FINAL CUT PRO X: COMPLETE [Import, Edit & Export] | Benjamin Halsall | Skillshare

FINAL CUT PRO X: COMPLETE [Import, Edit & Export]

Benjamin Halsall, Final Cut Pro X & Adobe Courses

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32 Lessons (3h 44m)
    • 1. Course Introduction

      0:38
    • 2. Opening Final Cut Pro X

      6:22
    • 3. Complete Introduction to the Interface

      15:25
    • 4. Importing Footage from SD Cards, Hard-Drives & Cameras

      13:50
    • 5. Project Timeline Setup 1 - Automatic Setup

      2:30
    • 6. Project Timeline Setup 2 - Custom Setup at 720p

      2:17
    • 7. Project Timelline Setup 3 - Square Video Custom Setup

      4:05
    • 8. The Browser & Timeline: Making Selections & Dragging Clips to the Timeline

      4:00
    • 9. Timeline Navigation: Zooming In & Out, Increasing Clip Height & Other Settings

      1:50
    • 10. Timeline: Deleting Clips and Adding Connected Clips (Layers)

      1:41
    • 11. Playing Clips, Navigating the Timeline & Working with Shortcuts

      6:07
    • 12. Precision Timeline Navigation & Shortcuts

      3:48
    • 13. The Selection & Position Tool for Editing & Advanced Refinements

      8:33
    • 14. Trim Tool for Refining Edits by Rolling or Slipping

      2:05
    • 15. Range Selection Tool for Selective Edits, Speed Changes & Audio Adjustments

      5:54
    • 16. Blade Tool Intro, Shortcuts & Tips

      4:33
    • 17. Zoom Tool & Hand Tool for Timeline Navigation

      3:44
    • 18. Edit Buttons - Connect, Insert & Append

      8:20
    • 19. Titles - Add Basic Titles, Change Font & Color

      9:18
    • 20. Titles - Adding Lower Thirds

      6:25
    • 21. Titles - Animate Block Type using Keyframes

      19:07
    • 22. Get Setup for Audio Editing

      4:01
    • 23. Audio Levels Mixing - Video, Voice and Music

      15:58
    • 24. Images - Animate with Ken Burns Effect

      8:33
    • 25. Images - Animate with Keyframes

      15:16
    • 26. Images - Remove a Logo/Image Background

      7:47
    • 27. Color Correction - Fix Brightness & Contrast

      6:57
    • 28. Masking - Draw-Mask to Create a Split-Screen

      14:04
    • 29. Basic Multicam + Color Correction

      11:35
    • 30. Exporting Video Essentials (Quicktime & MP4)

      5:01
    • 31. Housekeeping - Keep Space Free on Your Hard-Drive

      3:43
    • 32. More to come

      0:33

About This Class

This class is for Final Cut Pro X 10.3 & 10.4

Get started with Final Cut Pro X with this awesome in-depth introduction.

Also, don't forget to share your YouTube Videos in the class project to grab those extra likes and subs from me and other students in the class. Look forward to seeing what you create!

I have been working with and teaching Final Cut Pro X, and previously Final Cut Pro 7, for over 10 years and in this class I share some of the essential skills and tips you will need to work effectively and efficiently in Apple's professional video editing package.

We cover the basic interface, editing and timeline management and as I add more sections to the course there will be information about creating split screens, colour correction that will help you on your way to getting the very best out of your video projects.

So whether you are looking to professionalise your editing skills, add some class to your YouTube channel or want to add Final Cut Pro X to your skills in Adobe Premiere Pro or Avid this course will do the job.

You might also like to take a look at my YouTube Channel that now has over 5000+ subscribers. I share regular tips on my channel and am always happy to answer questions that people have about Final Cut Pro X.

I also teach in the classroom for clients in Calgary, Winnipeg, Vancouver, Ottawa and in my home province of Saskatchewan. You can find out more on my web-site http://www.benhalsall.com .

