it. Congratulations on creating your 1st 62nd brand promo video. Now, before you're done, you're gonna want to go ahead and set this file out for final delivery. If you're working for clients, they might request a specific format. If you're if you're gonna upload to YouTube or VIMEO for your website there different formats. For that, there are tons of ways to compress and encode your footage based on the situation, so there's a couple ways to do that. In Final Cut Pro. We can go up the file share, and it gives you a couple presets here for YouTube, Facebook Vigna full 10 80 p or we can create a master file. Creating a master file will export it at the full frame size into an Apple Pro rez file. Now Apple Perez is very robust Kodak and includes a lot of data and is usually comes with a very large file size. But honestly, how we recommend creating a master file because that way you have one file to base all of your other formats off of. If you're gonna be sending this to multiple locations, this is really easy. You can just press command e or coming to file share master file, and I'll bring up some options. Now we can jump over into the settings we want the video and audio. We also have options for video only. An audio only. Here's our Kodak Apple Pro rez and when you just click next and I was asking us where to save it, it's gonna cancel out of that for now. The other option is you can come into file Sent to compressor compressor is a software add on to final cut Pro X Believe it costs $50 and it might be worthwhile if you're trying to create different file formats. Now here we go. We have our video here. We can click Add outputs. Now this comes with a lot of presets. Video sharing services, pro rest files, MPEG audio formats specifically for Apple devices. There's tons of different things you can dio in this case. I know I'm working a 9 60 by 5 40 video. That's just a large 5 40 p format. I'll go ahead and I'll quick okay, and this will save it out to the source, which is actually gonna be where this project files located. I might want to change that so I can come in here. I can right click on source and go this location and choose to save it out to the death stop instead. Now, what's great about this method is that can actually press command C command V to make duplicates to make duplicates of this. So this way I can go in, I can get rid of this setting and I can add a different output. Say, want to publish this to YouTube in a 7 20 p format? I can just click and hit, OK? And again, I'll change my locations. The desktop. Now, once I quick start back, this will begin to encode my movie into multiple formats. Kind of s now what I said earlier about why I like the master file, is that way. I could just have one master file and I could bring that file into compressor and add different outputs to that. It might not make much of a difference for one of immediately finished my edit, but say in a week or two, I come back and I realized that I want to make a different format or publish it to video I can just use the master file instead of having to come back into the project and then go to compressor just one less step. It's always good to have a master file in the highest resolution possible toe work from. 7. 07 Outro: That's all I've got for today. Really appreciate you guys following along. Just a recap today we talked about the clip viewer cured collections using the timeline and some of the tools you might we use, along with a few tips and tricks, like how to speed up and slow down your footage. We talked about using transitions, titles and effect. We talked about basic color correction using exposure, saturation and the color tabs. And we also talk about different file formats for final delivery and how to use the compressor software. Adam, please post your final projects in the project section. I love to see what you all came up with. Thanks a lot. See you soon.