Transcripts

1. Course Introduction: Heather has been hassle here and welcome to my full intro to final Couple Attend. Now we're going to run through everything you need to know from importing toe editing and exporting out your projects in final cut pro ready for upload. Now, if you're brand new to final cup for a 10 we're gonna run through all the details that you need to know and understand when you're working with that editing video on your timeline in final couple of 10 we're also going to go into detail for things such as color correction, adding titles, adding transitions and effects in final cut pro 10. So if you're looking for a complete interruption, final Cup, pretend it's really going to get you started on enable you to create a professional project on Dive in and let's get started with learning. Final Cut Pro 10 2. Opening Final Cut Pro X: So in this short section, we're gonna have a look at how we open up final cut pro in a few different ways, as well as talking through some of the death stop set up that I do when I'm working. Final cut pro. We also have a look at the default location where final cut pro will save your projects or your libraries on. Then we'll dive in until the next sections and look at how we import footage and begin to work and edit in final cut pro 10. So after even stole final cut pro 10 you'll be able to open it from a few different places in the first place that you'll find a link to fund a car. Pro 10 will be in the dock down here now. If you don't see it a link in the dock, then we can create that for you. So I'm just gonna remove my link from the dock just by dragging it up. When we see removed, we can let go on. The link will be removed from the dot, so if you don't see a link in the dock, then we can come to the finder on the left hand side here, the dot. So once you got the finder open, we can come across the left hand side here, and there's a whole bunch of other stuff that you can see in my favorites here that you won't see in your favorites. But we're looking for is the link to the application's folder, and then once we're in the application's folder, Weaken, scroll down until we find Final Cut Pro. As you can see, I've got fair few applications here, but we've got the newer version of Final Cut Pro 10.3 and then an older version, which I've kept on my drive. So now, in orderto open this up, I could just double click or more usefully, Aiken, drag this down to my doc and then create Shortcut that so we can open it from the dock as we begin to work in final Cut Pro 10. So I'm gonna close up my find a window here now and then we can come back down toe final, cut pro and click on it once, and it will begin to open. So when final cut Pro opens, we'll get a short cut to asks if we want to open up a library on which we can do. But here, we're gonna create brand new life. So if we click and you then by default, Final Cut Pro is gonna make a project in your movies folder Now, I don't tend to keep my projects in my movies folder. I keep him on a external hard drive, but for the moment, I'm actually gonna drop this under the desktop just so I can see right Where is so we're gonna jump into my home folder here and then jump onto the desktop if you don't see this extra information. If you don't see this extra information below in the finder window as we're opening things up and you just need to click this little arrow next to save as option and you can see you can expand and contract this save window and so you can get a few more options on the left hand side. Then you probably need to do that before you even go into finding the movies folder or the desktop. It may show up here in your short cuts, so I'm gonna say this his final cut pro X entrant on then I'm gonna say that So essentially a library when you create it is what will contain all your imported final Sony videophiles who, importantly audiophiles who import any image files the import, anything that you're importing into your library is there to be used in the different projects or edits you create. Now with the libraries, I tend to try and keep them project based, so I'll great a new library for each different projects I'm doing. Even if I got a few different head, it's for that particular project. If you let your libraries grow too big and start important a lot of footage into those different libraries, then you'll end up with some problems open. The library's things will slow down a little bit, and also the file size of those libraries will become difficult to manage a later point in time. So for each project that you create, I'm so for one wedding for one party for one event that you're videoing for one music video you're creating for one movie that you're creating great library for each of those different projects that you're working on and then create different edits within each those libraries. So I have my library up here. We just have a look at what final cut pro is done when we've created this. So if I right click on my library up here on the top left, then I could go to reveal in Finder and you can see that final Cut Pro has made this library project on its in this library project that all those files will be imported with the default settings and final cut pro. So many movies or audio said or images that we import will be located within this folder. We can manage our file separately so we can create our own file management system, and that's what I tend to do. We'll deal with a default set up here for the moment. So now back in final Cut pro, we're gonna have a look at one of the way in which we can open the software up. It's a real nice, neat way of opening up applications or files by quickly searching for them using the spotlight. Or so I'm gonna close up final cut pro, So we go to final cut pro and quit final cut pro on before we open up follicle programmers would change one setting here just to give us a little bit more real estate on screen as we're editing our video, so and also to remove any kind of visual distraction. So is one of the second I want to change here before we have final cut parents, really just to give us a little bit more real estate on screen. Also, remove any visual distraction as we're working in Final Cut Pro on. That is to hide the doctor out of the bottom. So if we come down to this line on the right hand side on our doc, weaken right, click or control and click and go to turn hiding on on the shortcut for this is Ault Command and D. So you can see here we can either right click here and turn hiding on or off a weakened do all command and D on high the dock. And essentially, what that does is it means that we hide the doc so that when final cut pro 10 opens its next time it will take up the whole screen, which is nice to remove any visual distractions. That kind of candy colored icons for the different applications. You get down at the bottom now to open up final cut, pro. Now we're gonna hold down the command key on tap the space bar when we're gonna type in final cut pro So wanted Type that in and you should get there. The top hit for you should be final cut pro and will hit, Enter and open that up and the command on space. My option is a really nice way off finding different applications of different files that you might be searching for on your Mac. So in order to maximize this to get rid of this blue bar at the bottom, I'm gonna come to the top here on just hold down the all key. So this turns to a plus, Andi, maximize that. If you maximize it fully, then you lose the bar at the top, which I don't want to do for the moment. So we want toe hold down the AKI so we see the little plus symbol here on their maximize it . So we take up the whole screen with final cut pro 10. So now let's move in and look a little bit more library management. I'm working with libraries in final cut pro 10 and then moving on to important files from photos on our computer and also importing files from cameras or SD cards that you've pulled out of cameras. 3. Complete Introduction to the Interface: thanks for enrolling this class. So here we're gonna begin by looking at the interface of final Cut. Pro tenant would talk a bit about what the software does, how it works and how that means you're gonna need to think about managing of files as you work with your video. And it's in the final Couple attend. So, essentially, when we create and edit in final Cut Pro, it creates a library project file, which wraps up a few things. It wraps up your original media. It wraps up your edits many different head. It's or projects that you create within final cut pro 10. Andi. It works in a nondestructive way, which means that when you make those that it'll create, is that it? It's not affecting your original media. Now you always need that original media to refer to. But final cut Pro 10 works in such a way that it's making selections from that original media but keeping the original files intact. So here in the interface, as we kind of look around, we have a few different things. If we go from the top left clockwise around at the top left, we have our libraries okay, and we can have more than one library open final cut pro 10 and is generally a good idea to keep your libraries project based. So create a new library for each project you create. That will help you with media management and project management later on, as you work in final cut pro 10. So you can see here that I have one library set up here with a smart collection, which will talk about it later on, then also an event. So this is today's day and any video footage that I import. It's going to be dropped into here and create new events to help me manage my medium. We'll talk again a little bit about that later on up to the top left. Here we have the libraries cyp up on. We have the photos and audio site Buster's gonna access any photos or audio that even poured into iTunes or into my photo. And then we've also got the titles and generators sidebar. So for creating titles on any shapes or generated effects that you want to use in your final cooperate, it's your character here on this top left hand side to find those things above that. We have the import media, but they're keywords button. And then also this important button for looking at background tasks as we working final cut pro when we're exporting something or rendering our timeline, we can see the progress of those activities in the background task. But up at the top left here as we move to the right hand side here we have our projects and clips. So this project that we can see here with a clapper board style line along the top is our edit down a timeline here, and you can see that as I scroll across my head it I see this viewer change. So when I'm scrolling across things in my library items or on the timeline, it's gonna show up in this central viewer here, which is where I'm going to see my final edit once we're viewing it. And we've also got the clips that I'm using in this short project on over the next couple of classes that you watch will be running through how to create a project. Think about resolution. Think about how you sell your projects in final cut pro 10. So we have some other bits of information here within our library and our clips that we can change. So if we can't the top, we have a few different options for viewing clips that we've rejected or clips that we favorited. And we'll run through some of those key wording options and those ways that we can manage our media a little bit later on. We've also got an option to flip between a filmstrip mode on a list mode. So this is the list mode, which shows you the file list on both. These could be useful for finding clips in different ways. So if I jump back here to the filmstrip mode, it's gonna show me a filmstrip. And we can actually zoom in and out of thes filmstrips within our Library of Europe here at the top left. And that's done with the next button. So this button here allows us to change the size of our click. The mouse had also to zoom in and out off those clip thumbnails. We actually see a full film strip off our clips so we can really see what's in those clips as we're editing, viewing what's in the clips can also be achieved by scrubbing across the top of them as well. So you may find you don't need to zoom in to the filmstrips. Some of these things really come down to personal preference the way you like to edit in final Cut pro 10. I personally most often worked with my clips in filmstrip you, but in this thumbnail view that we can see here so viewing just the single frame and then scrubbing through those clips as I scroll over them. So whether you view things in the list view or in the thumbnail filmstrip you on with, you view them zoomed in so that you can see the filmstrip view. It's really down to personal preference is you develop your editing skills. You can also turn on things like the way forms here, so that you can see the audio as you're making your selections toe head it, and you can also turn on continuous play back from clip to clip to Sue will turn theirs off for the moment on, then move to the central viewer here. That, in the viewer, is where, as I mentioned, review the clips before we begin to edit them so it will. Seeing here will depend on whether we've got a clip public over here in our library or whether we're viewing our timeline down here. The viewer here works in conjunction with both those sections off the interface. Now, what we're seeing here is we have the resolution up at the top here, So 10. 80 p HD Trey 9.97 For myself of the moment we see the zoom level up here at the top, right? So when you're editing, it's really important to understand if you're super zoomed in on something, then you're going to see some degradation in the quality of the footage. Ideally, to check the quality, that kind of pixel by pixel quality, your footage, you want a view it from times time 100% on. Just make sure that what you're seeing is what you're wanting to export out. Normally, when you're editing, you'll be working in the fit few, and whether that's 100% less than 1% or over 100% will depend upon the resolution of your monitor. I'm working on 1920 by 10. 80 monitor here. So we're seeing this clip viewed at 39% then to the right. Here we have the View menu. Now this is really useful for a variety of different functions, so for showing things like video scopes angles but also importantly for working with the quality or footage. So if you're noticing slow play back as you're working final cut pro TEM, you can increase the performance by moving to better performance. Or working with proxy for attention will run through in this course how to work with proxy footage to really improve the flow of your editing. And that will help a lot if you work in a lower spec. Machines such as a laptop or an older laptop with final cut pro attempt, as I mentioned before, will also talk about ways in which you can improve your system, the types of hard drives you come by the store and work on when you're working in final cut pro. Now, if we look down to the bottom of our view here we have a number of different items, so we have the crop tools cropping clips for working with the Ken Burns Effect. We have the Balance color and Enhancements menu for audio and balancing color showing the color board. We have the retiring menu, so if you want to speed up, slow down, reverse your clips or control the quality of your re timing. And this is where you come to, and we'll cover this as well as we go through in the center. Here we have the time code. So in hours, minutes, seconds and frames, we see the time code as we see it on our timeline. So as we move through this time line, you can see the time code in there in the center changing as we move to the right, we come to the end of the timeline. And in the viewer, when we see this icon on the right hand side of our clips, that means we're right at the end of our edit on. Then, when we're at the beginning of our edit, we see this film strip here. As we're on each of the edit points, we see a little L down here at the bottom left, or if we're in the last frame of our clip, then we see a little help on the bottom, right, And that's important as we get into the detail of our editing to kind of see those clues in the interface for whether you're at the beginning of an edit, the end of an edit or where you are when you're on that particular edit point. As you're trying to make precise at it, we have the full screen button here, so if we want to play back in full screen, we can click this and it will play back in full stream. And then as we move further to the right here, we have the all important inspector now above the inspector. We have a couple of different options here so we can show and hide the browser on the left . So that's the click browser on the library's weaken, showing high the timeline so we can remove that. And then we can show and hide the inspector as well. Now there are short cuts for all. These things will go through them as we go along, but with the inspector with the information about any of the clips that we have selected. So if I select a clip over here in the browser, then we're going to get information about that clip here, So I can the the sound information the audio information for that clip? I can view the video information. So the resolution, the frame rate, all that information about the video clips and idea developing your skills more and more with working with video. Then you wanna pay attention to things like the resolution. So understanding the difference between PhDs in 1920 by 10 80 on lower resolutions that might be referred to his HD, such as 12 80 by 7 20 which he useful for different things. But understanding how they work is also important. And then we have things like the duration of our clips, the audio sample rate on that type of thing down in the bottom. We're looking at the basic information. We also have other information that we can access is well, so. Final Cut Pro is very easy to use application, but we can go into a lot of detail and get a lot of control over the work we're doing, which is what makes it a professional application. And then if we moved to one button to the right, we can look at the share inspector, which shows us the the name of the clip the description, the clip, what it's about. And then the current user, the creator of the clip and then the events or tags that this clip is within. So this meta information can be stored is the attributes of the clip. So if we don't make the info, also note that we can see the file name off that clip on really usefully. If we want to find out where it clipped his on a hard drive, we can use this. Reveal and find a bottom which is gonna show us where that clip is. On the hard drive, Weaken, jump straight to it and see the location, the file location off that clip. Now, if we look down to the timeline, we're going to run through some of the different functions that we have on our time line now. So across on the left hand side, we have our index, which shows us the clips that are in our timeline. It is a list of those clips. Weaken. Search them as well, which is really handy. We have any tags that we've added to. Our clips, which could be clip markers or DVD markers, would show up here on, then we also have roles for our clips. Now, if you've worked with earlier versions of Final Cut Pro, you may have used rolls, but they've been given a bever on upgrade here final cut pro 10.3, and have become really useful for managing your audio and video editing for color coding things on for being able to control your edit. So let's close the index here. Now we have our edit buttons. So an eclipse that we have selected up here we can use these edit buttons to edit clips down the timeline and will run through those in more detail as we work through and will also run through the different tools that we have. A final cut price of this section here that we can see on the left hand side of the top of our timeline is really all about how you edit your clips, how you reflect Refiner edits. There's a lot of short cuts for these buttons, but the fundamental editing tools at all in this section, which, of course, is what final cut pro is all about. If we moved to the middle of our timeline here, we can see the project name or the timeline name, and you can see this is interchangeable with clip name up here. So we have the final couple intro here and here, and we also have the duration off this sequence of our edit. On that we can see here across to the right hand side. Here we have some editing controls for snapping, which will run through a little bit later on for turning on audio skimming and then for soloing selected items. So solo means fueling just that one item without viewing any others. So to the left, here we have options for skimming. So video skimming and audio skimming weaken turn snapping L enough, which is useful when run through some different uses for that. And then we have similarly to the browser up here, this button which allows us to zoom in or increase the height law timeline and also zoom in . And now and again, you don't always need to come to this button to zoom in and out. We'll run through some short cuts of that as we go through, and we also have different clip fuse that we can use as we work through, and we'll run through some of those as we develop our edits in final cut pro 10 to the right Here we can show or hide the effects. Browsers are effects for video or for audio, adding to the timeline and then further to the right, we have our transitions browser. So for adding cross dissolves or custom transitions, this is where you go to. Now we'll have a look down a timeline now, So on a timeline here we currently have four clips and you can see we get a preview of the thumbnail off that clip here. And we can also see the edit points for that timeline along with the way form. Now, when we're working a final cut pro, we can work in a number of different ways on the timeline and will run through that in more detail as we begin to edit in final cut pro 10. We can also see the time code up here so we can see that this timecode ruler is interchangeable with the time code up here. So we're at 19.23 seconds and we can see that as we slide to here, where around 20 seconds and zero frames, and we can also see now that I've clicked on this clip that I have a selection there as well. So it's highlighting the duration off. That selection I have now is one last button that I haven't mentioned yet in the interface , and that is the share button up here. So if we click share, this is where we'll go to to export our DVDs to export our master files. We'll begin to explore some of the different options there little about advantage of exporting files or whether we should upload directly to YouTube. Using final cut pros built in YouTube uploaded and, of course, up of the top. We have our fireman use. Now. The one thing that you'll notice is missing from final Cut Pro 10 if your brand new is the safe, but there is no save that we need to click in final cut pro 10 family. That's always continuously saving things as we go along, which is really useful. It takes a little bit of getting used to. When I first began work with one foot pro 10 I was hit in command s all the time to make sure I was saving my projects, but I don't need to do that anymore. I can just keep working on, then make sure I've got the back of my projects, but I don't need to actually save it. So we've also got some editing buttons up here. So copying and pasting and we got some more advanced editing functions as well, such as pasting attributes that will talk about as we move through the training tools will talk about. We'll also talk about those trimming tools in their short cuts, which will help you to make your editing a lock with. One of the things will focus on in this course is how you can improve the speed of your editing, a technical speed of your editing, and coming up to these many is a great way of reminding yourself off the short cut. So, for instance, when we're marking it out points in our timeline, we can see that though the shortcut for those is I and, um on. Then for copying and pasting, we can see we have commanders see and command V for pasting an item. We have different view options for final cut pro, So if you're not seeing the view that I see here in my window layout. Then you can come up to window workspaces and reset the default view. You can also set up your own custom views as well. So if you work in a jewel monitor, you can set up a view that takes that into account. Or you can use one of the built in work spaces, such as the organized or the color and effects workspace is could be really useful. It's also useful to come up here if you want to show items that you've hidden. So if you've hidden, the inspector caught a window and you can see you can show the inspector or hide the inspector from here. We also have things like the Timeline Index, which we looked at before the audio meters. Effects and transitions. Now for this introductory course you would be working with secondary display will be focusing on the basic single screen editing in Final Cut Pro 10. Okay, so that's an in depth overview of the interface. Now let's go ahead in the next section and create a project on begin toe import. Some footage on look, a editing in final cut pro 10 4. Importing Footage from SD Cards, Hard-Drives & Cameras: so no fenical pretend we're gonna have a look at importing footage. So as we do this, we're gonna have a look at some of the different settings that you can use when you're importing. We're gonna have a look at importing files from folders on our computer from an external hard drive and then also look at importing footage from a memory card. Will also have a look at where final cut pro puts that footage once it's imported, which is important to understand when you come to managing your media later on. So video files as you're working with them will be quite big on bacon. Quite quickly, fill up your computer, especially once you start rendering and adding effects. Then you'll need to keep an eye on the this space that you're using either on external hard drives or on the internal Macintosh HD that you're running a system off off as well as running software hand important footage into depending on how you're working. So the first thing we're gonna go ahead and do is create a new library. Whenever I'm starting a new project, I will create brand new library, so I have this final cut Pro X intro Library Top left. Now, if you don't see the same screen layout as May, just go to window workspaces and we're gonna make sure we're on the default workspace and that will reset us. That default works based. So you can see here that as we flip between the different work spaces Week a different layout for our screen Onda. We can change that, depending on different functions that we're doing, and we can also create our own custom workspaces. But we'll go for the default workspace. It means we're Paul looking at the same layout on screen, so that's going to file new hand library. We're gonna create Brand New Library will call this importing introduction. Andi. Then we'll go ahead and save it. So now we have to Libraries open in final cut pro and in each of the libraries, and we have a couple different things. We have some smart collections, which we don't have any of yet, and then we also have our events so you can see the final cut pro by default. What's today's date on the event that we're creating, but often what you want to do when you're working on something of final cut. Pro is have different events for different kind of sections off that edit different sections for different parts of the event that you're videoing. For instance, if you have different bands playing a gig, you might have different events that kind of different imports that you've done sometimes our create events based on the different cameras that I'm important footage from. So I have one event for my go pro footage. One event for my video camera on one event for my he s alive. I'm shooting with two or three different cameras, and that just helps me to organize things in different ways. So we're going to use this importing introduction library on before we go ahead and start important. We're gonna close this other library Now, when you've got multiple libraries hoping in final cut pro and you shut it down the next time you reopened, Final cut probably will be open all those libraries, So it's a good idea toe only. Keep open libraries that you need to be open. So if we right click on this library, we can go toe close library, final cut products intro on. Then we only have the importing introduction library open. So the first way that we can import footage in final cut pro is just a drag it straight into an event. So we have our default event set up here on. Instead of clicking the import media button, we are going to come to the finder. So I'm just using command and the tab key to come to the finder. Or I can come down to the dock down here, which I've hidden. So if I dropped down to the bottom and I can click on the finder there and for the footage that I'm good import, I have it stored on external hard drive so you can see on the left hand side here. I've got this footage. I'm linked into my favorite, So it's actually extraordinary external hard drive costs. I later in the photo court tutorials, my final cut pro tutorials and then this footage folder and have a Siris of different folders for different bits of footage that I use for teaching Final cut pro in this for each folder. And they've also got some footage from a recent surf trip to Mexico, Then, which is what I'm going to use here so you can see here. I've got some action camera footage which is active on C X that I use. It's a low cost GoPro on. Then I have some other footage from my can, an X 20. So if we click into one of these folders, we can grab a few files. So I'm just holding down shift, select a few files, and then we can drag those right across in final cut pro So I can drag from across on because we have the events selected up here on the top left because it's highlighted in the light of Gray. When we drop these in, it's gonna move those files into final cut pro. Now, the way I've got my settings. That up here in Final Cut Pro is that when I import footage that's already on a hard drive , it will keep it in place. So if I go to final cut pro Preferences, then you can see here under the import options. So if you go from general to import, you'll see these options. I've got my options toe copy to my library storage location or to leave fires in place so the default for final cut Pro is to copy to the library storage location. So as we've done that first import, it's left those files in place. But if we set this now to copy toe library storage location when it closed this we pull some new files in, so I'll go to file on new event on. We'll call this the date and then copy. Now when we drag this next their files in. So I just scroll down on Highlight these and when you're highlighting files on the desktop at the moment I'm clicking on one father holding down shift and then clicking at the bottom of the list where I want it toe select. If I hold down the command key, I can select or de select files that are not in that continuous list so I can select non continuous files in a kind of list that I choose. So now if I drag these across to here, you'll see final cut prize doing something slightly different. So here, final cut pro up at the top, left these buttons here this sixth button in. You can see that we're importing media's that's basically copying all these files now into my final cut pro project. So when we do this and we're importing either from a camera card or from the hard drive, it's really important that we wait for that import to finish. So here in this first section, we've import files and left them in place. So if I come to this option, I'm just gonna leave in place. Name that I came. So these the fires I've left in place. And so if I right click on one of these files and click go to reveal in Finder, you can see that it's left it in place in the folder where we first saw it. So in the Mexico folder, So wherever you store your files is gonna have left that file in place. So that's one way of important your files by setting up your settings in a certain way in the preferences. And then the other, as we've done here, is to copy the files into your final cut pro library. So if I find a shot here, we right click and go to reveal and find her. Then you can see what final cut pro is actually done. It's copied that file into the library so you can see in my importing introduction on the desktop. It's made a new folder, which is the name of the event, and then in that event, I have any edits that I'm working on. But I also have those original media files copied, so it's made a duplicate of those original files into Final Cut Pro 10. That's two ways important files. The last way is we're gonna insert a memory card here, so I'm just popping an SD card into the back of my I Mac here. I want the computers read that Final cut Pro will open that up and we'll see a list of the different files there been imported. So it takes a few seconds to kind of read the memory card. So now when we're importing from an SD card, we can either import selected or we can select all of these on import. All of the files on you consume on option toe, create a new event, so I'm going to create a new event in the importing introduction library, which is the light will be created and we'll call this copy from SD card. So here now when we're copying from the SD card, we're gonna make a selection of 5 to 10 files. And then once we've got those selected in the import window from the list that you see down here, then we can just have a look at these settings on the right hand side. So we're creating a new event which is gonna create third event for us. We're copying into the library. We can't leave them in place when we're copying from an SD card, and this is where it's important not to pull the SD card out before the imports village. You can run into a few problems. Then when you're editing and working on your project, love it. Later on, we're automatically assigned audio rolls. That's something to get into a little bit later, and then we have the option to create optimized media or proxy media. Now we'll talk a little bit about these later, but essentially what you're doing there if you're making an optimized version of your project far, which is gonna play back at full quality a little bit quicker than some of the compressed quick time movies that using the H 264 former as you can see here, which is a quite heavily compressed format with the H 264 format. Sometimes you'll find that playing clips backwards or scrubbing through clips will be a little bit slower. Basically because the clips and the way the frames of compressed is designed to play forwards from beginning to end. It's not designed to play backwards, so there's a little bit more work for the computer to do when you're trying to shuttle through and make edits in final cut pro. So that's why you would create optimize media to keep working for quality and then also to make the headed process a little bit quicker. Creating proxy media will create a lower quality version of your footage. So basically you're using that to improve the performance of the edit hand to make your editing quicker. But when you're editing in proxy mode, then which will have a look at a little bit later in class, you're essentially working with a much lower quality version off your footage, and then as we go down here, we've got some other options for analyzing of fixing, which will get into a little bit later. So let's click import selective now, And you can see now each these files is importing. So where we see the circle here, it's importing those files. So once those of all imported on, we can see there important there, we can go ahead and we can add to our imports so we could go to file import media again. And what we're gonna do here is break something. So we're just gonna scroll down. We'll grab a few new bits of footage Hand will hit, imports selected and as its importing. I'm just gonna pull out the SD card before it's finished in boarding on What you can see has happened here, as it's reading off the SD card is that we have this little camera symbol on the bottom left. So essentially, what's happened here is that the footage hasn't imported correctly. So we have the thumbnail that's been built. But we don't have the footage that so you can see here. We have footage that's been imported. If we scroll down, we have these three clips which haven't imported correctly, so it has the metadata. So if we go to the info, it has the metadata, So the duration the Kodak and all the other information about those clips, but it just doesn't have the clips themselves. So if that happens, if you see this little camera symbol on the bottom left and essentially, what you want to do is stick your SD card back in. We'll close the import window here for the moment once it's read the card so I can highlight this. Clips on hold out command toe. Highlight these clips and then I'm gonna go to file imports on, then reimport from camera archive. That's basically going to reimport those original clips. I click continue, and now you can see the import complete. So if you ever see that little camera symbol, then you need to plug back in your camera or put the SD card back into your computer so that you can complete the import. You won't be able to head it unless you do do that. And sometimes what can happen when you're editing is that you are doing a very big import and you have a lot of clips that haven't imported. So you may even have start your edit and the import hasn't finished as you're editing. So essentially, if you pull the card at that point to plug it back into your camera, pull the camera, and then you're at that point lose stuff in in the browser at the top left, but also on the timeline as well. So now we have thes three events that were imported to, and you can see again that this clip if we right click on go to reveal in Finder, then that clip has employed into that library. So, essentially, we're making quite a big library file now with all that original media footage in there. So if we scroll to the left, we have to library files here. One has no video in. It s so the final cut pro 10 interest on the debt stop has no info in it. And you can see it. It's 181 kilobytes. The file that we've imported for Jim to it's time to get bigger sets 1.26 gigabytes. And once we start ad rendering into that, once you get to an edit off maybe 5 10 minutes with all your footage, then you're gonna be looking at 10 2030 plus gigabytes off your hard drive being taken up OK, so it's really important to understand that kind of media management as you're starting out with Final Cut pro 10. Now, when we're on the desktop here, you can see that I've come back to viewing the the library, but we don't actually see the content as we did before. So if we go back to final cut pro on, right click on go to reveal and find out actually takes us right into the library folder so you can see we got the name of the library, all the different kind of folders, the library. But actually, the library file itself kind of wraps everything up so that when we see it on the desktop or in our movies folder on our hard drive, it looks just like a file that contains all our video footage and editing. If we do want to see inside that folder just to kind of check that everything's there to make sure that we've got our files in there and just kind of understand how Final Cut Pro is managing our media, we can right click on this library and go to show package contents, and that will show us the different folders, which we can relate back to the events and any edits that were working on in final cut pro 10. So now we're gonna move on and have a look at creating a basic edit a rough cup in final cut pro 10 now that we've had a detailed look, importing footage and also fixing imports that haven't worked correctly. 5. Project Timeline Setup 1 - Automatic Setup: So now here from Copper 10 we'll have a look at how we make a new timeline or project so important our footage. And now we need to go ahead and think about the resolution of the timeline we're going to set up and then also take a look at some different options for ways in which we can sell different timelines. So the quickest waits. A brand new timeline is to click the new project, but I'm here, and what you'll see when you first come into this new project window that pops up is the automatic setting. So essentially what's gonna happen is the first video clip that we pulled down to the timeline is the frame rate and resolution that the video is gonna be based upon. Now, before we do that, let's just have a look at some of the settings for the videos that were working with. So if we click on one of our videos here, when we come across the right hand side, we'll see the inspector, which shows some useful information about the video itself about the audio properties, and they'll be more options here. When we actually dragged us down to the timeline and then also some basic info about the footage it working with now. Most footage that you're shooting on most cell phones on most video cameras will be 1920 by 10 80 which is effectively full HD. Now there are four K cameras out there. If you start editing in four K, you're going to start to get very, very big file sizes and any effects and stuff that you add onto your timeline and quite quickly, slow your computer down to a grinding halt. So we'll run through the two different ways in which you can set up a timeline here. And then you can think about how you want to set up your timeline. If you shot footage in four K place something definitely toe kind of consider, unless you've got a top end. Mac. If you've got a Mac that made anywhere between 10 4011 to 2017 then you'll probably want to edit in HD or full HD. So 1920 10 80 when you first start out editing. The other information we have up here is the frame rate. So the moment we're working, 29.97 which will be different if you're working in the UK or some other countries where things will be running at 25 break per second. So this is the North American frame rate. So we're gonna come down and hit this new project button, and we'll use the automatic settings for the moment. And we'll call this project automatic settings and we'll click. OK, so now at the moment, if we have a look up here, we've got how a project on the default is 1920 by 10 80. But this would change if we added any footage that wasn't that resolution to the timeline. So if I can't my clips in the browser here, click and hold on this clip and I can drag it down to the timeline. Effectively made our first edit on the timeline is not gonna change. It's going to stay at 1920 by 10 80. Which is great means we're not reducing the size or increasing the size of our video. We're not gonna have any change in the quality that we're working out 6. Project Timeline Setup 2 - Custom Setup at 720p: So let's have a look a couple of other ways in which we can set up a time line, and this is kind of getting a little bit more advanced. But it's worth mentioning as thes are quite common settings that you might want to think about working with for the Web and social media and also to keep the render time you're editing down as well. So the 1st 1 is if we go to file, so we lose the button here once we have a timeline or projects that up. So if you get a new on project appear at the top left, then we're gonna use custom settings and in the settings here we can set up our video format two different formats here. Okay, and you can see we've got four K five K is kind of higher in formats, and we've also got some other options for NTSC and Power SD. So this will be working with older video for it. So take based video footage on a much lower quality resolution, and it's rare now that you'll really need to work in these two former. They're more of a legacy format, and then this 10 80 i HD format is really for some broadcasts. If you're uploading to the Web or anything like that, then you always want to be working in 10 80 p or perhaps 7 20 pizzas. 7 20 piece that we're gonna have a look at now, which is essentially a smaller resolution in 10 80 p. So you can see here 10 80 p his 1920 by 10 80 pixels on day 7 20 p is 12 80 by 7 20 pixels . So essentially we're using a former is about 2/3 the size off 10. 80 p in terms. It's a width and its height on the frame rate will stay the same. Now, the advantage of working in 7 20 people and I just re label this is that it's ah, lower resolution. So any rendering or any effects that you're gonna add are gonna be added much more quickly . It would also XX put out a much smaller file size as well. So if you're having trouble with uploading big files back to working on longer movies, and you're just working on Web based footage, parts of personal projects in 7 20 p is a pretty good Formato work with and what you can see here is if I drag a clip down to the timeline here is going to conform the size of that to this format. So basically, now you can see if I click on this 7 20 p project. We're working in 12 80 by 7 20 but the video footage has scaled down toe fit The size of my project to got to settings that we're working with this automatic settings is 10 80. 7. Project Timelline Setup 3 - Square Video Custom Setup: now the last way that will cover here for setting up projects how to set up a square format . So what's quite common now on things like Facebook and Instagram is that you'll work with a square video format. So if we go to file new hand project and we kind of covered libraries and events in the previous project, you can see here we've got these three different options. So we got libraries, which is the container for all of our edits, all of our projects here. And then we got those events within our library as well on projects of the kind of individual edits. So here. Now, if we want to use a custom set up here, so a square video formats, then we can come to this drop down money for the video hand, go to custom, and that will give us these options here for typing in video formats. Now, when we're setting up these custom formatting, we really want to understand where we're kind of sending these videos too. So it's always worth having a look on the website or social media platform that you're gonna be uploading video to. And if we have a look on Facebook, which owns Instagram as well. Then you can see that we've got a few different formats that they'll let you upload videos in. So we have this square format and then also landscape format that will appear in an instagram feet. If we scroll down here, we have some different resolutions for for those videos. So we have 600 by 315 as the minimum resolution for an Instagram video. And then we also have 600 by 600 a za minimum resolution for a Square Instagram video that's worth keeping up to date with these. And this minimum resolution is really the key phrase here because you cannot blow square video, that is anything up to 10 80 by 10 80 pixels. It's was worth uploading the maximum file format here, So 600 by 600 used to be the holder size of video that you would upload. But now, if we jump back into a final cut pro 10 we can go up to the full height of HD footage that we would create a 10 80 by 10 80 video if we wanted to create that square video for Instagram on that would work for Facebook as well. If you wanted to create a square video format as well, we've got a custom frame right here as well. We want to keep that the same as our video, so I'll switch that to 29.97 with the drop frame because that's what my video cameras shooting in. And then we'll leave the rendering options as it so essentially come down to the custom. Former. If you want to set up anything beyond the standard 10 80 p or 7 20 p video formats that you're you'll be working with so called this Instagram square 10 80 by 10 80 then click OK , And so now you can see when we bring a piece of video down here, it's going to conform to that square format. Now we'll cover this a little bit later on. But essentially, what's happening here If we come to the video options in the Inspector on the right hand side, and if you don't see the inspector, just go to window showing workspace and inspector on. What we have here is an option that setting toe fit the video to the size. So if you want to add text above and below your video here, then this is perfect. But if you want it to fill the campus or to have no special conform, then you can change the options here as well. Okay, so we've got fit fill on and none and feeling none of doing the same thing, because the height of this is 10 80 p. But essentially, that's how to set up the kind of basic project or timeline for square video for Instagram or Facebook. So we've had a look at a few different formats for our video. So we've got the square format. We've got the automatic settings, which set our videos to 10 80 p. And then we've also got the 7 20 p, which is a slightly lower high definition format, and some cameras will shoot in 7 20 p as well. And it's a way of keeping your file sizes down, and you normally get a good quality video, and it's worth knowing how to set up those custom formats as well, especially if you're shooting in four K because you don't always want to head it in four K as well So that's a brief overview of how to set up a timeline. We're now gonna go on and have a look at how we head it's and flips the timeline and talk about how we can modify and then begin to get into some more advanced techniques. 8. The Browser & Timeline: Making Selections & Dragging Clips to the Timeline: So now that we have our timeline set up, we can begin to bring some footage down to our timeline in final cut Pro 10. So we're gonna go ahead and look at how we bring down some complete clips to the timeline and then also how we bring down sections of clips. So how we mark him out in the browser and then bring them down the timeline. So before we begin to bring some clips down the timeline, just make sure that we're all looking at the same things. We have a couple different view options in the browser that we can change that. We're gonna make sure that we're looking at the same set up here for our clip. So if you come to this option, you can see we can switch between the list view and the thumbnail view, and we want to be in the thumbnail view or the filmstrip view on. Then we're gonna come to the clip appearance on. We want to have our clips a reasonable height so that we can see a good image off them. But we're gonna zoom all the way out so that we just see a thumb now the clip. We can zoom in here on to our clips, which is going to show us a frame by frame. Thumbnail those clips eventually, but we're going to just zoom out here so that we see that individual thumbnail. We can also group are clips in a couple different ways and sort them in a couple different ways as well by the content, creation date or the name and a couple of other options here as well. For the take on the duration, we could also turn on the way forms when we're viewing are clips, but we'll keep those off for the moment. We're not too worried about the audio way forms for this particular section, so I'm gonna close this now, so we should be seeing our clips on. Obviously, you'll have some different clips to me for the projects that you're working on. We can see our clips here, and we can begin to bring some of those down to the timelines. If I come to the very first clip on, just click on it once it's gonna allow me to select the entire clip, and then I can click and hold on. Drag it down to the timeline, so it's dragged the entire clip down the timeline on what we've got. Our clip on the timeline is a couple of things toe. Look out! So this clip is eight seconds long. Exactly. So the time code in the middle here relates to the duration of the selection and the duration of the entire clips. That's what we're seeing right here. And it's in seconds and frames currently because we just haven't eight second clip. The time code in the middle here shows us hours, minutes, seconds and frame so we can see all the information about those clips and you'll notice that as we click on another clip on, bring it down to the timeline. Our selection is shorter than the duration of the entire clip. So this is 27.15 plus eight seconds. So 35 seconds and 15 frames Now we can also select sections of clips. So if I come here and bring my play head part way through the clip now I have scrubbing turned on here as well. On DSO. When you're scrolling through your clips, you may have audio scrubbing turned on. I have that turned off at the moment so that we don't hear The audio is we're scrubbing through. But to the right hand side here in the middle of the screen, you can see we have scrubbing, which, if we turn that off, means that we hover over our clips. We don't see that moving clip. So if you don't see the clip moving as you're hovering over your clips, then just click this button down here on. Now, as you move across the clip, you can see it move. So if we come here and then for the first time, click and drag out, we can grab a selection of our clip on. Then if we click and hold, we can drag that selection down so you can see here eight seconds and four frames on. Now. Our entire clip is 43 seconds in 19 frames long, so that's the quick way of dragging and dropping clips down to the timeline. At the moment I've been dragon clips down toe end of my timeline. So every time I've grabbed a clip, I've dragged it down and dropped to the end. We can also we grab a clip here, drag our clip so that it pops in between other clips as well. So we can make a selection and then drag it down on drop it to the timeline so that it goes in between those two clips. And this is the way in which the magnetic timeline works rather than over writing the clips . It's making the timeline longer as we dragged down selections of our clip so you could see as I drag down the video of this ways breaking. Then the timeline gets longer, so it's extended now toe almost 1.5 minutes. As I've dragged down, there's different clips. 9. Timeline Navigation: Zooming In & Out, Increasing Clip Height & Other Settings: now we'll move into editing a little bit later. But one thing I do want introduce here is how we zoom in and out of our timeline. There's a couple of different ways of doing this. The first is if we come to the right hand side. Here we see a little film strip icon Onda. We can use this to zoom in and out of our timeline. So we have this option for increasing the height of our clip so you can see we're getting more information about the way form and also a bigger thumbnail of our clips, which is useful if you want to see more information about the clips, Sometimes you wanna make it smaller if you have a lot of different layers that you're working on and you won't be able to see all those different layers and certainly as you get more used to final cut pro, you'll find the way that you want to work with the clips. This next Zumbado allows the zoom in. Zoom out the timeline now. I rarely use this option here. I tend to use the shortcut command and plus Teoh, zoom in and zoom out. So I'm just going to scroll back to the beginning here, Position my play head. I'm gonna de select my clips just by clicking away there might play head here on the Lebanese command and plus to zoom in And you can see that eventually it's always keeping that frame in shock as I zoomed in and now we can see that as we move through, we're basically seeing this video one frame at a time as we move our mouths across there, so we're super zoomed into the clip. So if you wanna memorize those short cuts and remind yourself those shortcuts you can go to the view menu on, then we have the options here. So zoom in is command on the equal symbol, which actually has a little plus on the key as well. So I always think about it as Commander Plus on Zoom Out has commander minus so we can use those to zoom in on, then zoom out. And then another useful option here is well under the view menu is the zoom to fit so basically we can resume to fit the entire timeline. So when I hold down, shift on tap said it's gonna fit my entire timeline onto the space on the screen here 10. Timeline: Deleting Clips and Adding Connected Clips (Layers): So in order to remove a clip from the timeline here, we can highlight it, and then we compress the backspace key or delete key to remove those clips. You can see it's really easy toe klik and remove those clips from our timeline. And then we can keep bringing down new clips to our timeline as well. So either sections of clips or entire clips down to the timeline. Now, one other thing that we can do it bring it's down to the timeline is we can bring them down as connected clips. Now, the way that this works is that if we have any clips that are connected to the main story line on there above our video clips E, they will obscure the clip behind. So essentially, it's facts like a deck of cards. So, for instance, we take this picture of the If we take this video of the wave and drag it down to our timeline, then this video overrides the two videos behind there. Okay, so you can see when we move this out the way we see that background video here. But when we put this video here, it's gonna obscure those clips in the background, and this is one way in which we can layer up videos. And certainly when you're using things like titles on other graphic elements, you'll be layering them up above your clips. It's also useful for interviews when you want toe cut away and show something that's being talked about in the interview. So you would have someone talking about soccer, for instance, and then have a cut away that shows someone shooting a soccer ball or dribbling with a soccer ball or something like that. So we use those cutaways. Are these connected clips in orderto kind of illustrate what's going on in the timeline? And there are other uses for those as well and but will come to those as we move through this class. So in the next section, we're gonna have a look at some of the short cuts we can use to bring clips down to the timeline. And then we're going to begin to work on modifying our timeline and looking at how we can modify clips and edit clips on the timeline 11. Playing Clips, Navigating the Timeline & Working with Shortcuts: So in this lesson, we're gonna have a look at how we play back our clips in Final Cut Pro 10 and also how we move around a timeline quickly and easily. So there's a few different shortcuts for moving around your timeline. Playing forwards playing backwards. We're gonna have a look at the basic controls and then also have a look at some of the more advanced short cuts as well. And this will help me to look around clips in your browser, up in the top left and also around clips in your timeline on the bottom. So the first way to play back in the browser is to press the play button once you've got the clip selected, so we'll select a clip up here. And then we've placed our play head by clicking here, which you could do with scrubbing turned on or off. And then we can come down to the middle here and press the play button. And then when we playing or as we're playing, the pause button becomes active in the middle here, and we compress the pause button to pause. So that's the first way of playing around clips up in the browser. We can also use the same technique in a timeline. We can position the play head and then come and press the play button on. It will play the clip forwards The next wave playing back a clip is to use the space bar. So if we come to a clip in our browser position, Clay head in a certain spot and then press the space bar, it's gonna play that clip forward. Now we can use the space bar on the timeline as well. So free Press, the space bar it's gonna play forwards on. Also, if we tap the space bar again, it's gonna pause that playback. If we hold down shift and took the space bar, it's gonna play backwards. So that's a couple different ways. We can play forwards and backwards. And now the keyboard shortcuts I normally use to play forwards and backwards. And to pause the clips of the J, K and L Keys and you'll find this gives you a nice smooth flow for navigating your clips. So if I hold down the Jakey, it's gonna play backwards. If I hold down the Elke, it's gonna play forwards, and if I tap K. It's gonna pause that clip now. The advantage of a cane out is that if I tap L twice, for instance, it's gonna fast forward that clip so you can see we can press it once to play a normal speed. We compress it twice to fast forward it. You can see I'm dropping some frames there on. The same applies to J as well. So if we tap J once, it will play it backwards at normal time or one time speed. If we talk it twice, it will rewind faster, and if we press 1/3 time, it will go back even faster. Now what you'll find sometimes with H 264 footage, footage downloaded straight from your iPhone or from your camera is it doesn't like playing backwards. Always on holder Maxie might get a few dropped frames, is designed toe un compress playing forward. So you get smoother playback playing forward to the New world backward. And that's one of the reasons you want one. A trans code, your footage to a proxy version or transport it toe an optimized version. So to recap, we can press L two play forwards. We can tap K to pause, and we compress J to play backwards. Now if we want accuracy and I had it. One thing we want to do is move one frame at a time. Now we can do this using the cursor keys so we can use the left hand tastic eight to move one frame at a time, backwards or one frame at a time for words with the right hand Kirsty. And if we used the up and down persecutes, we can actually move between the edit point so you can see my play head here. Moving between those different headed points on the timeline and one time will really want this accuracy of selecting one frame at a time is when we're marking out clips in our browser up top. So if I play it backwards and play forwards moving in real time, you might find that you don't grab exactly the right frame. So living one frame at a time backwards or forwards is going to mean that you can pick out exactly the right frame to make your selection from. And if we're in the browser and we have our play headset in a certain spot then we can use some shortcuts here so we can market in point using the I key. So that will market in point if we play forwards. So impressing L now I can play for words on news. Oh, to market out point so you can see these keyboard shortcuts are moving around. Your timeline are all located in the same spot. So using J. K and L I N o to navigate around your clips and also to mark out areas of your clips is really handy. And we'll have a look a little later on how we can use this in the timeline. But essentially now we have another clip that's ready to be dragged down to the timeline on . We can drop it into position that So let's find another clip here on If we place our play head out of the top, that clip, we can play it forwards. We can play it back with the J and now with the J. K and L keys. If we hold down K on DTaP jail, l will move forwards and backwards one of ramot time so you can see the J. K and L Keys replace the cursor keys as well, by allowing us to move forwards and backwards one from that time so we could mark an in point here on, then pause using the K keep and press oh to market outpoint so you can see we can do quite all the work that we need to, as with selecting clips in our footage using those Jake and Archies, either in the browser or in a timeline. So let's try this one down. So I really encourage you to have a practice working with the JK Malki, so playing backwards, using J playing forwards using how pausing using K and then using those different iterations off holding down K and tapping J, or help to move forwards backwards, one frame at a time. Or, if you hold down K and J okay and L. You'll move forwards or backwards at 1/3 speed, so you have a real nice flexibility for making selections of your clips. So take some time to practice as you're editing, using the Jake hand out keys or using the space bar, depending on which suits your needs. A lot Great options when you're working with final cut pro to find a flow that you enjoy working with 12. Precision Timeline Navigation & Shortcuts: there's a few important markers as you're moving around. Your timeline are worth paying attention to. So I'm just going to show you a few of those because their help in the accuracy of your head it's at your work in final cut pro 10. So if I bring my play head back to the beginning of my clip, you'll notice that on the left hand side I have this film strip icon on that indicates that I'm right the beginning of my clip. Now, to move to the beginning and end of my edit, I can use the home or end button on the keyboard and you'll find those on a full keyboard on the right hand side, below some of the function keys, and it varies from keyboard to keyboard, but you may find them just above the cursor keys on a laptop. You won't always have the home and end buttons, so sometimes you have to press function, which will be on the bottom left of your laptop keyboard on the left hand key or function on the right hanky, and that will move you to the beginning or end off your credit, and you can see at the end of my edit. I have this great out area on the right hand side with this kind of serrated line indicating that I'm right at the end of my edit. Now, as we move between clips on our main story line what you'll see on I'm just gonna use the up and down curses toe move between clips. You'll see either this l on the left hand side of my clip or, if I moved back one frame the backwards elmore corner on the right hand side of my clip, indicating that I'm in the very first frame or the very last frame of my clip. So if I moved to the previous clip, you can see again this corner or L on the left hand side. And if I move back one frame, I can see this hours. Well, now, where this is useful is if you want to make an edit right at the beginning of a clip and you see that L It's a useful reference point because if you don't see it, then what might happen as you're editing clips down to the timeline is that you might actually split the clip so for instance, if we select a clip here and we use the insert edit option here, then what's gonna happen is, although it kind of looks like we're at the beginning of our clip. We've left a tiny, tiny piece of footage in between those two clips, which means that when we play back, we're going to get a weird flush between those two clips. So using the up and down arrows and so that you can see that L as you're editing is really useful for making sure that you don't make mistakes and you add it and end up with weird things happening on your timeline. I'm just gonna highlight that clip on delete it. And then I'm going to use shift and said to zoom back to the entire time line. So some useful shortcuts there for moving around your clips you can also, if you're getting into the habit of using the J, K and L Keys, use the semi colon Andi apostrophe key to move between the edit points as well, so you'll see if you're using J K and l. Then your little finger might land on the semi colon, and we can use that to move backwards through our clips on, we can use the apostrophe to move forwards through our flips. Okay, so you can see we can navigate our timeline with J. Cannell, as we covered previously to play backwards, pause a K and play forward to L. And then we can use the semi colon on the apostrophe to move through to the edit points of those clips. You'll also find that if you have snapping, turned on which you can turn on and off across on the right hand side that as you move between clips, your play head will automatically snap to those edit points. So if you like to drag around the timeline, then as long as you see this l you know, you snapped exactly to an edit point. I'm off the clip and you'll see the frame at the beginning of that clip. So it's, um, useful tips for moving around the timeline there, and we'll cover some more options for making selections in the timeline on refining. Edits on the timeline as we go through this course 13. The Selection & Position Tool for Editing & Advanced Refinements: So in this lesson, we're gonna have a look at how we can modify clips on the final cut Pro 10 timeline. So there's a few different things we can do. We can shuffle clips using the selection tool. We can also change the duration of clips, which is going to by default, create a ripple edit for your edits, meaning that you'll change the duration of the clip but also change the duration of a timeline as well. And then we'll also have a look at the position talk, which will allow us to move clips without affecting the duration of the timeline. And then, as we go through, will begin to look at some different tools that you can use in final cut Pro 10 to modify clips in different ways. But first of all will begin with the selection tool on the position talk so that selection tour is the default till you have selected. When you begin working with final cut pro 10 on a few different things we could do with the selection tool toe. Bring clips down the timeline to modify clips in the timeline. We're gonna have a look at a few of those things now. So the first thing we can do, which we've looked at in previous partners classes, drag clips down the timeline. We can also modify the audience levels of those clips, and I'm gonna keep these clips silent for the moment. We don't need the audio level set up, so you should see a little bar that allowed to drag away down to minus infinity. And then we can also shuffle clips around so we can grab a clip on the timeline on. We could move it to a different location, a timeline. We can also modify multiple clips as well. So if we hold down the shift key, we can select clips that are in sequence on. We can move those clips has one around the time line as well. So you can see I've selected four different clips, and I'm moving those to a different spot in the timeline. When we can keep doing that, he's in the shift key to make multiple selections. We can also make multiple selections out of order as well as we shuffle are clip. So if I click on this clip holder command on the keyboard, which is just to the left of your space bar on, then click on these three clips. Then we can click and drag those clips and you'll see they're group together. Now that we're dragging them on, we can move those clips around. In the timeline. We can also move clips off the main storyline and bring them up to a secondary story line So they workers layers, which have had a little look at before and then. Lastly, with the selection tool, we can also modify the duration of the clips. Now, in order to do this, you need to just hover over the beginning or end of one of your clips So you can see here. I've got two different icons indicating that I'm grabbing either the beginning of this, sir, for walking on the beach with his dogs, and I can click there and you can see the yellow marker indicates that I've grabbed the in point of that clip. If I drag to the right, it's shortening that clip, so it's not speeding up the clip. It's basically removing frames from the beginning of that clip, and then I can also drag from the end as well. On you can show in the clip, and you can keep shorting these clips as much as you like on extending them as much as you like up in to the point where you reach the media limit on this is the red marker that you see on the right hand side now means I've reached the point where the record button was stopped when I was recording this video. So there's some really useful ways in which we could modify our clips on the timeline. Now you'll notice some different things happening when you short, uncertain clips. If I come right to the beginning of my clip on my show on this clip at the beginning, you'll notice that grey space becomes bigger at the beginning of the clip, and also the zero point will jump back to the beginning, this clip when I let go. So we've got some different things happening when we're working with Final Cut Pro, where our timeline is adjusting a bit more fluidly because it's using the magnetic timeline . Now, if we do want to move clips without that snapping happening, we can do that as well, and that's what we're gonna look at the position talk. So if we can't to, our tools here will come to the position tool on this will allow us to do a variety of things. So if we simply take the clip at the end of our sequence here and click on that if we drag that forward now with the position tool, you can see that it's allowing it to leave a gap in my timeline to this slug or kind of gray block is gonna leave a section of black on my timeline on, and this is useful if you want to move clips around. But you want to keep the timing in place of all those other clips that here subsequently in a timeline, if we grab a clip in the middle of the timeline, we're gonna grab the same clip with the surfer walking with his dogs along the beach to the right and what we're gonna notices. This second clip here is gonna become shorter so effectively with deleting a bit of this second clip as we drag that clip back. And if we move this back now, then we still lost that little bit of the clip. So when we were using the position talk were effectively moving the clips and it's gonna overwrite whatever we have underneath the clip that we're dragging so you can see as I drag now I'm creating more slugs, more of these black spaces within my clips. It also means that if I want to lift a clip from the main story line up when I lift up is gonna leave a black slugs. So that means I can kind of move these clips around now on. I'm not affecting the overall duration of the clip. Now you want to work in different ways, depending on what you're editing. But I will flip between the position tool on the selection talk quite fluidly, to perform different functions. If we jump back briefly to the selection tool, you'll notice that we can now also adjust the duration of these slugs as well so we can modify the duration of the slugs and these could be used for if you're waiting for fish to be short, are waiting toe, get fish onto a timeline and you want to get the timing of other parts of your edit ready. Perhaps hear the dialogue ready, but you don't have all the footage kind of match that died of the slugs become quite useful there. If we highlight one of these slugs and press the backspace keep, it's gonna delete it from the timeline. If we use the position tour on Highlight one of these clips, it's also going to remove that clip in the snapping. What happened as well, So the position talk were allows to drive these slugs around on overwrite clips. But it will also, if we highlight and delete it will still close that gap. It's not gonna leave a gap when we press backspace. If we highlight a clip here and press delete, it will leave a gap. So I'm pressing really on my full size keyboard just to the left of the home and end buttons that we looked at before and one final thing to mention about the selection tool. It's that when we're moving the edit point. So the out point here on my first clip up in the view, you're going to see the frame that we're gonna end on. So as I drag us to the left, you can see we move now to this earlier frame, and it's gonna be a little clear if I work on this surface. So if I come to the endpoint here on drag this to the left, you can see that we're moving back in time through that clip on. Now, if I let go, that's the point of which we're gonna end that clip. So we get these nice clues up at the top in our viewer for where we're going to start and finish our clips. We'll also get the same information when we use the position to. Also, if I drag my clip to the right, you can see it's gonna show me having a black clip as my outgoing clip on. Then it's gonna show me the first frame of the clip that I am dragging here. So if I drag us back to the left on, then dragged the endpoint, you'll see again. We're seeing the end point of this flip, but I'm dragging up in the left hand side of my view at the top of the screen and so using . And so, using the visual clues that we have on the timeline and also up in the viewer, we can make really accurate edits as we're working in final cut pro 10. So if you wanna have complete accuracy than we can use some of the short cuts that we've been working with before so let's just have a look at where we're gonna finish this clip. So we're gonna finish this clip just as the water starts to pop across his head. So if I hold down K and tapped Pielke, then just come ahead in time will end it right around about here. And now if I grab my selection tool and go to my outpoint and dragged to the left because I have snapping turned on up here on the left hand top left of my timeline, it's gonna snap to the play head. So that's really one of most accurate ways of position. Your play head on, then position the out point so that you're cutting in exactly the right spot that you want to. So we can be frame by frame specific when we're making these edits. So in the next section we're gonna have a look at the range tool. So we've had looked at the position tour on the selection tool on how we can use those to delete entire clips from our timeline, and now we're going to move on to looking at this selection talk or the range selection tool, which were asked delete to delete portions of our timeline. 14. Trim Tool for Refining Edits by Rolling or Slipping: So we've had a look at how we can modify the timeline by using the selection tool and the position told to move clips around to shuffle off clips on, then also to change the duration of our clips in a few different ways. Now the next tour we're gonna look at is going to be the trim tal. So for editing down the timeline, the trim tool is useful for becoming precise with your head. It's so I'm gonna grab the trim till him, and we are going to come down to the edit Point between two of our clips here on what you'll see when we click on hold with the trim troll and dragged to the left. It's changing the out point of the first clip so you can see my dog on the left in the viewer is changing the frame that it's ending on on. Then, on the right hand side, I'm changing the in point. So where that surfing clip starts so we can move this to the left and right to kind of frame that clip perfectly. Now we can also use the trim toe to change a single clip. So if I click in the middle of this surfing clip on Just hold, then you can see up. In my view, it's changing the in point off this clip in the out point of the clip by the same amount. So basically, I'm slipping that clip within its existing location. The timeline. So this is really useful if you haven't got your clip exactly the right position. So you can see here we can move this truck so that we start a bit more when he's out of frame on, then play through on. We've slipped the clip so that it's starting and ending a different spot, but we're not changing the entire duration of the timeline. We're basically changing the in point in the output of the clip, but leaving the duration of the rest of the edit exactly the same. So again, to recap, we can click on Edit Point on move that particular edit point, and it's gonna change the first clip in the second clip, its duration by the same amount, so one will extend become longer, and one will shorten Andi. Then, if we click in the middle of a clip, we can make a decision about where we want that clip to start and end. So I might want to start just disease coming up to the top of the way through in the end point and then ending on a different point so very different to the selection tool for rippling your edits on very different in the position to a way you can move your clips around in lots of different ways. 15. Range Selection Tool for Selective Edits, Speed Changes & Audio Adjustments: So in this lesson, we're gonna have a look at the range selection tool in final Cut Pro 10. So you'll find the range selection to as it all your tools under this drop down menu on what this allows to do, that's different. The selection on the position talk is to actually make selections of parts of clip. So there's a number of different functions. We conform with the range selection tool from selecting parts of clips and deleting them to modifying things like the speed or the audio levels for a range that we have selected. And so that's what we're gonna have a look out here in final cut pro 10. So if we select the range selection tool, we have a couple of longer clips on the timeline here of some footage from Delfino in British Columbia on basically, we have these long, kind of stretches off GoPro footage that we need to chop up till we get there. Interesting bits. So the range selection tool is perfect for this. So what we're gonna do is dive right in and have a look at how we can use this talkto slice up different parts of this clip. So the first thing is you Some of the short cuts that we covered already for zooming in and zooming out the timeline. So I'm gonna hold down the command, keep intact, plus, and you'll see that as I zoom in its centering on that play head here on the timeline so you can see the total duration off this GoPro footage is 35 minutes. And actually, some of this already sped up a little bit. So there's a lot more footage there originally on. We wanna chop this down. Obviously, no one's gonna watch 35 minutes with all the boring bits in there. So we need toe do some pretty heavy cutting here to get this down to a nice 32nd or one minute piece. So the range selection tool and some other shortcuts we can use for making range elections are gonna be really useful here. So if we hover are mouse over the time line and we have the range selection tool selected here on our is the short cut for selecting them. We're gonna find some kind of key moments in this walk down the beach. That will be useful. So the range selection tool allows us toe click and drag over a selection off our timeline and delete it. Delete the beginning of a clip there, but I could also do Here's grab part of clip, but I'm going to use this kind of flash the sun here and then at the end of this, walk through the trees to cut two, and you'll see. If you look at your footage and think about some smart cuts, you can smooth out the transition between one clip on another clip without even using and transitions. So the flash, the somewhat grab the eyes tension on almost make the invisible, as people are watching us through. So we'll grab a bit more this clip on, select it on, delete it and we can basically go through this entire clip in which it's dragging out selections of the clip. Andi deleting them and we want to keep into nice bits here, like this dog coming up to the camera. Andi, I believe, is a photographer on the beach here, so we'll kind of keep these bits in. One thing that we can also do is if we grab a range selection. We've already sped up this clip on. We'll talk about speed changes a little bit later on. But if we grab a selection, this clip here up until we turn to the beach, we could actually make a speed adjustment on this clip. So if we come up to the re timing tools in the middle here on, go too fast, we'll run this at 20 times the original speed and you'll see what's happened there is that selection of the clip has been sped up to 2000% where the rest of the clip was already spent up to 400% metal going to that in a little bit more depth. And I'm just gonna hide my holding down the command key and tapping are the retiring there ? But what you can see here is that we've sped up even more through this section. We've used the selection tool to speed up just a selection of our clip there. Now, the other shortcut that we can use here as we're cutting to mark areas of this range collection is iron. Oh, so if I bring my play head ahead in time on press I, it's gonna mark an in point on when I press Oh, it's gonna market out points and so I can keep kind of cutting things up in this way. So I compress high here on d o impress the lead, and I don't actually need to have the range selection tool selected to do this. So if I jump back to my selection talk, you can see that although I can't select arrange the clip with a selection toe. I can mark an in point on the timeline with that selection tool so I can in and out points on my timeline, and I can also wants made that selection with arranged election tool. I can adjust those by dragging to the left and to the right to extend or shortened the selection that I have that sets. The first use for the selection tool here is to make these selections of the clip either to delete areas the clip or to re time or change the speed of a particular area. The clip, the other thing we can do. The other thing we can do with the range selection tool is increasing. Decreases sound in certain areas of the clip. Now I have all this all the audio in this clip turned down to minus infinity. But if I use the range selection tool, you can see I can select an air of this clip and I can lift up on area of that audio on only that area that's selected by the range selection will actually increase. So if we grab from our audio up here on our sound effects, you can see we can drop in different audio tracks in there on with the range selection tool . Weaken in select areas of that audio to increase and also areas that audio to decrease as well. Now the kind of natural time you would do this if you were working with a dialogue track which were not working with here, and you actually want to pick the audio up on drop it down as you're doing an interview or something like that, and then maybe you have some background audio as well, so you can see this key framing of the audio comes in really handy and allows you toe just the audio in summary smart ways. So that's quick introduction to the range selection tool and how we can use it to select areas off the timeline to then delete them to modify the speed and then also to dip will raise the audio if we need to do that kind of get our audio working properly. 16. Blade Tool Intro, Shortcuts & Tips: So in this lesson, we're gonna move down to the Blade tool. Now the blade tool is a really simple function. Allows you to slice through a clip on. We'll have a quick look at how that works now, so we'll come to our tools drop down menu and we'll see the blade. Took a short cut for the late Earl is be So we grab that we can click either anywhere on a timeline whole weaken, snap to the play head If we've got snapping, turned on Onda, we can blade that particular clip. So what you can see here if we just go to head it undo Is that when we her in the selection tool we have one entire clip here and then when we use the blade tool to slice this clip, we have two clips now, so we go back to the selection tool. You can see we turned that one clip in tow to different clips. Now, if we've accidentally blade, it's something we conjoined those clips back together again. There's a couple of different ways of doing this. The first is obviously if we go to head it, undo, we're going to remove the action we just did to the blade. So we just redo that if we have our clip bladed, you can see here that until we actually make an edit at this point, we have a different highlight for our bladed clip. So this little dotted line that shows us that the outgoing frame of the first click is directly adjacent in time to the incoming frame of the second clip. So if we click here on one of these two in or out points, we can come to edit on, we can go to join clips. You can see the shortcut for joining clips is the backspace key. So if we press joining clips here, you can see we re join those two clips back together again so we can slice clips we can also, I'm using shortcuts for slighting clips as well. So another where slash clippers to move to a certain point. And then with the play head hovering over the point, we want a slice. Obviously, you have to have scrubbing turned on for this. We can hold down the command key and tap be on that will blade at that particular point in time, so we're just blading that one clip on the main storyline. So if we have connected clips and we'll just set something up quickly here. So I jumped back to the selection tool, and actually, it's a really good point. So when you're working with the blade till if we keep that blade tool selected, there is a chance that we could accidentally click in a few different places on slice up our clips inadvertently. So the short cut, but always trying encourage people to remember. Is that a key which will take you back up here to the selection tool so that the least damaging tall if you like, So we're just gonna grab a clip on Pop it up. Here is a connected clip on. Then if we grab the ladle, you can see weaken blade clips on are connected storyline as well. So wherever we're hovering, it's gonna blade that selection. Now, if we're hovering up here on we press command be, it's gonna blade the main storyline. It's just do that again. Come on and be it's gonna play the main storyline unless we're hovering over that connected clip, in which case it will play the connected clip. So you just need to be mindful of where your mouse is when you're actually blading those clips. There's a couple of other options here as well. If we hold down shift when were hovering over either the main storyline or a connected clip that it will blade through all of those clips or however many layers we have there, it's gonna slice through all those different layers that's useful. If you want to kind of slice a whole edit intersections, we can also use a short cut for that as well. So just gonna take a few steps back here. So come on and said a few times, So we have no bladed clips there, So if I go back to my selection tool, I don't have the blade till selected. But at this point in the play head, I'm gonna do a shift command and be, and it's then going a blade through all of those clips so we can use the blade tour without actually selecting it. So you can either tap B to bring up the Plato or just use the shortcut command and be pour shift. Commander Beato laid the selections that you want and now we'll jump back to the selection tool on little problem that simply tools to use. It's pretty straightforward in terms of what it does, but certainly handy at certain points in time when you want to just slice it, clip in half, but always remember the jump back to the selection tool. Once you've done that slicing so that you don't accidentally slice other parts of your head , it. 17. Zoom Tool & Hand Tool for Timeline Navigation: so here in the street. Or we're gonna have a look at the handle on the zoom tool, which you'll find in your tools menu on the left hand side. Here on, essentially, he's a timeline navigation tools. They allow you to zoom in and zoom out now for myself up for to use some of the short cuts for zooming in and zooming out. But these tools do provide a great option if you're not a big fan of short cuts. So if we selectors until here to zoom works in a couple of different windows, so we consume in the viewer up here to zoom in on our video clip on If we click and hold, it's gonna last zoom in on a certain spot. Now one really useful tool up in the viewer as resuming its ability to move this little red rectangle, which you can see here, which allows to move around the selection that we have Now, if we do want to zoom out, we're gonna hold down the hull key on the keyboard, and that will toggle the zoom out functions so we can zoom out here. Now, of course, we have the drop down menu up here that allows us to use the fit command as well and resume to different zoom levels, which is useful if you're wanting toe view things 100% which is always super important, allows you to see the pixel for pixel resolution or quality of your video onscreen helps you to see how sharp things are on the edges. And then, obviously, with the Zoom tool selected, we can again hold Cult on, Zoom out on once this little red box disappears. Then it means that we're seeing everything on screen, either because we've selected fit. I'm all because we've zoomed out two sizes smaller than the view window here, so we'll go back to zoom to fit on the short cut presumed fit I mentioned before. But I'll mention again because it's really handy is shifting set on that will zoom you toe fit either your edit up here into that window for your timeline. So if we come down to the timeline here now that Zoom tool will work here. If we click it, it's gonna zoom exactly to where with scrubbing that play head. So we click right here with zooming in on that very precise frame. And again, if we hold down shift and top set, it's gonna zoom to the timeline. So the other tool that we have on when we zoomed in here or up here, here's the handle on that allows to move around. I'm I read it so we can either use the hand tool up in the viewer here, and it will last toe. Move around the edit or the timeline. Allow us the drag along the time line. Now, if you have a new amounts or ah track pad, you could do the same function by just moving your finger left and right, either on your mouse or on the track pad on your laptop. So another reason the handle is useful is because you can't make any changes to your timeline when you're clicking and dragging with that tool. So if you're nervous as your editing and you want to use a safe talk, then you can move from the selection tool to the handle on. That will allow you to move around your timeline without any worries about clicking accidentally on something, moving it, deleting it on that kind of thing. It's ah really safe tool to use to navigate around things. That's why you're showing someone else the video when you're not making at it. And it's a good tour to jump to the short cut for the zoom, too. Is that easy to remember on the shortcut for the handful is Page again. Easy to remember both those tools. Short cuts one places into a won't work is up in your browser here, where you will need to use the sliders toe, increase the size of the thumbnails, or to zoom into the clips themselves. So you see that filmstrip preview of your video clips? That's a quick overview of the Zamtel and the handle for navigating the timeline. 18. Edit Buttons - Connect, Insert & Append: So in this section we're gonna have a look at how we use thes four buttons for editing clips down to the timeline. So we're gonna move through them one at a time, starting with the connected clips, talking about insert edits on, then append edits. And then we'll also talk about this bomb, which allows you to edit video or audio only down to the timeline. So the first button here, the connect clip, basically will take the selection you have selected up here in the browser to the primary storyline. So if we select a clip here and click this button, then it's gonna connect to clip to the storyline. So the way this works is that now we have to layers of video in Final Cut Pro 10. Now, if we press that again, we're gonna end up with multiple layers. So these layers start in the exact the same way as they do. It's like photo shop, where the layer above the layer below obscures that layer. So it's talking like a deck of cards. So essentially we still have the audio from this background clip. So this spoken word but we also have the audio and video from these two clips that we've just added. So now we can delete these clips. And, as you can see here when we connect the clip using these buttons, that connects exactly that point on the timeline, which is really handy because if we want to position a clip exactly. So, for instance, if we're playing through and we hear a word so I'm looking at the Audio Away form here, for instance, we start to talk about horses, and we know that that's exactly the right moment to grab this clip on. Place it on the story line. We know it's gonna drop into exactly the right spot on that. Obviously, once this is down on the timeline, we can trim it down, and we can use all the other it tools toe. Modify that clip on the timeline, so there's a couple of different ways of positioning your play head Precisely. One is my playing through and pausing and using the scrubber. The other is by using the jacare now keys, which you talked about before to move forwards to move backwards and forwards one frame at a time by holding down a K and tapping the jail l on. We can also use a couple of keyboard shortcuts to move precisely to the edit point. So if I hold down, up or down arrow, it's gonna move between those different headed points so you can see as I'm pressing that down cursor is moving ahead in the timeline. And now I know I'm exactly at this edit point because I see the L on the left hand side of my head. It there. So now I can come up, I can grab another clip I can come across. Here's the left with this clip selected and click connect the selected clip to the primary storyline on it will connect it. The shortcut for this is Q. So if we tap the cue key that's gonna do, that makes it nice and quick to move through our clips up here on, then quickly edit them down to the time life. Let's delete this clip for the moment, so the other options we have here are two. Insert a pin yes, so the short cuts for all of these are Q W any. So if you look at the top left of your keyboard, you'll see them listed there just to the right of the tap cake. So the second option here, the insert that it allows us to insert a clip to the storyline so we'll just move up here on We'll find this clip of some surfboards. I'm gonna short on this selection a little bit and the insert and it will again insert at the plate heads. So if we position our play head halfway between this clip of the GoPro, click here and then use the insert at it is actually gonna break that clicking heart. So, you know, you can see I have a bit of GoPro footage here on a bit of GoPro footage here, and this is where when you're editing and so I just done commands out there toe undo what I just did. And this is really important. So when you're editing, knowing where the play head is precisely becomes really important. So using the up and down arrows to know that when you insert your clip it's going to insert between two clips so looking here. But I can see that it's at the edit point, but I'm also looking up for the l just to see that I'm on the first frame of that clip so that now when I click this clip and do insert, it's not gonna break that other Clipper part. So it's a really important point about inserting clips on the timeline. And again, once we got this off the timeline with the selection tool selected, we can trim that down. I'm not ready to go Depended. It ignores where the play head is on. It will always place the clip at the end of your sequence. So if I grab this a little bit of this clip here impressive penned, it's always gonna put it at the end of your sequence. This is really useful for assembling your rough cut, so basically, you can move through your clips quite quickly. We can grab some different shots on he is the short cut, and we know that we're not gonna be chopping anything in half. So if we come to a different section here, we'll find the little beet shot here. Well, short on this so we can trim it down on if we press e, it's gonna drop it right onto the end of already. It's not gonna try and drop it in between anything out. So we're quickly dropping clips onto the end of our in it that we can then go ahead and move around and shuffle into the right position. The other way of creating a connected clip is to lift it up from the main storyline, and it will then connect to the clip where you drop it and you can see it's got a little line that's connecting that clip to the main story line. The other option we have here is useful when you want toe edit only the video down to the timeline. So if we come to this last option here, you can see we can edit the video and the audio or the video only, or the audio. So if we click here or tap shift to now, you can see our icons change a little bit here on when we dropped clips down to the timeline. So we'll grab this cliff for well connected to the primary storyline. You can see it's come down, but it has no audio attached to it, so basically we've grabbed that clip without any audio. Now, sometimes if you have this accidentally set up on you've inserted a clip here, for instance, without any audio. So I will incite Clip here between these two clips without any audio, and you want to add that audio or react that audio, you can see up in the inspector here. We don't have any audio in that clip that's been added to the timeline. So there's a way of fixing that, and that is to hold down shift and F. Basically, we're revealing that. Clip the original clip in the browser. So what we can do now and switch this back to all on. If we drag this clip, it's remade the same selection and drag it down. The timeline. It will ask us if we want to replace that video. We know that it's exactly the same length because the same selection of that original clip on we can replace it, and that will replace it with the audio that's there as well. So you can see the audio away form is back below that video clip where it was empty before . If you do have an audio waveform on there but your clip, it's silent, then you can see normally see a little shadow of the audio away form as you can on this GoPro footage on That just happens when you drop down the levels of your audio. It will still show you that there's audio on that track rather than a completely empty blue space like you see here. So it's a quick overview off these tools for adding clips down to the timeline that Q W E shortcut useful to remember when you're assembling your edits on the video audio only buttons of really useful as well. I know where things are going to drop into your timeline is extremely important so that you don't slice clips in half. One of the most annoying things that can happen is that looks like your right the beginning of a clip, for instance. Here on we don't see the little Elvir. But if we now make on insert at it, we've sliced that clip and you can end up with these little flashes off other clips within your timeline. So looking for that l all the time when you're editing down, the timeline will help you to avoid any problems that might pop up like that 19. Titles - Add Basic Titles, Change Font & Color: So here in this lesson, we're gonna have a look at how we had basic titles in Final Cut broke. The first thing you need to do is make sure you have, ah, head it on your timeline or a timeline sets up, and then what you'll see up here on the top left is your library on? There's a couple of other options that we have up here for viewing the photo and audio sidebar on the titles and generated slipper. And it's the titles and generated slide bar that we want to come into to find our title. So you can see we've got to sections here out titles for adding titles and our generators for having backgrounds or different film effects, and we're going to focus here on the titles now. It's a couple different ways we can search through our titles. We can either go through the different sections that we have here, and what you'll see in your version of Final Cut Pro is a slightly different list of mine. I got some other groups of titles in here licit because I create my own titles, which is something you could do in Apple Motion for final cut Pro 10. But that's something toe come into a little bit later. We're just gonna have a look at the basic titles here. So once we've gone into a section here, we can hover over our titles and we'll get a basic preview of what that title would look like as we scrub through it. So we've got our three D titles here. We're going to go into our bumpers and openness here, and we're looking for the basic titles. This is a very basic tile you can work with in final cut pro. And actually, you can do a lot of good stuff with this basic tile by modifying the front face by layering it with other titles. And in particular, if you're keen to just learn one application, you could do a lot that custom animation titles within final cut Pro 10. But how to add a title to the timelines? There's two ways we can have it to the timeline. Same as a video clip. Once we got our title selected, then we can click on drag it down on, insert it, either at the front of our edit or between two clips, depending on where? What had it on then? We've got a couple different options for modifying the title text. So once we've got our title selected here and make sure your play head, it's hovering over the title. The basic title doesn't have any animation has do the other titles of Final Cut Pro 10. And the first thing you want to do is modify the text or your title. We're gonna come to the view here where we can see the title. Andi, if you don't see the title highlighted with this text option over here, it may be that you've actually come into the type for the video parameters for that particular clip up in the Inspector. And if you don't see the inspector, it all then just come to window, show him workspace and make sure you've got inspector checked. But you will need that. Modify your titles because you will need that to modify your titles. Now, if we can't here, we can highlight this if we want to. Sometimes you have multiple bits of text in your title. Then we'll look at that in a second on. You'll need toe highlight each element of that title in order to change it. So here we can highlight the main element here, which is the only one Come up to our inspector here, highlight text and will replace this with serve and show. And the text in front of corporate 10 doesn't rap, so we have to add a line breaks if we want to move to the next line. So in here we have a couple different options. If we come down to the bottom here and starts change the size of our type, it's gonna change the size of everything. If we scroll up a little on highlight one individual line, we can modify that line on its own. So we have all the basic elements and I'm just gonna expand. This is a little bit so we can see a bit more information under our titles here. So we have all the important information for the titles that we wanna modify. So things like lions basing all caps, options for drop shadows and stuff like that. If you scroll down the bottom, you can see we've got lots of different options for our typefaces on a lot of these options as well. Things like drop shadows on three D techs. Weaken had her later stage. So if we scroll up here and we also got some styles for our type, so we click here, we can go to R two D styles and you can see we've got different styles that we can add for our type. So because I had sampan show highlighted, it only modified that particular text so it might come to the next line on. We'll choose the minimal option. We can have one piece of text old and one in this minimal style, and I just grabbed my first line. It's pipe here and you can see it's turned on some different options when we've selected that star. So it's turned on the old caps on its change, the font that we're using here as well, and we can increase the size of that. So there's a lot of things to play around with here on the Texas aligning to the center. So if we modify their linemen, it's actually gonna line to the center point of that box. Neither writer lined or left, aligned or centrally mind, which may become important. Certain points of what you're doing now. We highlight both these lines. We can go to our lines facing on. We can move these little close together, we can select the different lines of this and scroll down and under the face options. This is where we have those basic options for things like color, the a pastis of the transparency and also the blur of that type as well. So if we comes the corruption here, we can change the color of now. It's height. So we'll go for a nice rich Corange Andi, because scroll back up and select the second line and will set. This has the kind of Ocean Blue, so that's one way of adding a title at the beginning of your video here. Now, as I mentioned before, it's on. The other titles have, ah build on effect, So basically it's building the title on with different animated elements. So let's have a look at one of those that we come to our filled in out titles here and we'll have a look at one of the simple ones here so will come for the assembler right start . So if we drag this down to the timeline and have a look at this when we played through it animates on in the 1st 2nd or so, and we've got these different elements of type to modify. So when you're modifying type like this, we don't instantly get the text, the edit text options up here, the top. We just get these options for the the overall type that's being used. Soto To modify this on. We need toe actually select the individual elements of this so you can see I can select title so I can type in someone I can come to my sometimes, so well, just fill this up. If you're working with talk like this and you want to no, have all these different elements, then you could just leave one blank so we can just leave that blank. It's still there, but obviously won't see it in the animation. So now if we play this through, you can say we have this animated sequence coming on. So different options for selecting those different type elements on that one, which we left blank is still there so we could play this through and you can see the animation that has little bit blurring there. So we've got some blurring happening as that type animates on on this is a well created an apple motions. So it's really quite easy toe create these. Touch the animation in motion. If you have a knowledge of some of the after effects, when you're gonna find a promotion really easy to get used, Teoh create these types of titles. So the other thing to mention here as well is that the background of each of these titles is transparent. So if I just hold down the bulky move this above my video here, so they just to correct a copy of that, you can see I've now got my title off the video. It has that transparency automatically built in. So sometimes with video in the background, you'll want to dial it down a bit so that it doesn't, uh, overwhelming title. You can see it's getting a bit. Is he here? One of the simplest ways of doing this is to drop down the rapacity, and we still have the video playing in the background. But then the title kind of overlaying nasty on top, and when we have titles bountiful video, we can also use transitions as well. So if we come Teoh out basic transitions over here on the right hand side will come to our dissolves on. We'll just had across his over the beginning and end. So now title saves in the basic title. We'll show on this a little bit on the face out the end. So that's how to add a basic title and also how to work with some of the titles that have different elements in them. And we'll move on to have a look at some of these other types of title, where we can drop images or video into parts those titles a little later on. 20. Titles - Adding Lower Thirds: Syrian follow copper. We're gonna have a look at how we add lower third titles to our timeline. A couple of things you need to consider when you're working with lower thirds who will come across on the top left to our type generators panel on. We're going to go into the lower thirds options now, like other titles that you're using a final cut pro. One thing that's really different about lower thirds if we come to something like that information bar and drop it down to our timeline is that we have more than one text block now on our timeline on in this tech generator. So if we click on one of these, then which we have to do to edit it, then we can edit that block of type on. Then, if we click on the next block of type, we can edit the next block of type. If we don't have either of them selected, then we'll get the overall type, size and type options and fund options with both those blocks of type. But we won't get the the ability to edit them. We actually have to come into our image here, select those areas of type to edit them also in the type option. Here we have some options in this type generator for filled in and the build out. So, like with many templates that built in apple motion on we have a little bit man animation at the beginning of our type, which we can see here, we play again and we have the option here in final cut pro to turn that off or to turn it on so we can have that honor off. And we also have some other options within this lower third. And this will vary from text generated texture, right, depending on which one you're using. So if we grab another text generator, we'll drop it down to the timeline on we hover over it. You can see now we have a different set of options. So depending on which text generate we're working with, we're going to get different options for each of those but the text generator itself before we even get to actually editing the text. Now, with this second lower third, I've added you can see that before I can edit the text. I need toe move through that Lowther to actually find the two text boxes that I can select . So there's another layer of options there. So we have toe play through or scrub through that beginning part of the animation and then pause it. And then we can grab the two parts of that lower third to modify. And we have all the same options for each of those blocks of type that we have with other elements of text that we can change the font on. We can change the font face of the four color down here by opening this up so we can pick out a different color for our our text it. But the key difference between the basic type you may have used before in Final Cut Pro is that we do have these two options to select here and in other text generators. You'll get more than two options Teoh select. So if we come back to the T option here, the published parameters option you can see here. I can also modify the line color here, too, so this makes it a little easier to modify the text because it's been built in to the generator, so I could modify here pull in my text. Options on dykan also modify the alliance size here as well. So you can see I've got some options for modifying elements in my text that I can also do within the text inspector here. But the one thing I do have to do if I want to do it up in the Inspector is modifying my text here so I can select one of these on type hand the name on type in the description. Andi, That's the easiest way I know. Only find Modify my tax. I can actually double click in the timeline to, but I prefer to do it up in the inspector. It gives me a little bit more control I feel when I'm working with it. When we are modifying our text here in our generator, we can use these arrows to move through the different elements of text that we're working with. So let's come back to our previous texture. Writer. We haven't modified the text here. We come back to the generator option here. You also see we have some options for the line size here and also for the bar length so we can lengthen this act we have longer text that we're adding there and also for the bar color as well, so we could modify the color that we have at the bottom here for our bar. So we conflict this bar color through any car. You want to make sure we have a nice contrast with the background there, Andi. Then we can also modify the text color on those two different lines as well. So if we want to have different color text for both those lives, we could modify that within these to align options that we have here. So recapping home. We have to text generators here. We have to be hovering over that of, ah, text with our text selected on the timeline to be able to modify the text here on, we also have in each of our different generators, different published parameters that we can work with in final cut pro. Also on a couple of these generators as well, you can see we have some options to key frame things as well, so you can have your animation mixed in with the animation that's already on the timeline. So we've got things like the lion size we can key frame that size on, but also the color weaken key frame in here as well. One other thing with the generators Is it the right click? We can open a copy off that generator in Apple motion, which means that we can linger. Modify that it up. Emotions were at our own. Colors are in branding to the default for this particular generator. Then we can do that. Aziz. Well, if you have a promotion installed on your system, so that's a brief overview of working with lower third generators on him. Final cut Pro. 10 on. If you have any questions, please do feel free to leave a comment below, and I look forward to seeing you on the next tutorial. 21. Titles - Animate Block Type using Keyframes: it's to tour. We're gonna have a look how we use the basic type tools in final cut pro tend to make some more advanced animation. So how we work smartly with our type tools on, then split up and animate Those titles with key frames were gonna dive right in here and break down how we create this title animation. Now, the first thing to do on the timeline here where I have the titles already set up is to just have him or delete them. We're going to start from scratch with this animation. So we set up a background here on basically here. We're going first of all, ad a basic title layer to our video, and then we're gonna typeset that title. So to add a title, we can come up to our titles on the top left on. We are looking here for our bumper opener titles and the basic title. Now we can drive this down, but we can also use the short cut toe had a basic tile without having to drag it down, which is control and t. Then that will add your basic tile straight to the timeline. So drag it down or use control and see to add it either will work on. Basically, what we're gonna do is we're gonna lay out our type in one type box, and then we're gonna do some duplication. Andi Lining up of different layers. The type. So the first thing we'll do is select our type player. Come up to our inspector on the top right now, before we get started. Actually go any further. We're just gonna go to window workspaces on set the default workspace. And that just means that now we've got our type player. At what time line? We're all looking exactly the same thing on screen. So where we want to be up. You know, Inspector, on the top right hand side is in the second paragraph. Text inspector element here. Okay, So you should have your title inspector, which will show you published parameters of some type effects. There are none for this basic title on then the normal kind of editing tool that we have here. And if we bring our play head over our title week and see it here on then also the video color correction icons here, we want to be on this paragraph one. So we're gonna type in caps the text we're gonna use for this particular exercise on. So now we're gonna select all this and bumper size up. So to do that, we're going to a couple things were going to come to our two D styles first of all, and increase the size and then we're gonna scroll down on increase the font size. Now, if you try and scroll down from within the type window itself, you'll notice it won't actually scroll. You need to come across the right hand side and just make sure you scroll here using this robot. So now we're gonna increase our type size, and I wanna move the position off my types. I basically want toe lift up above this line Now, with the type player selected on in the paragraph type options here we can lift this up on . I want to make sure that yellow line is still active. As we do this on. Now we're gonna scroll back up to our type on, Just select the second line here. We want to make this a lot bigger than the water is Words. Second line is gonna be a bit bigger. So once you increase your type right to the right hand side there, if you hover over the number to the right of the size option, we can still kind of keep increasing. And if we hold down shift as we do that it will increase at a faster rate. So you can see without shift. We're kind of changing, slowly decides that type. If we hold down shift, then we're increasing that nice and quickly. It's a nice, quick way of increasing the size of a type, and we're gonna scroll back up, grab both our lines of type, and we're just gonna work on the line spacing for our type here. So we'll pull this back basically so we get them just hovering around its horizon lines. This is the reason for kind of deliberately choosing this images that gives a nice kind of divider between these two lines. So now we're gonna work on the color in the first line, so we're gonna scroll back up on just select that first line of text. Now, we've got all this lined up on. Once you've done that will scroll down and we're looking for the face options down the bottom. So in each of these options there are different parameters we concept. But we need to click this show, but to actually bring those parameters up. So I'm gonna bring the show. But up here, Onda, we can select a color. I'm using the color picker here using the down arrow. Or if we click on the box, it will bring up our colors. Panel on actually want to use the color picker to actually select one of the blues from the ocean here. So if we grab the color picker when we hover over anywhere on our screen, it's gonna allow us to select that color where were pointing towards so well selector the blue here on I want to keep this kind of same tone of blue but just increase the saturation of the brightness just a little bit. So if you're using the RGB sliders over on the left hand side here just jumped to the hue, saturation and brightness sliders and that will allow you on the top here. And it's this second tab that were on. So if you see the color picker, you just jump to the second tab on the HSB sliders and that will allow you to control the saturation so we can kind of increase the saturation of our type. And we can also just kind of the brightness up just a little bit, so we can have a bit of a richer color, but it's still matching the tone of the ocean, so we just kind of lifting it up. But we're not changing the hue of that particular blue. So now that we have this all set up, close our colors window here type is perfect. We're going to duplicate this three time, so we'll do this one at a time. So leave my background layer here and to duplicate that, I've just held down the bulky and I couldn't drag this up, and it will allow me to correct copy off that layer. So with a copy of the layer, I just want the first word in this is gonna leave my play head hovering over both of these and we're gonna delete the last two words, which is gonna make a bit of a mess up the top here. Now, in order to fix this, we're gonna come down to our basic type options on. We're looking just for the position here. So the exposition where we can hover over the number, just drag it to the left. And I'm just keeping the background layer there so I can kind of realize my type once I've broken it into the three different layers that we're going to use to create the animation. So we've got the layer water is there. I'm just tapping the toe show and hide this layer. Now we're gonna keep it. Kate. It's there again on We're gonna delete life on water on again. We'll scroll down to the exposition on this time, increase it and I'm holding down shift as well. So shift is a written a shotgun allows you toe move your type faster then you can by not holding shifts. So if we helped out Chef, you can see it moves a bit faster. And then when we let go, we can kind of refine that position. That's the 1st 2 lines and they will go for the last line as well. I've got everything aligned here nicely in the first layer here. The first type player we're going to delete the water is type up here on dropped the life up and then we'll come down and we're gonna modify this time the Y position to bring that back down over the life below There, it doesn't need to be perfectly placed. We're looking for a rough positioning, and I prefer to do this x and y movement here because it just means we're not accidentally gonna on a line things as we move things around. So basically, now we've got our three layers. If we now delete the bottom layer here, then you can see as I disable each of these, we've got each individual layer and now we can get into our animation so we'll animate water Festival. So basically, the way that I animate type like this still think about where I wanted to finish, set a key frame and then come back to the beginning. So I'm gonna play this through and imagine water animating on. So somewhere around about this point is where I want the animation to finish. So I'm gonna come to my transform tool here on a key frame that's locked a key frame in this particular spot. If we right click on our clip and go to show video animation, we can see the key frames that have been added there. So the little diamonds under transform is where the key friends been added. So now, if I come back in time, um, have arrived in the middle, so we're moving water. So I'm gonna pull this right off the screen. So as I drag it, I just want to make sure it snaps to that yellow line. So I want to see the yellow line on as I move it off screen. And now we've created our first bit of animation, so we don't need to add the first key frame. And then any other key friends and other movement that we add in will be created automatically. So we've got our first a little bit of animation there with the video animation showing we can speed up, uh, animation by moving the key frames closer together. And we can slow things down by leaving them apart. So you can see now we end up with a much slower animation. So we're gonna keep this nice and snappy. So But also, you can see here that we can kind of keep modifying this as we work on it further. So now we'll turn on the show video animation for the ease layer. So turned on, I'm gonna play ahead on a roundabout here I want the animation for is to finish. So I'm gonna add a key frame here, and then I'll come back to just before life has finished animating on. So I'm holding down K and tapping J to just move back a few frames. And now I will with my is layer selected. I'm gonna move this up and you can see because we've change the alignment of our text in the type options rather than in the transform options we get that kind of nice snapping to the middle there. So gonna move up. Andi comes the left played out through Okay, on. You can modify the kind of movement of your typed again by moving the key friends around just to get the timing mice in. Perfect. Okay, so I made that a little bit slow. Maybe. Will just hold on command plus, Justo, zoom in a little bit and I'm gonna move thes key frame just a little bit close together. So it kind of snaps into position okay, and they will come up to life. So if we imagine it being said, water is life. It's somewhere around about here that we want the animation to finish. So we'll show the video animation and then we'll add a key frame here. Coming back to just before that is has finished animating on on. Then we'll drag life. Um, until it's just off the screen on now, probably speed this up a little bit. So now we have a full automation animating on the screen. Okay, So to finish this up, one thing you may sometimes want to do, I'm gonna tap shift instead so we can see our whole timeline on. Then I can close my video animation that actually will zoom into the timeline a little bit . So shift command Plus will increase the height of your timeline said after play this through. Timing is pretty good on what we want to do is faith this out the end. So if you watch the example throughout the beginning and remember that, then we have a little bit of a blur and fade out the end, and we don't want to do this individually on each individual letter. We want to do this on all of the layers on in one. Go. So I'm actually gonna copy these. Select my layers by just clicking and dragging a marquee around the mall. Hold down, Bolt option Drag ahead. In time, Andi will go. Teoh file new on compound clip or option and G to create a new compound clip. And we'll just leave the name of the default for the moment, click. OK, And so now we have, Ah, layer that will keep the animation within it. But we can apply effects now to the entire compound clip on its own. So when we feel like this has been on screen long enough, then we compose it. We can trim from the end. We've got a nice amount space at the end of this title that we can trim, and then we'll go ahead and actually added, Effect it. So we're gonna come across to our effects. I'm gonna come Teoh Blur. And we're looking for the calcium. Bless. I'm just gonna drag that round toe my type, which is gonna blur everything now. I don't want to be blurred all the way through. I just wanted to blur the end. So I'm gonna come just before the end of my clip. Here we will decrease the blur amount to zero. That's gonna be perfectly sharpened up again. In your video options, inspector, you can see we can increase and decrease the blur options there and for any other effects that you've I did. So now, on the right hand side, when we hover over the amount of blood, we can add a key frame. And then if we come ahead in time to the end of our clip and then back one frame by tapping the left kasicky, we can then increase the blur amount. So we've got our clip, Larry. We just want to have a little faith there as well. So the blur pops, and then it fades out. So they had a transition or cross dissolve here at the end of this to fade out, we can come to our transitions on, go to dissolves on. We'll just use a standard, crossed his off here. I'm going to remove it from the beginning of my clip, and then we'll just trim it right down. So it's nice and short, so basically our clip is gonna le and fade out the same time. If we right click here, we can show the video animation on. We have a blur Gaussian Blur video animation here. So if we wanted to blur out sooner, then we can do that to change the duration off the transition. We just hover over the beginning or end of the transition and weaken. Stretch that out so we can have it fade out a little bit slower. So a softer fade and that is almost everything. So, basically, now we have our title animating on the key frames. We can always jump into a compound clip here, too. Double click. We can come in and we can modify the elements in our compound clips up. We need to refine any animation elements or anything like that. We can come into the compound clip on, modify things. I speak things apple sliding down, and then if we hit a little back are here. It will take us back into our clip. Then we can play through, check everything. It's fine. Bless out mustard in. So the one very last thing that we can do as well because this is a compound clip We can also animate some movement into that compound clips. So what I'm gonna do it has this animates on just as life finishes animating on, I'm gonna turn on a key frame for the motion properties and will come ahead towards the end of our clip. I'm gonna just zoom in like this. So basically, we're playing through, and then we fade out. So I'm actually gonna right click showing my video animation on, then come to that last key frame and just move this up a little bit so that we're trying to stay on that horizon Lines just gonna move this down just a notch. So yeah. So now we've got the kind of movement of the text away. Staying on the horizon line with water is in the life. Allow it kind of working nice. So that's how to create a text animation in final cut pro. We're kind of nice timing. If we added a music track on here, we might look at the music track to think about where we align certain parts of our key framing for over the animation. So we've got beats down here. We might wanna make things snap your order a bit slower, depending on the style of music. But we can keep an eye on the way form if we do have music there and then align our key frames to that way, for one know about key frames is if you are making animations here. Just be careful about adding key frames in strange spots. If I want to realign my text here, you'll notice we're gonna get funny little jump because we added extra key frames here. So what's too useful to know is how to remove your key friends. So when I'm over the top of key frames and the kind of one of the easiest ways of navigating between the key frames on the timeline is, we can get it back up is to use the arrows to move to previous on the next key frame. And then if we're on a key frame and we press this option, we can delete a key frame on that will remove the little bit jumpiness that we had. So just keep an eye out for that. If you get any jumpiness and sometimes it's in your key friends, we can also right click here is well on the leaky friends. But sometimes, if you've got lots and lots of key friends, easier to do it on the timeline. 22. Get Setup for Audio Editing: So before we begin toe edit our audio, there's a few things that are really important have turned on in your final cut pro 10 interface and I'm working from the default interface. So if you come to window workspaces and default, this is the layout that I'm looking at on. The first thing I always do when I want to edit my audio is turn on the audio meters on the right hand side so you can see when I click this button in the middle of my screen, it turns on those audio meters on basically allows me toe stretch that out so I can see all the way from minus infinity up 20 on then plus six. So I dont editing my audio. I can keep in our my levels and make sure that nothing is peeking out. I'm going to give me any distortion. The second thing that I'll do is get my timeline laid out as I want. It is a few different options here, depending on how you prefer to work. So if we can't the appearance option here on the right, you can see we've got a few different options for showing our audio way forms or not showing them a tool so you can see I can select just to show the audio on. Basically, it's going to show my way, forms of nothing else. I can show audio way forms with a on a smaller thumbnail of the video on, then different kind of iterations of that where I have either a smaller audio way for on a bigger filmstrip of the video or where I have no audio away form, but just the done now of the video. So depending on how you prefer to work or which part of your project you're working on, you may wanna flip between these at different points in time. We can also go to this very thin option here, which is useful if you have a lot of layers that you need to see but less useful. If you need to see that audio away form as you're editing audio, the other options we have in this panel off zooming in on the timeline and it's going to zoom in on the location of the play head. So wherever I position my play head is where we're gonna zoom in and the short cut for this is command plus and minus. Or if you're using a track pad, you can pinch on the track pad to zoom in and zoom out. The other option we have here, which is super useful, I find is this ability to increase and decrease the heights off track. So basically, we can increase the height off our video tracks and our audio way forms on, obviously them. With the different settings we have here. We have a lot of control over exactly what we see and how much detail we see in our audio away form, which can become really handy when you're trying toe, head it to a beat or to a certain part of your voice track or looking at things need to cut out or modify the levels for throughout your audio track. Now there are a couple of short cuts for these options, So the short cuts that I really like when I'm working on my audio edits obviously shift and said we'll zoom me to my entire timeline. Let's go back to this option here. Andi, then Command Plus will zoom me into my play head or, if I'm hovering over and I have scrubbing turned on. It's gonna zoom in on that red line that you see so we can override the location of play head by having our red play head here, which is where we're scrubbing too visible on the timeline. So now you can see I'm zooming in and zooming out that and then when I want to zoom in and zoom out that play head, I just move my mouse away from the timeline on that changes that. So with command plus and minus, we can zoom in and zoom out a timeline with shift command and plus or minus, we consume the height of our tracks so we can modify the height of our tracks just as we can with the mouse up here on the top, right. We can use command plus and minus to zoom in and zoom out the heights. We've got a really nice level of control over how much detail we see in our audio tracks and also how we can fluidly move in and move out of different parts. That timeline. So in the next few lessons, we're gonna have a look at how we really control our audio levels. So essentially looking at how we can modify the levels for individual tracks and then also how we can modify the levels for six in a range of track, which is used for when you need toe dip. The audio of a music track. So the voice is clear in the audio mix and will also have a look at some basic things. How to kind of mute multiple tracks on timeline on that type of thing as well. 23. Audio Levels Mixing - Video, Voice and Music: So here is final cut pro. We're gonna have ah, look at the fundamentals of doing a simple audio it. So we have a voice track here from the video on. We also have a music track that you can see down here on our time line. Now, the first thing we want to do, what we actually come toe and it is audio is to turn off the music for the moment. So I'm gonna select my audio track and tapped of the key on that allows me just to listen to the voice track, make sure I've got the levels for that track right before I go ahead and then edit the levels for the audio track so that it mixes with the voice. So the first thing we gotta go as well as make sure that we're all looking at the same scream loud. So if you go to window workspaces on and just check the default layout, then we know that we're all gonna be looking at the same layout. I'm here in final cut pro 10 on. We're also gonna show the audio meters here, So if I click on those audio meters, we can show those and then stretch them out on the right hand side. This is just a great way of seeing where our audio levels are falling rather than just relying on our ears to figure out whether the audio is at the right level. So the track or the audio track specifically that I have on the video here has two channels to it. Now, toe, bring up the audio properties and we need to go to the inspector top rights on If you still don't see it, then you can click this little button up at the top, right to show the inspector on. We can see that this audio track has two channels took on. I'm recording the audio here on a laugh mike into Channel One man in the built in microphone, which we don't want. That means recording in tow dialogue to here. So, actually, we're gonna turn this channel off completely on before I've done this. I've actually changed this from stereo on where we can't separate out. There's two tracks to jewel mono from where we can then see the different parts of the audio track because there's a lot more noise than in the background of this dialogue to track. So I'm gonna uncheck that and I'm going to click on Dialogue one on. We have a couple things here. This is just my preference for kind of managing the audio options here in the Inspector, we have a few options for actually modifying the audio. Just expand this so we can really see this a bit more clearly. I'm going to select style of one here on. And if you don't see things like the loudness, that noise removal, the hum removal on, then you may need toe click on this show or high bond for the audio analysis on that allows to select different methods of analysing and improving the audio on. I find their final cut pro. That has, ah, quick method of bringing the audio levels up to a level I'm happy with. The loudness works pretty well, although I sometimes do need to boost it a little bit on. Then for noise removal, I find that 50% I start to get that Robotti like sound. You get sometimes and you do too much noise removal. So normally I'm adding a little bit of noise removal, but they're dialing it back to somewhere around 20% noise. Removal on that does a pretty good job for me since he's a few little peaks in here. But actually we can get rid of those. I'm just by dipping the audio levels in a minute on, we can do a test that's always important. So uncheck your nice level. Listen back to it on the speakers and also on headphones to see if you've got any noise there. And also remember that there's a little bit of noise. We're having an audio track to the background of this, which will help toe mask some of that background noise to get from things like lights and fridges on other electronic devices. So we'll check noise removal keeping 20%. And then if I play this back and I'm playing it back muted, so we're not going to hear any sound. We're just going to see it in the audio levels we don't really actually need toe. Listen to it for this purpose. We can see that things air dipping below minus 12 a little bit, so I get most the audio hovering just up to minus six. Maybe a little love but then also below minus 12 on occasion. So if we play this through again, I'm just gonna increase the levels made by three or four decibels until I get that audio hovering around that minus 12 months, and we want to try and keep all of our audio levels at that particular point of. Actually, sometimes I'll even boost them a little bit more just so that I can make sure that people can hear them. And you can type in a value here as well. So there's the main things I'm doing to my voice track. I'm when I'm actually adding it into final cut pro on. We could also modify the overall audio level by dragging the line up and down on the timeline. What you might find sometimes is that it drags quite quickly, So we end up going from minus 12 toe plus 12 quite quickly, without any fine tuning their If you hold down the command, Kate on drag your audio level that it will slow down. The dragon is doing so you can see when I'm holding down command on dragging its letting me actually direct that a little more slowly, which is super useful when you're actually managing those audio levels. So if we now turn on our music track, well, now find that if we play this through, it's great to start. But then, once the voice kicks in as well, we start to get some Peking on. We'll also start to get some interference between the voice on the music track as well. This is where we need toe. Start managing the levels of their audio. There's a couple different ways that I have my key frames to my music track to dip it. Actually, before we dip the music track actually just gonna dip the beginning off this video track, I can see there's a little bit of noise in their right to start the track, So I'm gonna select my range selection tool here on, Then just drag along the left hand weekend, then grab that lion and dragon call went out. We don't need to help out. Come on, we just want to drag it to minus infinity, which is where your audio will be completely silent on on. And then if we jump back to the selection tool, we can click away and you can see a silence that hold you in the beginning until we jump in on listening to the audio track. So if we scroll down here a little bit, we can see the music track on at this point. May want to zoom into the timeline a little bit. Now you can use different short cuts that doing that my play head is located here. If I do command of Plus, it's gonna zoom me in to that particular point in time. We can see the two key frames that have been added here. And then if we come across to zoom options here, you can see we've got the options toe zoom in and out of our timeline and it will remain centered on that play head. It won't let that slide I'm out of you. So we're always gonna have that play head in view when we zoom in and zoom out on, then we can also adjust the clip high as well as I mentioned Command. Plus is the short cut zooming in shift Commander Plus will change the clip height so we can actually see a bit more off that audio way for by holding down shift in command and then tapping the plus key. Or if we want to quickly see what our tracks weaken. Do shift command a minus on that were last zoom right house until our tracks become much Georgia on. If we're working with layered clips like we are a little further down the timeline that can help us out when we're editing in different ways. So here we want Toe Seymour of the Audio Away form. So shift Commander Plus, we'll zoom in and let me see when those beats air happening. So I want to fade this down before the voice kicks in here on. And there's a couple different ways of doing this and I'm gonna line this up so I can see all of the first part of this voice track. So I want to keep the sound level up zero in the beginning. And then I'm gonna mark on in points around here so we can use the range selection tool to select a range. My dragged me out, and then we can adjust that, too. Um, another favorite short cut of miners shift commander pay, which will de select everything. But if we keep the selection tool selected. We can just Friess high on the keyboard level market 10 points and then we can scroll ahead to this point in time. We wanna have the audio come back up and you can see it coming. Eat timed with the audio jumping back up like a market out. Went on now with that range selected scroll so we can see it all here if we what's the timeline? And just drag that down. You can see what adding key frames at either end of that. So I used the free few shortcuts, their combined plus and minus to zoom in and out shift command on Brussel Miners toe increase the higher the timeline and then iron. Oh, to mark time heirs of my time on and went where Moving along the time line like this we need to make sure we have scrubbing turned on so that we can kind of see where we're marking that in and out. So now if we want to adjust the levels in here, we can just keep modifying that level in the middle. If we hold out moaned, we confront unit so it can really move it by one decimal time we can also modify up in the Inspector as well. So if we come to the inspector, we can see now that we've got key frames that we can move between so I can use their backwards arrows and forwards hours to move to my key friends where I can type in specific levels. Okay. And I'm typing in a level on that specific key friend. So I've got one key frame here. Never minus 25. Minus 23 is my first key frame. Make both the same last 25 on. Then I can also move my key frames around. So I'm on my selection tool here. If I find that it is too harsh or a little bit too abrupt coming up, I can modify this so that I get those key frames and that kind of lift of the music in exactly the right spot so that we hear the beat or so That were quite enough when the voice kicks in at the beginning. So you can see now when I play through, we've dropped that audio down. We're not getting any of those peaks. Whether red buttons are turning on, we're just getting the voice on. We can modify this up so that we can hear a bit more audio or a little less. And really, when you're doing that, that's where you want to keep your volume exactly the same so that when you're listening back to it, you're no adjusting your volume to listen toe things more clearly. You should be adjusting your levels on the timeline to do that so I don't change the volume . Find your Mac when you're actually editing audio, so don't increase or decrease the volume. Make sure that you keep the volume at the same level. I'm just meeting it so we don't get the background noise here, but I normally keep mine around four. If I'm listening to the built in speakers or if I'm listening toe on headphones on, then I'm listening to it for a sound card. So just keep that at the same level. So there's a couple of other ways adding key friends here as well. So we're gonna drop down the audio before we start speaking again here. This is another voice track that we've got here so I could market in an out point, but I can't see necessarily exactly where I want it to end. Eso I'm gonna actually hope down the bulky on option key on the keyboard. And I've got the selection tool selected here holding down ultra option. And it's gonna keep friends for me that I could drop that down and again I could help down . Come on, This I wanna be a bit more. Find out how I'm adjusting it and you need to do that on the line rather than on the key frame. I could drop that down side to minus 19. Still got a nice map audio there. And then I come to the end here the sentence. Hold down the ultra option key a couple of times that those key friends. So this one is holding that level throughout a period of time. And then I feel lifted up here to zero again. So I get that music kicking back in, and then we can scroll down the timeline and just hold down the option key and dick or raise the audio, click away and retire the bits in the raises for the week. Get that music in just the right spot. It's lifting up or dipping down. We can also see some little bit of noise here. And if we're hearing them, then we can also hold down the old key on drop down the audio levels, those particular points in time so that we don't get any unwanted noise that beginning or end of our clips. And if you hear any clicks or pops in your audio, then you can also use these fade buns. You don't necessarily need to add key friends at the beginning, and and you can just do a little fade in or out at the beginning or end of your clip just so that it avoids any clicks or pops them as you're moving through. Sometimes with a short two gap here, I won't necessarily raise the audio back up to zero. It can be a little abrupt if it's going to lower for two short space of time. So I just lift it up a few decibels to get a little bit of, ah, her raising the audio levels there on. Then just make sure fading it and it's sounding good as I'm playing it back. So if we do shift is that we can see our whole timeline. Now, you can see. We've kind of modified our audio levels that they're lifting up, dropping down different amounts between the key frames. If we have key friends, for instance, if we add a key from here, we've made a horrible mistake. We didn't mean to do this. Then we can right click on that key frame, delete it and only these ones, too on then, just to recap, because we only covered it once. We can also use the range selection tool anywhere on our time line. Sometimes snapping gets in the way a little bit when you're actually trying to use the range selection to. Also, you can see it's snapping to the headache points on my main timeline here. So when I'm moving the mouse, it's not moving one frame at a time. So if I turn snapping off across here on the right, you'll find you get a bit more of a fluid motion. When you select different areas of the audio to list, the mark will raise them down. So obviously, the key thing to do once you finish editing is to play it through and make sure you don't get any peeking in your video and the audio levels sound good and also sound even throughout the entire track that you edit it before we finish up the two tour. I just want to mention one last way off, racing up on dipping down the audio level. So if we come back and select the range selection to up here, we'll just raise up this short section of audio between the voices here. And if we turn snapping off again, make sure it's half will drag along. I'm gonna do here instead of using the mouse to drag it up or lower it down. I'm gonna hold down control and then hit the plus key on the keyboard and you can see in there, and we'll just zoom in a little bit on the timeline There. You can see that when I'm doing control. And plus, it's actually raising up the audio levels between those selections between area I selected with the range selection tool so you can use control plus to raise up your audio levels and control minus. It's a low down, so I conclude this part of the lesson. If you have any questions about mixing audio levels, what other parts of this final cut pro Siri's then please do leave them in the course comment section 24. Images - Animate with Ken Burns Effect: So let's dive into these five tips for animating images in final Cut pro 10. So the first thing they do is set our window layout so that we're all looking at the same screen. Last we're gonna come to window workspaces on default. Just reset our screen lapse that it felt on. That just means that we're all seeing the same thing. No, I've loaded in a handful of images that will be using for this tutorial. You could do the same. So any images that you have you taken your phone that you taking with DSLR, you can work within this exercise or, if you don't have any, just to work with them. Dive to the website pixels, where you can download some free to use images. So let's dive into the first tip, and that is how to apply the Kim Burns effect. So the Ken Burns effect is a simple method for animating images. Basically, a zoom in, zoom out or a pan across the image on. We'll just grab this image of two paddleboards on the beach on on our time line. We're going to zoom out of this so we're going to use Commander minus those emails. Or you can come to the menu across here on the right and use the zoom button to zoom in and out of time life. So once we have our flip on the time right here, we can highlight it and then come to the crop tools at the bottom left off your viewer here . So basically, when we dropped down this menu, we have different options and you may see the transform controls their by default, the increase in the size off on moving and flip around. And then we have the crop options where we have these three different crop options. So the trim option will trim down your clips. That's gonna leave everything in the same place, but it's just gonna lie toe trim the edges of your clip. The crop option were like Teoh reframe it and it'll actually zoom into your clip. But it's the camp burns effect that we're gonna be looking at today. And as you can see on we have these two rectangles that show up around our image we have of endpoint in a start point. So the stop went zoomed in here, and then we're gonna gradually zoom out as we played it so well. Just hit done for the moment will come back into the combined effect. But essentially, that's how to apply Basic can burns effect and you can see we're zooming out slowly from that image. So in order to get back in to edit the Ken Burns effect, we need toe re select the crop tool. So to do this, if you've got multiple clips on your timeline or just the one as I do here is, make sure that you have the clips that you want to modify selected and then come back up to the crop tools. Now we don't need to re select the Camp Burns effect here. We can just select the crop option, and that will bring up on some options here so we can see the endpoint is a wider shot in the start point. We can flip those rounds. They're reversed there, so it's a zoom in. Rather than zoom out by clicking these little hooked arrows up at the top left. And now you can see our starting point is wide and our endpoint assumed in. So if we hit the preview button, we can see a preview of our Ken Burns effect, so it was slowly zooming into our clip. Once we're happy with our Ken Burns effect again, we can click done, and then we can jump in and edit the rest of our timeline. And also, one important thing to be able to do as well, if you choose to, is to turn off the cam burns effect. So if we've applied a Ken Burns effect when we decide we don't want it, then we can come up to our inspector at the top, right? If you don't see your inspector, you can go to window, show him workspace and check the inspector on that will bring up your inspector on the top , right? And you can see here that we have next to every single effect that we had the option to reset it. So basically these little hook arrows will oust toe reset crop options in this case, the Ken Burns or the crop options. When we click that little help narrow, it actually takes off the Ken Burns effect, and we go back to the regular trim crop options. So I'm gonna undo that we want the Ken Burns effect on this clip. And now we're gonna dive into tip number two. And that is how we speed up will slow down the Ken Burns effect. Now, this is really simple is dependent on the duration of your clip and also the amount of zoom that you have in your Ken Burns effect. So to speed up on the 12th long clips we have, we would re select the crops on. Basically, we can now move this around on, reframe it. So basically, we can reposition the animation here on because we're zooming in a bit further. When we play this back, it's gonna play back faster. So we've got mawr distance to travel within that 10 seconds. So our clip is gonna zoom in faster if we want to speed up even more. We can do that in the timeline. And basically all we do is sure in the clips if we come to the end of March. So if we come to the end of our clip, trim it down toe halfling. So around five seconds, then when we play this back, it's gonna zoom in the same amount. But in those five seconds, that's how toe speed up and also reframe your Kimber its effect in a couple of easy steps. I have my clip selected here with the yellow bar on the right. But in order to actually get into the Ken Burns effect, I need to select the clip fully. So click right on it and you can see here that we can flip these round as well. So we've got that option is still even. What's? We've made all these adjustments to the campaigns effect so we could move where power clip starts. Where ends on what you'll notice. Here is I'm still moving the endpoint here in order to move the start, but I just need to click once in the middle on that will highlight a start point is a little bit of getting used to how we select those different elements by jumping between the end point and the star point by clicking in them first, before we begin, toe kind of move things around, so if we press done here, we can play through, and we have this nice swift zoom with Ken Burns effect. Another third tip that we have here with the campaigns effect is how we actually change the way the animation is happening. So we players through now. You concede the animation is very Linnaeus. We're moving a very steady speed through that image. Sometimes we might want easing or he's out our clip at the beginning of end of the animation. So if we hover over the Ken Burns effect and come to our crop till here, this 30 it allows us to basically right click anywhere in our Ken Burns effect on. We can choose where we want it. He's in and out. So now we'll see the as we again. We get a little bit acceleration in the beginning and then at the end of our animation, so we're accelerating and then decelerating at the beginning and end rather than linear animation. So play that a little bit faster so we can see it more clearly. Okay, so you can see it kind of speed up and slow down at the beginning and end of the animation . And we can also change the options just at the beginning, or just that the end. So we start with it. He's in only, or he's out only so we can move a linear rate at the beginning and end, or one or the other. And when we play this through, you'll see we're back to that linear animation. So one thing we could do when we're working with the Ken Burns effect is we can copy and paste attributes from one clip to another two Silver asked it for this one. I'm just gonna short in this clip down. Basically, what will happen is if we go to edit on copy on, then select the next image on, then go to edit paste attributes or shift Commander V. We can paste on that crop effect or the Ken Burns effect onto our new clip, and you'll see now we have the zoom out of our first clip and then the same zoom out of our second clip. Now this is kind of dependent on images being the same dimensions of the same size. If you choose some images and paste attributes and they're not exactly the same dimensions , you may get some strange things happening there, and I've noticed that. So one thing I often do is I'll copy and paste attributes from multiple clips on the timeline on Then, if I flip the 2nd 1 so just rotate their start on end around. Then we'll get a zoom out in the first clip. Onda zoom back in on the second cliff on. We can obviously go in and modify where the beginning and end point off these clips is so we can use that as a starting point for our Ken Bone's animation and then copy and pasted onto multiple clips. So let's click. Done here and now we'll move on to looking at some key frame animation. 25. Images - Animate with Keyframes: So this next tip Tip number four It's all about key frame animation. So we're gonna actually select a couple of images through up here. So I'm gonna hold down command and select a couple of images here on deliberately selecting images that are the same dimensions. So I've got four images here on our track, please, Down the timeline. Now, I don't want all of these images to be 10 seconds long. So while I've got them selected on the timeline on, if you don't have been selected, then just drag a marquee around them to select those images, we're gonna change the duration of the mall. So there, around three seconds. So I'm gonna hold down the control key and tap D that is gonna bring up my duration in the middle here, which is 40 seconds over some of the duration for these 4 12th long images. And now I can type in at, say, 3.15 or three. Period. 15 on. Basically, we're making each of these clips now. Three seconds hand 15 frames long and will he answer now? One point to make here, and I'm just gonna come back and redo that is that if you do this and you have the position tool selected, I'm just gonna do control and be again type in three period 15 When we hit enter, it's actually gonna leave a gap between each those images, which we don't want because we're not repositioning them when we're changing the duration were kind of holding the position. They're so effectively, we're turning off the magnetic timeline. So undo that. Come back to my selection tool that hope down control on top D and then three Period 15 or 3.15 Enter on with the selectable in our toolbox. Selected here will snap all those back. So basically, ripple the timeline back to the beginning. So now I'm gonna hold down the shift key and top set on that is gonna zoom me to my timeline. So we'll animate this first image. First of what you'll notice around each of these images is that on the left and right, we have letter boxing for each of those images. So basically these images aren't 69. They're slightly square for three or 54 formats of photographic format. Basically, we wanna zoom in on all of these images. Now, before we add the key frames, if we select all of these images okay and caught the scale, we can actually increase the scale of all of these images in one go. So you can see I've zoomed in on all of those images. And for some, it's worked better than others and that zoom out of this guy, that's not too bad. So basically, we can select multiple images and change the zoom level of all those images in one go. So let's come to this first image and we'll come back to the beginning of our image. So now we're gonna have a look at how we add key frames for the animation of our image, and there's really two ways to do this. So let's come back to the beginning off this first image, and this is we're gonna add our first key frame. So in our view, here now had a key frame. We need to come to the motion properties, so if you have still the crops left it, you can come to the transform options, and that's where we can set the scale. The rotation visually in the viewer. So when we turn this on its highlighted blue, we click the key frame button here and that will add our first key friend. So now, with this clip selected in its Heinlein had also visible in the view up here, we can move it around and you can see because a little bit bigger than 1920 by 10. 80 that we have here, we've got a little bit space to move it to the right and to the left, and we can kind of nudge this around a little bit. So I actually moved ahead in time a little bit here. So I'm gonna actually just delete this key frame by clicking on the delete key from Play head here and we'll come back to the beginning. Andi will check that. We've got a key frame added here, which we do. So now you can see we've got space to kind of move this around on. Also, if we zoom out a little bit to say 25% will be able to see the edge of our image so that we can actually increase the size of it so that we got a bit more space to move it around. So because it's a digital image, it's gonna be much bigger than the video resolution, so we can increase it by a reasonable amount on and not lose any quality. So I'm gonna increase it to this size, and then we'll come to the end of our clip here on gonna come to the end. It will snap to the edit point, and then I'm going to use my left hand cursor to come back one frame, and it's here that I need toe drag this now to the left and you'll see that red line appearing where we're adding our animation between these two points. And if we come back to the beginning, we can play this through, and it will animate slowly to the right, increasing the speed off your key frame. Animation is slightly different. To increase the speed off your Ken Burns effect, we can't just show on the length of our clip. We need to actually move the key friends I'm going to right click here on come to show video animation, Andi. Now we stretch this out a little bit, we'll see those key frames on. We can move them close together so you can see that we've moved those two key friends together a bit closer. The animation happens a bit more quickly so we could move these key frames to any point in our clip so we could have things, start stationery and then begin to animate. And it's not animating throughout like that Ken Burns effect does. So if we come back to the beginning here, we're gonna stretch out these key frames on well, short on this clip a little bit. Well, let it be around for five seconds long on, we'll move these key friends back to the end. So the show video animations the show video animation options is really useful. We can also rotate our clip in their view here as well, so you can see we've got a little circle allows to rotate that on if we right click on these two points. So these two key frame points we can change them from smooth toe linear so you can see what we have a completely linear animation or we can have some smoothing in the animation. So the next clip will actually come in here on to the beginning and we'll add our first key frame here, too. On now we can begin to animate this so will show our video animation here so we can kind of see what's happening. So we've added our key frames of the beginning, and I just hit the X on the top left of the other video animation tab to close it on. We could see our first key friends here and now we come ahead in time, we can add a second sec, you friend. I'm just gonna move this up here, so we've got an animation up, and then if we come ahead in time, I'm going to get this toe animate out a little bit. So I'm gonna decrease the size of it and just reposition it so we don't reveal that kind of black edge. So basically, now we have this slow move up on, then a slow zoom out. So we've got complete control over kind of where we're looking in our animation and also the ability to speed up and slow things down based on the key frames rather than on the length of the cliff. So a lot more control than you get with Ken Burns effect So one last thing that we can do here as well is we can look at how key frame points on the smoothing that we have here on these clips. So if I zoom in a little bit more on my clip, so I'm gonna come to 100% you'll see that with smoothing turned on on this middle point, we actually have some handles attached to that, and that allows May to change the angle on the speed. So we'll just zoom in a little bit more so we can see those other handles There, There, you can see we can drag this out as well. So sometimes it might be a love it for iniquity to get those ground. But you can see how we're changing the flow off that animation in and out of that key friend. So if we zoom out to fit, we can see that happening. So we're animating slowly and then around that curve in the middle and then zooming out. So we've got a nice level of control with those key friends. There's some other nice, neat tricks you can do with your key frame animations as well. If we just short on this After the end. If I select this clip, I go to edit on copy on, then at it, and I'm gonna short on this one down even more, and they go to edit Andi paste attributes. I can pace the animation onto this second clip and this will stretch to fix. That's actually short in the distance between the key frames eso that it happens within that space of time. So you can see now I have that same animation happening. But much more quickly on screen there, that's closed these two. So you can see we've got this quicker animation happening. We can also use key frames for transitions as well. So I'm gonna drag another clip onto the timeline here. Oh, grab the clip of this pool on. We're gonna just zoom in a little bit. We'll zoom in a little bit more on this one, too. Zoom out so we can see the edge. Basically, what I'm gonna do is I'm gonna make this move to the left. So this is going to the left at the end of this clip. On the beginning of this clip, I'm gonna have this clip move in from the right from the same state direction. So basically the movement's gonna be the same. So it's gonna look like we're kind of swapping the clips is a little trick of the light. So we'll start our Q friends here, and I'm going to zoom in on the timeline. So if I hit the key frame option there, come ahead in time back to the last frame by using the left hand cursor on. Drag this to the left and then we'll come to this clip, turn on our key framing for this, and then we'll come ahead in time and we'll drag this one to the left as well. So now we've got have a nice quick swap of those two images. And if we speed this up so I'm gonna show the video animation that both of these, then we'll get a kind of cleaner effect so it will drag the I and you'll get that kind of nice quick swap with the images. And we can also mix this with a Zuma's well. So if we coming here on, just have this zoom in a little bit, has it? Does that that change in scale would also kind of keep the eye busy and you can see as I play through that now we played it fit. Then we get this nice, quick kind of swap of the image, and you'll see that used a lot in different animations. So we just hit shift and said here. So we've got our five tips for working with video animations here. We've got Ken Burns effects for adding quick animations and zooms in the zoom, zooms in and zooms out on, then also key frame animation for doing simple sly animations on that also, some more complex animations where we're actually beginning to work with the curves of the images in here as well, using key friends. And we haven't really won into too much rotation in here as well, but we can use that to So, for instance, if we come to this edit point here, then if I come to the last point here off hard, a little bit off rotation, so this is gonna quickly rotate there, and then what I'll do is I'm gonna get this to bounce back the other way, so I'm gonna get to kind of flop actor basically on this second clip. If I rotate this around to the same angle, I just need to move it up a little bit so that we don't reveal the black there at the edge . Actually increase the scale. Just a touch, too. We'll get this nice kind of slip of the angle so you can see when we have that quick movement. It just keeps the iron nice and busy between those two key frames. So we get a real nice animation there because everything is moving all the time, but kind of moving. The I were keeping the busy on screen with that movement, and that's what's creating a smoke and mirrors effect of it, looking like a smooth, clean transition between one clip on the next. A couple things we haven't covered yet. How to delete key friends. If we right click on a key frame, we can delete it also were hovering over the key frame with our tool transform tool turned on here. We can delete key frames up in the view as well. On then we can also modify key friends in lots of different ways across in our inspector, to which we haven't covered yet in this lesson. We've been focusing on working in the viewer with those tools. But if you want to get into kind of pixel perfect animations and then come up to the inspector and you'll be able to see how those work Actually, one thing we can cover, lastly, is if we select these two key friends here, I'm gonna go to edit. We have an option and edit menu to copy just key friends. So if I copy those key friends and come back to the beginning off this clip, I could go to edit key frames. And I just need to select the transform options here and then edit key frames on paste. And that will allow me toe haste in those two key friends at the beginning. There, too, you can see there's a little bit off modifying I need to do on that 1st 1 to make it work. But basically, now we've got little snap in there. Andi will just increase the scale here a little bit, too, so that this is in a similar position to where we started. So we have that nice the old snow, which will work even though the last image is kind of a little more static, and you can see how we've copied and pasted key friends from the beginning of one clip to another. So you've got a real nice level of control over those different animation elements in final cut pretend. 26. Images - Remove a Logo/Image Background: so gonna dive in here and look a couple of ways in which we can knock out the white background off this image. So whether you got a logo or an image in a circle, other shape on this will help you to knock out that background so you can have it as transparent in final cut pro 10. Now, a lot of the time when you get a logo, it may have been flattened to a J pig or a PNG um, when the image or the logo used to have transparency where that's been knocked out somewhere along the way to the image or logo getting to use this will help you out. If you have an image like that, you'll need to put into edit. So we're gonna have a look at the first method for doing this. And really, the focus of this is on the keying on masking tools that we have down here in our effects panel. So before we get started, actually, we're gonna go to window workspaces on, go to the default, and once from the default workspace, we'll just come along to the right hand side and we bring up the effects panel here. Andi, as I mentioned, we're gonna be looking at the keying on masking tools. So we'll look at the King tool first on. This is great if you have an image like this where the white background is quite different to the color inside the image that there's no pure white in the middle of this circular image here. So we should be able to quite easily knock out the background using a color key or a Lewicki. So we're gonna grab the Lumet here and drag this onto our image here on. Once you've done that, all the information that we need to change will pop up in our inspector on the right. So we're in the video tab of our inspector so you can see here. We're getting some transparency in the middle of our image. And really, what we want to do is isolate the white parts of this image. So I'm gonna come to my loomer selection here and just make it so that I'm highlighting just that very white part. The image. Okay, so basically, we've knocked out the reverse of what we actually want to keep on. You can see we're getting a little shadows of that image there. And then once we've got this, so it's completely invisible. If we click invert, then we've basically knocked out background to that. We can also, if we come down, we have some battles as well, where we can shrink and expand on. We kind of doing the reverse of this because we've inverted it. So instead of shrinking our selection, we need to expand. It s so that the inverse is gonna be right. So basically, now you can see we've knocked out the background to that white shape and we've got our logo in the middle There on, we can do things like soften the edges as well, if we need to. I also work with contrast, a swell to try and get a nice, knocked out image them. If we go to these options here, we can kind of see how clean that cut out is Now. Once we have done that, we can come back to the main image here. So we conflict between these different on a composite, most to see how clean our mascots. That should be a nice going clean black and white image. We'll come back to this. If we want to move this logo around every would grab transform tool here on, we can now re scale it on, move around and position it as we need to. So we're using the same image for this second option here on the timeline. But we're gonna do this like differently. So we're going to use a mask for this instead of the Kia. You do this, for instance, if you didn't have a kind of pure white background, so you couldn't use that loo Mickey or that color key as easily to kind of knock out the background. So we're going to use the shape mask here on at the moment. It doesn't really look like it's gonna work to knock out the background of this image. But if we drag on to our timeline, okay, we can make some changes that are gonna help this to work. So we're gonna change our curvature, Teoh 100%. So all the way up, we're gonna turn down the feather 20 but will just type in a zero there. So we got a nice kind of sharp edge there on then. If we go to the radius at the top here. I'm just gonna open this up by clicking this little arrow to the left of radius. We can match the X and Y width and height, So basically, we want the width on Teoh match the wit of our circle and we want the height to do the same as well. So they should be exactly the same. So I'm just going to type in 7 to 2 on 7 to 2 there, Then I can use I need to turn off my motion transforms all here so I can move around this selection and you can see now we're getting very close toe what we want. So if we just drop this down to 7 to 0 on a 7 to 0 for the perfect circle, then we can get this into exactly the right spot. So what? We've done that if we click away to one or other tools, we can see more clearly, we've still got that little bit of white background. There s so I'm gonna come into my ex value and just use mine. Curse of the downcast just to reduce that with a little bit until I've trimmed off all the edges. I 717 But the moment looks like a good wit. And then to re select and reposition this, I'm gonna click back on the shape mask. And that will give me this, uh, option to kind of move this around and reposition that shape. We can click back to compositing. Well, actually, go down to 715 on 715 Just reposition this a little bit. So again, if we click away from the shape mask, we can come to their transforms down here on Dhere, we can nudge the position of our circle as well, so we can get that cut out to be perfect. So we can either type in a number here or just use the up and down curses toe nudged out, circle into position so you can see here. I still got a little bit white up at the top, so I'm gonna touch this down. Andi, that's looking pretty good. So now again, we can grab the transform tool, and we can transform it down. And we have a nice cut out version of our logo with a transparent background. One other thing that you might want to do once you've actually cut out your background useful effect just to kind of help. Your image pop is to add a drop shadow onto there. So if we click on our video effects or all of our for the FX, we can tie pin drop here and we get this drop shadow option that we can drag down the timeline on. Now we can work on the A pastie Andi positioning of that so we have it in exactly the spot that we want to. So we've got a nice, different options there for modifying that drop shadow, and you can see it just helped it toe kind of pop out a little bit from the background. So I hope that's useful. Quick tips about how to knock out the background of a circular logo here. When we're working with shape tools here, you can see we can also dial that curvature right back down as well, so we can actually change the radius of this and make it into a rectangle as well. So if you have those different kinds of shapes toe work with, then you can still chop them out. I'm using these tools if you have more complex shapes and to work with, then in the masking tools. We also have just clear my search here. The drama store, where we can draw around more complex objects almost like a doctor, Doc, as a curve around that, that's give you an easy way to cut out as kind of more of art shapes. 27. Color Correction - Fix Brightness & Contrast: in this lesson, we're gonna have a look at how we improve the brightness and contrast of a darker image in final cut pro. Now, this could be a video or still image. That process is essentially the same. So we have a darker image here on the first thing that we need to do when we're doing any kind of color correction, which is what we're doing, we're improving. The brightness and contrast is bring up our video scopes. So we're gonna come to the view menu at the top here and show our video scopes. You can see the shortcut for that is commanded seven. Now, the other thing I want to do is hide my windows in the left hand side here. So I'm gonna come toe window showing workspace on hide The sidebar on also hide the browser so we can stretch this out already. Want to see the video scopes here in a bit more deaths? So we have first of all, the way for that we're looking at now on the vector scope and the way form helps us toe Look at the brightness and contrast oven image and see where the color information is in this instance. We have a lot of color information in this darker area of the image, and we're looking at that way form from left to right. So the left hand side of the image So the right hand side of the image is the same as what's being displayed in our way form on. Then we have the vector scope, which shows us how much saturation is in our image, and we can see there's very little color in our image we might expect. For instance, we're looking at this red, green and blue image for there to be color throughout the image, and we can see in this yellow truck we have this big spike of yet out here. So we're looking here at the color in the image. So it's important, first of all, to be able to read your image. And you can learn to do that over time by looking different images and always referring to the sector scope on the way for for this will stick with the way for So now let's jump into improving their brightness contrast of this image. So if we come to window and showing workspace, we want to make sure we've got the inspector visible. And this is where we access a lot of our effects and our tools were working with in final cut pro. So if we make sure we got that up, which will show up across here on the right hand side, we can come to this little triangle How? This will show us the color correction tools that we have. And we have three main tabs here. The color saturation on the exposure. So we're gonna be working the exposure tab up here on we have the master exposure. And then these three round buttons, which are the dark rare, is the image, the shadows, the mid tones and then also the highlights of the lighter heiress, the image. So if we come straight to the master slider here, we can slide this up and you can see straightaway. We brighten up the image in as we do. That kind of washes out a little bit. We're losing a lot of that white or lighter parts. The mission highlights above this 100% mark, and this highlights an important point. We want to keep as much color information as possible between the 100% market the top here on the 0% market. The bomb here, anything that is above those or below the zero will essentially become blown out. As you can see in this image, we end up with a very white sky on that very washed out image. So pull that down just a little bit. We want toe lift this up and then we're gonna moderate what we've done here by coming Teoh shadows in our image and we can pull those down on where again, making that image a bit darker. And we can then work with the mid tones, have the highlights on. We can just work between these three parts the image and decide what it is that we want to be visible within our image. We're still getting some very white areas airs above 100% in the sky. But for this particular image, I'm mostly concerned about this road part of the image. Okay, so you can see quite quickly, we've improved her image. We can see that there's a lot more color detail moved up into the 50 to 75% mark And if we want to have a check before and after. We can uncheck this little blue box here which will turn off our correction and turn it back on, and we can see the difference in that way for monitor. When we do that, we can also add a bit more saturation to our image as well. And when we add saturation will want to look at the vector scope. So I will turn on the vector scope and you can see we've got a kind of e saturated image. There's a little bit of green in there, but we can increase that saturation by pushing this right up on. Actually, even when we push this right to the top, we're not really over saturating anything. Everything is well within the range of all be considered a good quality image, so we can push this even further if we want to Had a bit more saturation in there for the highlights or de saturate parts damage. So we might want the mid tones tablets saturation, but the darker areas image to be brighter so we can moderate what we're getting with again . These master saturation shadows that mid tones and the highlights and then for color We would really look at this if we want to do some color correction, which we don't for this image. If you take the master slider and just pop it out to the middle here, you can see we're adjusting that whole image, which is mostly in the darker parts, the image and we can see our vector scope going a little crazy as we wiz round, there's different parts. The image. If you want a very cool image, you might want to add some blue in there. If you want a warm your image up, we'll make it seem like old style photo. Then you might want to add some orange and red to the image hit. If we've done something like this where we've played around with the color and then we're like, Well, that really doesn't look right and we want to reset it for any one of these three tabs. We can reset what we have here, so if we come up, you can see we've got it's hooked. Arrow on. We can click that, and we can now reset that the original color set up, which will leave for this image. Let's have a quick look at a very basic animation that we can do within our color correction tools here, and we'll look at this for the saturation. So if we wanted Teoh move from a black and white image, say to a saturated image, we can do that by making key frames for our saturation options within our color board. So we can add a key frame for our color board up here, and then we can come back in time. Just gonna come back a second or two, and I'm gonna pull this saturation for the entire image right down so we'll get a black and white image. And now, when we play through, this will actually increase the saturation throughout our image. And you can animate anything in final cut pro. Wherever you see, these little diamonds had key frames. So that's a quick overview off raising up on image as we can see happening in our animation here. So we're going from black and white toe. The slightly better and brighter quality image on this should give you a good intro into how to work with the basics off, improving the brightness and contrast of your images in final cut pro 28. Masking - Draw-Mask to Create a Split-Screen: So let's dive in and have a look at how we make this advance split screen in final cut Pro 10. Now, the main till we're gonna be using for this is the drawer Maskell, which is a really great tool. And one of the nice things we can do with it is we can animate the masking that we do. So let's just drag down a few clips into layers here and final cut Pro 10. We're gonna turn down the volume for all of these. So do you shift in set so that we can kind of see a bit more of what's on screen here, and we're gonna slow all these clips down because I'm gonna select all of these clips on we're gonna go to slow 50% and I'm gonna reduce the height of the timeline. So if I come to my short cut across here, I can reduce the timeline height that can also use shift command and minus reduce the height there. If I hold down, command are now, it will turn off the re timing. So basically, we've got these three layers of videos on. We're gonna look how we reveal the layers behind by creating a split screen with the drawer master. So the first thing we're gonna do is select the top most layer. I'm going, Teoh, come down to my effects on the right hand side here and I have a search in here already. So I'm going to clear that and we're going to scroll down to our mosques where we can find the draw master. So the drama Store allows us to draw custom points on our video On in orderto get this first split screen going, we're actually going to zoom out a little bit to 25% just so we can see the edge because we're gonna draw the drawer mask, but we're gonna draw it over the edge. So I'm gonna click here once played down here, look across the right, click up on, then click back here on that will mask out of shape. Now I can move the mosque around eso I can move around the area that I want to keep on. I can also offset the exposition as well. So the flames here in the middle, they're a bit better, so I could kind of offset those there on I can change a scale as well. And they keep the drawer mass kind of scaled with it as well. So we're just gonna move these flames across the right. So now you can see we've got our first kind of split screen with this diagonal split screen . Ah, Now we're gonna have a look at how we copy and paste this same split screen. So we keep that same angle for the other clips that were using. So we're gonna have kind of three different levels of zoom for this Arctic You that's happening. So if I select this clip, I go to edit copy and then select the clip below on Go to edit Andi paste attributes about halfway down here. Basically, we're going to paste on the draw mosques. I'm gonna uncheck the transform options on the volume options on it paste and that will now paste on the same drawer mask a Z we have on the other clip so we could do one of two things here. I can either just gonna move this across that matches the angle or I can move thes points across the right. So we keep the angle. We highlight something across on the left hand slide here. So again I can offset my cliff here as well. Now you can see we get this nice split screen with these three different levels of kind of what's going on this street barbecue on. We can move the background Clippers. Well, by using the transform options to so we can get this center nicely on it play. Now we have this nice little montage off a split screen of these different zoom levels off the barbecue grill. So I'm gonna come to the end of my flips here and just do shift command and be, and that is gonna blade all these clips on that. I'm gonna grab my selection tool and just delete these last clip. So we're gonna take this a step further now. So at the moment we've got these clips here. Now, what we might want to do is have these clips come on in order. So basically, I might have these clips transition on, so we have the wide shot visible, and I'm just gonna select my bottom clip here and reset the transform positions that's back in the middle on the way we play this through. We have, ah, left hand and then our right hand click coming on. But it would be nice if we animated those as well on. Basically, I can animate a few things here. So what one animate really is the position off this clip on the left hand side and so that it slides on. So up in our inspector on the top, right, you can see we can animate a number of different pictures, but the transform on the control points in particular position on the control points. What We don't want to animate here. So if we have a look at the position here as we move this, you can see we're moving these position points here. So basically all decide how quickly we want our clip toe animate on. So I'm gonna play this through now to set the timing of this song in it. Press play on. Basically, we wanted to slide on in this short period of time up to around about here, so we get a nice little quick snap on that clip, so I'm gonna animate this backward. So what that means is I'm gonna set my key friends for the location I wanted to finish at first and then move backwards so that I can just slide it off campus. So if I keep this clip selected in my play heads, um, uh, a few friends into it, I'll come up to my transform options up here on set a key frame by clicking the little diamond to the right of the X and Y position there. And now come back to the beginning of my clip. Andi, I can either use the slider up here, so just slide the exposition off or drag this to the left here. So basically, now, once we've done that, if we play this through, we'll get a nice little quick slide on of that clip on the left hand side, and then we'll do the same for this right hand clip. So we're gonna slide over the left and then from the right, And if we look at this, this is roughly where we wanted to finish as well. So I'm gonna select my top click now, come to my transforms on a key frame for the position a little bit into that clip, and then come back to the beginning. And now, once we've done that. We can select that drawer mask. Andi, drag it off to the right. And now we'll get an animation of the left and then from the right. Now, if you don't get the timing of your clips right from the get go, And if we right click here on go to show video animation, you can see we can see the video animation key friends here. So these are the key frames that we set on those of the points between which the animation is happening. So if I move these key friends further apart than my animation will slow right down, and if I move them close together, then my animation will speed up to become a bit snappier. So you can decide on the pacing and timing of your transitions yourself on. We can also do this at the end as well. So if we come to the end of our clip will have these come off together at the same time at the end. So basically will have them slide left and right at the same time. So we need to set another key frame just before the end of these clips, so that we can slide them off. So I'm gonna set a key frame for the transform options here on both of the clips. So for the position, come to the end of my clips on defy. Just come to the end of the clip, you'll notice we don't see the left and right clips here, so I just need to move back. Quite a friend. Someone attacked the left cursor on that will bring me back into those clips, and I can now drag her off to the left on drag this off to the right and you can see I'm needing to highlight the drawer mask in the inspector so that I can do that. So now these will we quickly come back. These will animate on together on and and me off at the same time. So that's the first. Let's screen on the animation that we're gonna do the next let's screen animation we're gonna do is going to be more of a revolving on split screen. So basically, I'm gonna drag some or clips down to my timeline so we'll go ahead in the timeline here and what drag these same clips down again and again. I just dropped the audio down quickly. Okay, so we've got those three clips stacked up here is well on. Now we're gonna do for these clips is we're actually gonna I'll just come to the end here in his shift command be to slice through the end of those so that we can flip them off of the end. And what we're gonna do here with each of these clips is actually draw more of, ah, triangular mask so that we can basically have this kind of come on like a almost like a clock in the animation. So I'm gonna grab my drawer mask and drop it onto the top. Clip that. I'm gonna add some control points here. Okay? Now this center control point that I've got here, I wanted to be right in the middle, so I'm gonna come across to my control points in my inspector, and you could see I'm moving this 0.4 a to bottom here just by wiggling around. And I want to set that 20 on day zero. So it's right in the middle of my my clip here. So when I animate this the kind of clock automation that we're gonna do is going to revolve around that midpoint. So we're gonna kind of create a little bit of, ah tapestry of these three clips using this clockwise. So I'm gonna select this clip, go to edit on copy, let the clip below and then edit Andi paste attributes. And again, I just want to pace the drawer mask, no other effects there. So will be selected the audio attributes and pace that on. And so now you can see if I just move these points across the bottom, right? We're basically keeping that midpoint at center. Andi, we've got this nice kind of lay out of these split screen here, but everything's kind of connecting in the middle. That So, what we're gonna do here is well, again, just stagger these at the beginning a little bit. Okay, so they're gonna come on one at a time on what we'll do here. We'll start with the second layer here. I'm gonna again come ahead in time. In my flip on this time, I'm working on the control points A so I'm gonna add key frames for my control points. So I've added them in the clip. So this is where it's gonna be visible. And then if I come back in time, I'm gonna bring my control points very close to one another. So basically makes that clip almost invisible. So what will happen here as we play through, is basically that is gonna kind of wife on what? This. And we'll do the same for this clip. So have this wipe on from the top rights. So I've come into the middle of the clip or a little bit into that clip at a key frame for the control points and then come back in time and then move these clips, uh, to that top right point. So I basically know, and these come on, it's gonna add a nice little white so that as they kind of made on, Then again, we can do the reverse of that. So we'll have those wipe off together at the end. So I'm gonna add a key frame for the control points up here again the same spot. So we use the control points rather than the transforms this time. Come to the end of that clip and then just go back one frame on now bring these back until they're almost touching on. Do the same for the top clip. You can see the animation already starting to happen there. Now, basically, we're going to get a little. Why prevail on? Then they'll disappear. Nice day at the same time. So that's basically some really cool ways in which we could use the drawer mass tour to do some advance split screens on. Do you kind of have a lot of scope in terms of creativity with this particular toe in final cut Pro 10. 29. Basic Multicam + Color Correction: Okay, so here, we're going to just have a quick look at how we work with a multi cam. Head it on. Basically, what I want to do is have a look at how we can create a multi camera it on, then separate out those clips of things like color correction that everything that runs. So basically, I'm creating a short video two clips on we're gonna jump between those in the multi cam and then once we've created most camp at it, we're gonna break that multi camera part to the weekend, then go back to our original clips to do color correction. So let's dive in festival and make our multi cam clip. So we've got our two clips up here in our library on in all to make multi cam and in order to make multi can trip with two or more clips we need to select on both. So I've selected one of my clips and I'm gonna hold now command on select The next clip on that will select both those clips. So now, once I've done that, I can come up to file new great multi Cantlie for those that work with most camp trips, you'll know how they link. Together. We can drop the timeline and then edit with them. We just give a short demonstration of how to do that for those that haven't worked with multi camp. Let's before, so we'll create a new multi cam clip. We'll call this multi cam DeMann on. We're going to use the audio synchronization, so there's an audio track from it. The different cameras have final cut Pro seem to use those audio tracks toe link things together. And if you've got audio tracks on both your videos, that's definitely he's this way. Toe link things together, so we'll click. OK here. And what will happen now is we'll see this new clip will pop up in our library on this is the multi cam clip. So once I got that selected, if I go to my view options up here in the middle, I can show my angles, and that's going to show me the different angles used in that multi cam clip. So if I hover over my multi cam clip, I'll see the two angles that I've got here on. If you have more than two, you'll see more than two different angles. So the audio on my iMac, the bottom clip here is a better audio track on it. Basically, what I want to do. If that is, leave the audio locked onto this one track so we don't get a change in the audio. Volumes as we're editing are multi clips, so we can change that editing options. So it's just enabling the video only editing hip. So once that's done, if we know drop our multi cam clip off the timeline, zoom in a little bit on, we could begin Toe makes a medic so I can trim this from the beginning to start with. And now, as I play through my clip, you can see on the time I selected. And I'm just editing the video option to this middle video, only switching. So now when I'm looking towards the camera, I'll use this top Clinton. So actually, I just come back here and switch the videos, that top clip to start with, and then you can see part way through. I switch my eyes to the computer screen, and it's at that point that will switch the multi come at it back on. Then, after a couple more sentences. I switch back down to looking at the iPhone and we'll switch back to here. I know fuel sentences on will switch backups. The computer and those cuts as we're playing is through in the multi camera it happening. And basically, we can now switch between the different camera clips quickly or slowly, and it will create cuts wherever we're switching between those two clips. If we've made a mistake and we want to swap a clip out, we can come to the beginning of one of these clips when we've got our video paused and we can swap those clips. So just make sure you come to the beginning of a clip on Swap the clip. We can also right click here and changed the active video. I go to a different angle as well, if we prefer to select from a list. Or maybe we've got a large number of clips there. Now we want toe select the video angle separately. So basically, now in this clip, you can see in my multi camp demo on the color off. This I'm that clip is really a lot darker than the iPhone flip, so the color adjustment. All the automatic color adjustment on the Mac is not as good. So this is where we need to focus our color correctional on in order to break this apartment toe, edit all those clips in one go. We just need to go back to the original multi cam head. And if we double click on that original more to commit it, we can see here. Now, we've got those two original clips there, and it's in here that will do the color correction. So if we activate the bottom clip here now, you can see I'm looking and focusing on that bottom clip. And now I can bring up my video scope. So I'm gonna hide my angles and bring up my the escapes that I can see the color correction that I want to do. And if I hover over this clip, you can see that its a lot brighter. The background is really very white. And in this clip, the background is quite gray on a lot lighter and a lot of the color information. This clip is down in the bottom here, so we need to raise that up. So I'm gonna come up to my inspector on the top right, and we'll jump into the color correction options on the first day I could do is raise up my colors here. So my whites almost bleached out in the background, and then we can pull the shadows back down. We still want some contrast in that what you'll notice in this Clippers, where's the midterms? Are quite vibrant, quite right as well. So we want to lift up those mid turn. So we get some of that detail in the shirt showing, and then we can pull the whites up a swell and modify moderate our adjustments until we're happy with how that color is falling throughout this image. So we've got a very nice white background. We've got still some areas of shadow here. Now, if you look at it with God, just a quite big color difference between the Mac image on the iPhone in it. So what we're looking at here we've brought up the video scopes is the way form of the moment. But when we modifying color, we want to bring up the vector scope instead. So come to this little button in the middle. Come to the vector scope. And then once we're in here, we can get to modify the color. So what I'm doing as I'm doing this is just having a peak where the color is in my image that I'm correcting to where the color is in this image. So you can see we've got a lot less red in the shirt here. Andi, we've got some greens popping out toe the left hand side here. So when we're on this clip, you can see there some green and yellow popping out which we don't really have so toe removed that red and those greens we can begin toe, come down and start to modify. Either the maid color tool will start to modify the shadows so you can see a bit of green and red in the shadows, so we might pull that down a bit, and then we might need toe moderate this a little bit in accordance with that. So we're just do subtle adjustments here, and we're trying toe match up the angle of some of these areas with the angles that we have . Here's where the Reds are shooting off on the skin. Tone is there as well so we'll just keep modify this on. We can, gradually trying to neutralize these colors a little bit. We can also use the saturation to do this as well. So in this image you can see the Browns and the colors. There's there's not that much saturation in the center of this image here. So if I activate this one, you can see we've got a lot of white on then some color street after the red, which will be the face of T shirt on, then some sign and blue, which would be the shadows in this shirt. So we can start to read that vector scope as we look between the two images and start to make some adjustments. So maybe we want a little less color in our mid tones on our shadows that will neutralize that a little bit on. Then we can modify the amount of color in different parts of the image. So with just trying to make some minor adjustments throughout the image, Teoh get somewhere close in this brief demo to the image that where using is our reference . So we'll just keep playing around with these until we find something that's reasonably close on. We're getting somewhere close Teoh similar colors there as we're moving around these color adjustments on for the moment for this brief example that will do now what we'll see now that we've made those color adjustments. If we go back to our edited clip on the color, adjustments will flow through to their edited clips. Essentially, as we've made those adjustments in the original multi cam flip, the edit that we've made from that multi cam clip has is still drawing from the original now color corrected videos. So the workflow for creating a multi cam and then modifying the color is really to use the multi cam, the original multi Kampl it as your kind of main source. So if you do any color correction that different clips from different angles and do that in the multi can flip and then those color corrections will flow through to your head it on and you can, uh, see here that those color corrections have flowed through to all my clips on the timeline on, we can also add other effects into a multi can't clip as well. So we, for instance, thought there was a bit too much noise in this image. Then we could come into our video effects here on will such for noise and we're at the noise reduction filter here. So now once that's analyzed, those changes will flow through to our edited clips and how we play this through Eventually . Once the analysis has happened, which is going to take a few moments on, then it will flow through to our edited clip so you can see we're not quite at exactly the right spot for the color correction. But we're not too far off compared to where we were if we come back on and turn off the kind of correction and go back to our clip. So this was the original uncorrected clip. And then if we come back into our multi cam flip on turn, our color correction back on this is now we jump between these two the color corrected version. So we're getting somewhere close to the color correction that we want between these two clips. So using the vector scope on the way for was a reference that you modify your color in your contrast and where the brightness is in different parts, the image is really critical when you're doing any kind of color correction. So I hope that's been useful if your work with multi cam clips and you wanted to add color correction to your clips on. If you have any question that final cut pro on this or any other topics, then please do leave a message below for RC on the next tutorial. Thanks for watching. 30. Exporting Video Essentials (Quicktime & MP4): so here in front of a pro, gonna have a look at how toe create basic, high quality export of your video. So the first thing to do is to make sure that you have the edit that you want to export up invisible. So if you don't have a visible than just come to your library on the left hand side on, you may need toe scroll up, and you should find all your different edits listed there. So if we double click on the edit we want to export, it will pop up in a timeline. Then, when we export, we're looking for the share button or going to file sharing the menu on, actually, before we export anything. One thing to make sure you do is to make sure that you have any ranges that you might have selected during a edit de selected. So actually, this is the way that you export a portion of your video out. But if you want to export the whole thing out, you want to make sure that you don't have any selections using the Range tour where you marked areas of your timeline with it, an outpoint. Otherwise, you'll end up with just that selection. And if it's a tiny selection like this, it will seem like your exports happened really quickly, but actually end up with a second video, which is gonna be no good. So to do that, I'm gonna go to edit Andi piece Electoral or Shift Commodity, one of my favorite shortcuts. And now we can get to share options in one of two ways. If we go to file and share, you can see we've got some different options for sharing our project, and we're looking for the master file option. And now the other place that you can find this is up in the share button on the top, right, the easiest place to access it. If we click there, we can come to master file, and it will bring up Master file export window where we've got a couple of options and I'll walk through those with you. So if you want to check here, you have a great and selected. Then you can scrub through your entire video and make sure that it's exporting the whole thing and not just a short selection of it on. We can also check the resolution and frame rate. So in 1920 by 10 80 years for alleged E, it's not four K, but for most video, 1920 by 10 80 will be a really good quality of up into you. Two are uploading to Facebook depending on where you're sending your video to. We've got audio channels here. I've got the duration of the video. So again, if we know how long our video is, we could just double check here that we're exporting everything that you want to. It's gonna explores a quick time movie, and we have a couple of options here. So we're exporting to upload to Facebook or YouTube. Then quick time maybe we find. So if we come into the settings options here, we're exporting out Video audio in h 264 If you want to export archive for really high quality archived version, then we may want to export out on Apple Progress version, which is an UN compressed version of your video. So it's lost less, so you basically will end up with a full quality version of your video. Age 264 is compressing it down. It doesn't really good job. It will be fine for YouTube, Facebook video. Other platforms that you're uploading to the one time we would do something different is if we wanted to upload something to Instagram, which only accepts the impact for video version as I'm making this video, and so we go to under format computer on. Now we're exploring our Olympic four movie rather than a quick time movie. So that's the main two choices here. If you're having problems uploading to a certain platform, then you may want to move from video and audio, which will be full quality quick time movie in H 264 to the computer option, where you can export out in pick four version off your video. When our videos finished exporting, then we can open it in quick time place or in a different application. We can also include chapter market. So if you're gonna export your video on, then send it to someone to make a DVD a later stage. You may want to include those chapter markers in there as well. So once that's all set up here, we can see an estimate, the file size we compress next on, and then I'm just gonna label mine as Mexico export on it, save on. I just enter their toe hit save, which is the quickest way of doing it. So now there are videos exporting. We can see the progress of that by coming to the background tasks up here, and we can see the sharing is quickly running through this very short video. There's no effects on their ready too much, so it's gonna do a pretty quick job of exporting. Once you've actually got any effects or more text or more titles on your video, your notice that things will start to take a lot longer to export. There's also some things you added stabilization to your video. You'll have to wait for final cut pro Finish doing those things before you can actually export. So now if we come into the desktop, you can see we have exported video. So my Mexico export. And actually, if you want to see a real quick preview of your video upon a Mac on that could be a video that you export from final cut pro or any video that you've downloaded. Just highlight your video on the desktop or in the finder on space bar, and it will give you a preview off that video. So that's our exported video. Ready to upload to Facebook. You chew wherever you want, upload it to it's ready to go. 31. Housekeeping - Keep Space Free on Your Hard-Drive: so here in front of a proto to show you a good habit that I would encourage people to get into when they're closing up libraries they're not gonna work on for a little while on that is to clean up the render files and also any optimized or proxy files generated when you're importing in final cut pro. And this will help to keep space free on your hard drive by deleting the render files and proxy files, we're deleting files that we could always regenerate. So if you open up a project or reopen it, then we can rear ender or weaken remake those proxy Your optimized media files on rendering normally happens if you're editing clips and then adding effects or change on a scale of things. Adding things that can burns effect or titles onto your clips and also things like speed changes will mean that you end up doing a lot of rendering and it can take up space on your hard drive. So I've created a a new project here, and this is the next project I'm gonna be working on on. What I want to do is tidy up this project on this project before I closed them. So I'm gonna highlight the library. It's important. Highlight this little square with four stars in it, and then we'll go to file on the lead generated library files. And here we can delete the render files on. We could totally pull the render fast. So if you're coming back to your credit, you might just want to delete the unused render. Father, If you are moving your head into another computer, you might just want to clean things up by deleting the unused files. All we complete everything. Now there's no problem with doing this. We can always regenerate these things that we're not gonna damage our final copper edit when we delete these generated library files, which is cleaning things up so that we have more space on our hard drive, which is always tough to find when you're editing a lot of video. So we'll click. OK, now that will delete those files. And if we right click here now, we can go to close library Onda. We can close that library up and then we can again for this next library file delete generated library files and delete all those render files and any optimized or proxy media that's been generated like Okay, Andi, Right, click and close that library. Now, one reason that I create my new library before I deleted those generated, fascinate old library is that if you have any timeline down here from that previous library and as soon as you delete those render files, if you have a time line open and final cut pro will start redoing the background render which we don't want. So get a blank timeline up. That's not gonna have any rendering being done on it and then go ahead and delete your generated media files. Now. One other thing I would mention that I find really useful for managing my media is that if I come down here, I have this application called What Size, which essentially allows me to measure any of my hard drive. So one thing that's really hard is when we're looking are hard drugs. It's hard to know exactly where space is being taken up on our hard drive. So here you can see we have a list of different projects, and if we dive into some of these, we can see very specifically where space is being taken up on which final cut pro projects we might need to open. That's Heidi up. So we have a few different projects here on. We might dive in here and have a look to see if our final cut pro bundle in here has a lot off render files or analysis farce in there, which files that we can always delete and recreate. So if you're trying to clear space, then have a look at the size of your project files. You can't see the size. Those final cut pro Project files on the hard drive but also has your archiving projects. Just make sure you do a little clean out of the render files. Any generated files and that will help to keep your hard drive tidy had really recommend what size is a great way of measuring your hard drive space and trying to find out where different projects might be filling up your hard drive 32. More to come: