Final Cut Pro X: The Complete Guide to Final Cut Pro X | Greg Hung | Skillshare

Final Cut Pro X: The Complete Guide to Final Cut Pro X

Greg Hung, Travel Videographer

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87 Lessons (7h 15m)
    • 1. 1.1 Welcome to the Course

      1:56
    • 2. New features in FCPX 10

      5:41
    • 3. Project files

      1:40
    • 4. Overview of the Interface

      5:27
    • 5. Customizing the Interface

      4:27
    • 6. Working with Libraries

      3:58
    • 7. Importing media from the computer

      6:02
    • 8. Importing from a Camera, Camera Archive, & Movie

      4:50
    • 9. Organizing Your Files (keywords, collections, rating, filtering, etc

      8:36
    • 10. 2.7 Working with Events

      2:09
    • 11. 2.8 Monitor Background tasks

      1:49
    • 12. 2.9 ADVANCED: Working with 4k footage and frame rate

      3:39
    • 13. 3.1 Creating a Project

      3:47
    • 14. 3.2 Adding Clips to the Timeline - Insert, Overwrite & Connect Edits

      3:00
    • 15. 3.3 Ripple and Trim Edits

      3:34
    • 16. 3.4 Compound clips

      4:16
    • 17. 3.5 Blade Edits and Joining Clips

      1:44
    • 18. 3.6 Slip, Slide

      2:51
    • 19. 3.7 Three-point Edit Backtime Edits

      3:45
    • 20. Lifting and Overwriting Clips

      2:18
    • 21. Adding Video Transitions

      7:29
    • 22. Snapping and replacing clips

      1:15
    • 23. Demonstration - Working through a rough cut

      8:11
    • 24. Adding Audio Clips

      2:47
    • 25. Syncing Video & Audio

      5:26
    • 26. Editing Audio Levels

      5:37
    • 27. Disabling & Detaching Audio

      5:37
    • 28. Fading Audio

      3:21
    • 29. Making Audio Sound Better

      2:59
    • 30. Getting Rid of Background Noise

      6:00
    • 31. Removing background noise

      6:16
    • 32. Working with Music

      5:52
    • 33. Panning Audio

      2:57
    • 34. Doing voiceovers in Final Cut Pro

      3:04
    • 35. Adding a Title

      5:26
    • 36. Modifiying Text

      7:26
    • 37. Working with 3d titles

      7:26
    • 38. Adding Motion to Titles

      2:07
    • 39. Saving a Style Preset

      4:07
    • 40. How to Make Color Corrections in FCPX

      6:10
    • 41. Color Wheels

      3:28
    • 42. Color Curves

      3:07
    • 43. Hue saturation

      3:27
    • 44. Fixing exposure

      6:45
    • 45. Fixing White Balance

      0:52
    • 46. Adjusting Saturation

      2:02
    • 47. Adjusting saturation in the color wheels

      2:53
    • 48. 6.8 Color Masks for targeted corrections

      3:31
    • 49. 6.8.1 Shape Masks for targeted corrections

      5:34
    • 50. 6.9 Applying & Modifying color presets

      3:53
    • 51. 3rd Party 6.9.1 Plugin, Luts, and workflow

      6:04
    • 52. 6.10 Blurring and Censoring

      3:03
    • 53. 6.11 Demo: Color correction Workflow with colorboard & curves

      6:53
    • 54. 6.12 Demo: Color correct Biron

      5:31
    • 55. 7.1 Blending modes and opacity

      5:50
    • 56. 7.2 Applying effects and generators

      5:42
    • 57. 7.1 retime and reverse clips

      5:05
    • 58. 7.4 slow motion and frame hold

      6:29
    • 59. 7.5 Chroma keying green screen

      11:10
    • 60. 7.6 Luma keyer

      3:24
    • 61. 7.7 multi-cam edit

      18:52
    • 62. 7.7 tips for filming a multi cam with 1 person

      3:49
    • 63. 8.1 Importing 360 Media

      4:52
    • 64. 8.2 Editing 360 Video

      8:32
    • 65. 8.3 Adding title to 360

      5:01
    • 66. 8.4 Applying 360 Effects

      4:58
    • 67. 8.5 Exporting 1st 360 Video

      4:00
    • 68. 8.6 Publishing 360 Video to Youtube

      2:17
    • 69. 9.1 Adding Images to Your Project

      2:23
    • 70. 9.2 Cropping an Image

      2:56
    • 71. 9.3 Adding the Ken Burns Effect

      3:10
    • 72. 9.4 Creating screen capture & image sequence

      5:01
    • 73. 10.1 Publishing for Online Viewing

      8:12
    • 74. 10.2 Publishing to Apple Devices

      2:53
    • 75. 10.3 Publishing to Blu-ray / DVD

      4:30
    • 76. 10.4 Exporting Using Compressor

      5:01
    • 77. 11.1 Why and how to export to XML

      3:04
    • 78. 11.2 Creating a snapshot

      2:27
    • 79. 12.1 Changing User Preferences

      3:04
    • 80. 12.2 Using Keyboard Shortcuts & Customizing the Keyboard

      7:49
    • 81. 12.3 Creating an imovie project on mobile

      8:28
    • 82. 12.4 Importing iMovie projects into FCP x and editing it

      6:27
    • 83. 12.5 Demonstration: Vlog Putting it all together 4K footage with audio and titles

      10:55
    • 84. 12.6 Demo Cebu VLog color grading

      10:31
    • 85. 12.7 Demonstration: Client promotional video behind the scenes 4K and drone footage

      20:09
    • 86. 12.8 Client promo video color grading

      3:11
    • 87. Course Summary

      2:52
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About This Class

Learn how to edit videos in Final Cut Pro X with this easy-to-follow course!

Start editing your own videos with Final Cut Pro X!

If you are looking for a course that teaches you the entire video editing process in Final Cut Pro, then this is the course for you!

Whether you're an aspiring filmmaker or YouTuber, a small business or marketer, or just someone who wants to make videos for their family and friends, Final Cut Pro X is a great application to use. And this course is perfect for absolute beginners or anyone who knows a little about FCPX, but wants an A-Z guide!

Edit videos the way you imagine them!

While taking this course, you will work on real-world projects. So by the end of the course, you will feel confident editing your own videos.

What will you learn?

  • Navigate the Final Cut Pro interface with ease
  • Start a new project and import your media
  • Edit your video with all kinds of tools and techniques
  • Add transitions and effects to improve your video's flow
  • Make your audio sound better and get rid of background noise
  • Add title cards like lower thirds and intros
  • Adjust the colors with grading and color correction
  • Stylize your video with effects, blending modes, speed adjustments
  • Edit green screen footage with chroma keying
  • 360 video editing in Final Cut Pro
  • Working with images in your projects
  • Editing your video for online, Apple devices, and Blu-rays
  • and so much more!

Why learn from us?

This course is a collaboration between Video School Online's Phil Ebiner & Greg Hung. We've come together to share our expertise in video editing with you. As professional video creators and video editors, we want to make sure you not only understand how to use Final Cut Pro X to edit your own videos, but we also want to make sure you understand how to use this application like a professional would.

We provide premium support! If you are ever stuck, just post a question to the course or send us a message, and we'll help you out!

Our Happiness Guarantee

We want you to be happy with your purchase. If you're not learning, or you're just not happy with the course, we have a 30-day 100% money back guarantee!

Start editing videos with Final Cut Pro X!

Enroll today, and we'll see you inside the course!

Cheers,

Phil & Greg

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Transcripts

1. 1.1 Welcome to the Course: Welcome to the final cut Pro Chorus. My name is Philip Burner, and if this is the first course you've taken from video school online, I want to welcome you to the video school online community. Hi, I'm Greg Kong, the lead instructor for this course. I've been using Final Cut Pro X for over seven years and use it practically every day for my production company. Shoot Four Yards Productions. I'm based out of Thailand and Canada most of the year and always traveling for corporate work on producing amazing video footage from around the world. Thanks, Greg. Before you dive in, it's probably a good idea to just check out the outline of the entire course structure. The first sections are all about getting started, getting comfortable navigating the final cut pro workspace, getting started with basic editing tools and rules and things that you will do as an editor . Once you've learned off the basics of editing, you'll learn how to make your videos even better with audio editing to make your sound sound amazing, adding and editing titles and graphics on your videos, color correction and color grading to make sure the colors look bright and also to give your film or your video a style through color grading, you'll learn how to apply visual effects, including working with green screen footage. And then you'll learn some of the newest features of final cut pro, including how to edit 360 degree VR footage. We've even included some sample VR footage that you can follow along with. At this point, you'll have learned how to make your videos look and sound amazing, and it's time to share them with world, so you'll learn the best ways to export and savior projects for any type of use. We don't just stop there, though. We have advanced tutorials to help you become a more efficient professional editor. If you ever get stuck, just post the questions of the course or Sami a message, we'll respond as fast as we can help you out. I'm excited to teach you final cut pro X, so let's get going 2. New features in FCPX 10: his video, We're gonna cover some off the new features in final Cut Pro X 10.4. This course was recorded in this version. This is a major update and, of course, final complex is going to continue to update and release new features. But there are a lot of features that will not change and that are part of the core function now. The final cut Pro X So let's get started. 3 60 VR editing. It is 2018 and 3 60 Cameras are starting become more mainstream. We have cameras like the Samsung Gear 2017. GoPro has just released a new 3 60 camera called the Gold Profusion and Final Cut. Pro Acts now supports 3 60 VR video footage. We have the ability to import and edit a wide range off 3 60 videos, different resolutions and frame rates without injecting the video footage. Before, we would need a separate application to inject our video with meta data. Before we can actually use 3 60 video on a platform like YouTube or Facebook. We don't need to do that anymore. There's also built in 3 60 viewer to final cut Pro X. If you wanna actually look at your 3 60 video clip in real time. We have the ability to add 3 60 effects and titles, and we have an entire 3 60 VR section where we can give this new feature very good coverage . Final cut Pro 10.4 has another major enhancement. That's advanced color grading before final cut Pro X tempering fours, color grating enhancement and probably still a lot of videographers turned to third party applications to do their color grading because a lot of the color grading in final cut Pro X was done on the color board and third party applications like color grading Central release Color finale, which became quite popular because off the color wills Now final complex 10.4 includes color wheels, also color curves and hue saturation curves. We have the ability to adjust the white balance using an eye dropper and using the hue saturation curves. We can isolate particular colors to adjust these saturation and the huge So, for example, you can change the color off someone shirt very easily with these new color tools, and we have a particular section dedicated to color grading as well as using the new ways to color grade. Some of the other additional features in time 0.4 that I think are important are the ability to import IOS projects created in final Cut pro X on your iPhone or your iPad. There is now support for H E V C, also known as H 265 video clips, and there is support for XML 1.7. Now I am running Sierra on my system. I actually had a lot of trouble installing High Sierra, so because of that, I will not be able to demonstrate the ability off h e B C h 265 Unfortunately. But if you have a system that supports high sear, then you can't final cut Pro X. Tempering four actually has a minimum requirement for your offering system at a minimum and needs IOS Sierra, which is a major update, or High Sierra, which Apple is currently trying to push for. I actually had a lot of problems trying install High Sierra and actually wasn't able to install it on my system. I ended up installing Sierra and I actually have a trouble shooting video link over here. If you have problems installing Sierra because you will need to install either Sierra or High Sierra to be able to install final cut pro X 10.4. Some tips for troubleshooting are just to do a time machine backup of your system, and there is a way to make a brutal USB with the IOS update so you can boot straight from the U. S B and save you a lot of time off downloading and installing the update. This link over here is an extensive list of all the new features available in final compro X 10.4. All right, so that is a brief coverage of some of the new features of 10 point for and some minimum requirements and some troubleshooting steps. Now let's dive into the course. 3. Project files: welcome to the final cut pro X course. In this course, you're gonna learn a lot, including some of the newer features included with final cut Pro X time 0.4 that includes VR editing. There is support for new color grading tools, and because of that, I've got include and supply you with some project files to save you some time. If you want to practice some of these newer features and you don't have access to things like 3 60 footage in your Project Files folder, you will find different folders like the 3 60 files that will contentions like the video effects. There's gonna be media so you can practice slow motion or green screen or even some of the Loom Akira effects. I've also included a file created in final Cut Pro X Mobile device. If you wanted to practice importing that into your funnel Kaprow X. Lastly, I've got a multi cam project for the multi cam section where you can practice creating a multi count project, which is simply a project with more than two camera angles. So definitely download this Project Files folder. It's gonna contain media that you can fall along in the exercises, and I tried to name them appropriately. So you know which media is for which video lesson. And in the video lessons, I will point out if you need some of the project files to fall along in the exercise. 4. Overview of the Interface: Hi. In this video, I'm going to give you an overview. A tour off the final cut Pro X interface. So let's start off over here. This is where the magic happens. This is what we called timeline. This is where you actually place the video clips, your audio clips and you make your edits. We've got some information over here in this bar, and we have some different options. If we wanted apply different effects, this is where we would see them. Command five will put the effects there. But if you want a clean your area, you can press command five to remove it. This area over here is our sidebar. This is where we would see our library, our projects and events. So these are sort of the ways of organizing our media and our projects in final cut pro X. So this would be the library level. This is the highest level, and we expand down. We can see our events and within the events, we can have our projects and are different media. It's the quick sign note here we can also display are titles and our generators over there and, um, got different sound effects, but the default is to have it on this view. This area, besides the sidebar, is the media browser. So this is where you can grouse as different media in your project, and you can also search for different media. If you know the name of the file, we're here. This is the viewer. That's the main area where you're going to see the changes. That's what's actually happening. You can see your project over here. No, when I'm doing a long video edit, I like to connect the second monitor so I would actually connect the monitor through HD My and I can ah, take away this area and allow more riel state for other things. This area here is called the Inspector. As you'll see, the inspector has a lot of different options we can make to individual video clips or media and also gives us detailed information on each of these video clips over here. Well, here's our background tests, which we can pull up with command. Nine. This is going to show us the progress of any files that are being currently created. If we're are importing video files and they are rendering, it's gonna give us the progress of that right now, there isn't anything happening. So there's just a nice check, Mark. All right, if we go over here, this is where we can change some of our different selection modes. If we want to trim our video clips, we can change from our pointer over to trim or weaken going to a range Lexan and select a range of different clips. Or we can go into blame mode to make an incision off different clips. That's where we would find it. These arrows here allow us to go between different projects within final cut Pro X, and this area is where we wouldn't want to go. If we want to crop something or we want to move around different images or projects, that's where it would do that. Over here is where we would do our color balancing or manual manual white balancing. We can go over here to look at the re time menu. If you want to speed things up, slow things down and this is the time code. This will give us the exact time we are in the video down two seconds. Microsecond. This is also where we can monitor the audio in the projects and over the hair. This will allow us to display a full screen for the entire view when you wanna just play back the project and enjoy it. So that's our basic tour of the interface and the next video we're going to cover how to customize the interface. 5. Customizing the Interface: in this lesson, I'm gonna share some tips for how you can customize your final cut pro X interface. I'm also going to share my preferred set up for final cut pro X two video edit. So let's get started. So we have the interface here and between different areas. You can move your mouse and you can click on melas button to do things like just make one area large than the other. For example, if we want to make the timeline a little bit shorter, we can just drag this area down. Or we can even do things like high different areas when we don't need him. For example, the, uh, sidebar over here. Once you've selected your project, you may not need to see that. So you can even hide it by going over to window workspace. And then you can decide the sidebar. You have shortcut keys over here. We can hide the browser. With that. You're not sure you can just put your mouse over it? We'll give you a reminder. See, that will hide the timeline, But timelines pretty important. So I actually like to have the timeline there. So my preferred set up I like to have a second monitor if it's available. And, um, the browser is important. I mean, don't need the sidebar and I will need the inspector over here. So if I want to just display my viewer on the second monitor with Thesis on monitor connected through HTM, I weaken Goto window show in secondary display so I can choose to display the browser or the viewer or the timeline. I'm gonna select the viewer, and this is what it actually looks like in one of my current video editing set ups with a second monitor. Here's a look at how the actual connection looks like now just to switch gears. We can also adjust our workspace so it's optimized for color grading, so we're going to go over to workspaces and color and effects. This will display different video scopes that can aid while we're actually color grading like exposure of vector scope and the RGB parade. Don't worry about this too much right now. We're gonna dive more into this in the color grading video lesson, but I just want to let you know that is there, and you can bring up the video scope any time with the shortcut command. Seven. If you ever get lost, you can always just go back to the full workspace. Over in workspace is the fault, and you can even save a workspace if you've customize it to your liking. So generally, my preferred workspace is just to hide. Thesis. I bar over here. I like to connect the second screen and then I'll just take this viewer, and I'll display that on second monitor. And in the timeline, I may or may not have the effects with command. Five Final customization alike on my workspace is to turn on snapping. It's the icon knicks of the headphones. This is gonna make moving around the clips in the timeline a little bit snappier, like there actually sticking together like magnets. So hopefully I've given you some ideas of how you can personalize your final cut pro workspace. Everyone has a different work preference, so yours may look different from mine. 6. Working with Libraries: in this video, we're gonna look at libraries in final cut pro X. The libraries are the highest form or the parents container for your difference. Final cut, pro X projects and your media. I like to have two different libraries, and the reason is that sometimes I store my libraries on an external hard drive. The external hard drive might have a faster interface like a thunderbolt interface, or might have hard drives with USB three, which are not as fast libraries. If you expand them over here, we can see that we've got our events. And then if we open up our events, we condone, see our projects and are different media, so you can close libraries and you can open them. I'll just show you another library I have on another hard drive, and if you copy libraries over, you can move them over to different storage. So it's just good idea to be aware of how they worked and that you can move them across different hard drives if you need to. So this is another library that I have. It's called the Sea, and this may take a while to open, so we may not wait for all this, but you can see while is opening the library. It's going through the different events in that library. And, ah, another reason why you would want to create different library is that maybe one libraries too large and you're not ready to remove it. And maybe you just want some fast performance. You could just create a new library on a local hard drive. And that's what I ended up doing with this local library, because this Lissy library actually has quite a bit going on, and ah, actually created this local one for the course. Now let me just show you how you confined your libraries on the hard drive. You put the mouse over it. You can see mine is in my movies folder. Put the mouse over this one here. Let's just see if it shows up so you can see that it's on. Let's see which is an external hard drive. So let's just pop open the finder. So if we go over to movies, you can see the local library hair and we can see it's 64 gigabytes if we go over to the sea. This is an external Thunderball hard drive. You can see this is a lot larger, 387 gigabytes. And it's on this external hard drive, right? So that's our basic overview of libraries in final Cut Pro X Again, they are a logical way to organize your projects. Your media in final cut Pro X They're the highest form off organization, and they can be stored on different hard drives. 7. Importing media from the computer: in this video lesson, we're gonna cover importing media files and folders and this assumes that you've already copied your media over from your memory card over to your computer. And what we're gonna do is organize the media into folders and relevant file names. So this assumes that you've already going ahead and previewed your media, and you've given them relevant fall names. So I'll just, ah, give you an example of what I've done here. I've just come from a recent trip from Sibu, and this takes a little bit of time not too long. And you can use the all Khoury name tool. So you highlight a set of files by pressing shift and then you click shift down here. You can right click and rename, and you can just add a relevance title just before it. So I just group them based on what we're doing. So we were island hopping on this day, so actually just went ahead and previous some of these clips and then within the Heil island hopping trip, they were different activities. Some off the activities were on the boat, some of them we were on the island, and some of them. We were snorkeling. So I've renamed the files. Just take a look here. So all these files are gonna have island hopping in them. And what I did is I did the bulk her name again and added another specific activity to it. So I did snorkel island hop. And then I just created a folder and put those files in. Same thing for when we were on the islands. So we have island hop, And then I added on islands using the bulk rename tool. So now we have file names that are relevant, Aziz Well, as folders that are relevant. So now I'm ready to go to final Cut Pro X, and I'm gonna import the media and folders into a new library that I've set up. It's called Sibu. I'll just quickly cover that. So I went to following you library and then created one called Sibu. So now I'm gonna go and imports those median folders, so file import media, and then I'm gonna go try to find them. So I just put this media on an external hard drive. You can see here. We've got different cameras. This is the memory card that's actually connected in my SD card. And so I want to go over here. Okay, so we're just about ready to import our media. So let me just ah, do some final touches here. Now, there's a lot of different type of files in there Go profiles that I don't want to import. So I'm just going to select the specific holders and the media that I want in there, and I don't want the images. I just want to focus on video for now. So I'm just gonna scroll down here, and then I'm gonna command click those other folders a lot of images here because I actually shot the go pro and photo and video mode, which is good to have both in production, but not so fun when you're working it, working with it in post production. Okay, so there we go and highlight those other three folders. So let's review what we have here so we can create a new event in the Cebu library called GoPro Island Hawk. We're going to leave the files on external hard drive, and it's gonna take the finder tags. It's also going to take tags from the folder names so on boat on Ireland Snorkel. I didn't highlight the very top folder hierarchy because I don't think it's gonna be relevant. Audio. I just select to automatic under transporting I select the Create proxy media because I don't want to take up a lot of hard drive space. So just so you know, optimized Media is gonna create high performance video files that take up about roughly 60 gigabytes per hour, whereas proxy media is gonna take up storage in the neighborhood of 18 gigabytes per hour. So I'm gonna go with proxy media under analyzing fix and to analyze for balancing color and find people actually uses facial recognition technology to do things that creates more collection. So we'll take a look at that after, and we just selected to close the window after starting the import. So now we're all ready to start import. So when you click it and there we go, Okay, it's saying here that some of the files cannot be imported because they're not videophiles , so that's fine. Continue to import. And now it's going ahead and importing the files 8. Importing from a Camera, Camera Archive, & Movie: this video, we're gonna cover importing video files from the camera. So we're going to go over the final cut Pro X file import media and built in camera Is the facetime camera on my laptop right now? So once the import media window comes up, we're just going to select the facetime camera. Hopefully, my hair is okay. So Okay. Like it was creating event for myself and imports. This is a live video importing 123123 stop imports. And now we can actually click import to bring over those five or six seconds that we had on Sorry, my hairs. Not so great. And, yeah, there's no air conditioner or fans, so it's really hot in here. Okay, let's stop the import. So that's importing from the built in camera. Now we're gonna cover importing from an actual camera so you could connect your camera using the cable. But what I prefer is to take the memory card out off the camera and put it in your memory card reader. Maybe it's something like this, or you can take the card out and plug it into the SD card slot. That's the most common memory card these days. So this is what it looks like over there. Okay, so let's go over to memory cards. So Lou Mix is my memory card, and what I want to do here is just look for some files that are similar. I think I have some from the airport. So if we click this icon here, it's just going to change the view into following the in format so we can see things like the duration, the date stamp and the founding. But I actually find the visual view more useful song and click it again. And now I can actually see the clips. Now, I can actually select portions off the clips that I want to bring in. So if I hold down command and used my mouse, I Kenbrell in portions off the clips that I want to import, and then I can select whole clips. All right, so now that have highlighted some clips, I can actually play them back in this window here, But I'm just gonna bring in the entire clip and ah, I'm going to create a new event in the Cebu libraries is called Airport. So for files were gonna copy to the library because this is from a memory card. And if its memory cards not in its not gonna be able to find files, and I haven't done anything to the files or folders, so we may have to just add the keywords later in final cut pro X audios asleep, automatic trans coating on leaves, a proxy media and in the analyzing thick to find people and create a Somare collection off that analysis. And then we're gonna close the window after importing. So one more thing I will do is I'll just like one more clip. This is one. Where I'm actually talking at the airports is like a V log, and that's it. We're gonna import this, all right, so we'll let that run through. So what I've done is I've shown you how to import from the built in camera so face time, as well as import from a memory card from your camera, as opposed to importing fouls that are already on your system or on your internal hard drive 9. Organizing Your Files (keywords, collections, rating, filtering, etc: Okay, so final cut Pro X has finished importing the media. So let's take a look at the Sea Mu library and see what we got. So we have the smart collection for the entire library. There's not too much going on here except that it's group all the video and stills here. I did end up bringing some images over, but we haven't said any favorites yet. Well, I set one and ah, we'll come back here after I select more favorites. So let's go over to the airport event. So if you remember, this one was selected or imported from the memory card. And if we drill down on this, we don't have any existing HUER collections. So let's go ahead and do that. So we're gonna select our key words. We can add some keywords to the airport event. So let's select the key Ward Icahn there. So I'm just going to start off with this talking video here. This is a vlog, and I can use I as a starting point and then oh, from my endpoint and just select the key were Icon. I'm just going to select a log and you can see there's an area you can expand, and this is setting up keyword shortcuts. So if I've got, for example, the B roll keyword set up over here, I can use the shortcuts control, too, to add that keyword to a lot of clips. So let's just show you how we can do that. What I'll need to do is just highlight some clips that fall into the role, so I'll just command click. So that one, that one and this one this one on. I'll select that one, too, So I can press command, too, and you can see it's applied the bureau cure shortcut. Now, if you look at the event we now have filter just by the clips that are in the B roll and same with the vlog. Okay, but we haven't created any favorites, so I kind of like this clip here of the luggage getting wrapped. So let's say that I like this. I consume Plea Select F. It's going to set a green line here, and I also like this airport schedule sewing a select F as well. So now if we go up to all clips, I can select favorites and then we'll just see the clips that were Favorited and I can also reject clips. So let's just show you how to do that. Let's just go back up to all clips. Let's find one that I want reject. Let's just say the one with the, uh, petroleos over here so I'll just select the elite. So it's gonna put the red line. And if we go to rejected there we go. Okay, so let's move on to our next events. So this was the GoPro footage that I had a lot off folders and fall names that final cut used to create these key work collections. So we've now got some existing filtering on, but we don't see any clubs because we're still on rejected. So let's just go to all clips. So we got islands Island hop, which is gonna be pretty much all the clips island hopped B roll and snorkeling. I'm going to set up some favorites in the snorkeling. I got this nice clip here and I could just select the portion of it. Let's just say I'll start over there with I in the end point over there. Oh, and I want to select. That is a favorite. So select f and let's find another one. I over there and Oh, okay. So now we have some favorites over here, so let's just see at this event level here, I just want to find my snorkel clips. I can search for snorkel. I came because we have the snorkeling key. Word applied to these clips and the file names weaken easily. Filter for that. Okay, lets go back up to the main library here under smart collections. So let's go over the favorites so we can see here that we can see all the favorites across events. So we've got the favorites for the airport and our favorites for GoPro Island Help. Well, more thing that we're gonna cover is how to unwrap clips. So if we beside, we don't want this air board schedule as favorite anymore, we can select you, so that's gonna unread it. So if we click off of favorites and come back, we're not going to see that anymore. So we have a good starting point here for our library. We've got the different events that we've used to hold our keyword collections. For example, in the airport events, we've got just the airport video clips. And then within the events, we can do things like filter it for B roll or for logs. And if we go to the GoPro Island hopping footage, we did a lot more organization here. It took some time to rename the files and put them in folders, so we have a pretty good organized starting point to start working on our video project. Aiken easily search for island hopping footage or just on the boat or footage with people you can see here. The final cut Pro X did a pretty good job, and we can do things like Rader clips using favorites. And if we want to use the smart collections, which are for the entire library, we can go over here. Look at our favorites, our stills, all video, and so again, it just takes a little time. But it's nice to have organized system in place before you start video editing, but I would recommend not to go overboard, but it is a good starting point to figure out which is your B roll. Which ones are video clips with people or interviews and music and images, and then you're gonna have to start your projects. So I hope this lesson helps you organize your collections, your events a lot better. 10. 2.7 Working with Events: blue events in final cut Pro X are a form of container that you'll see in the library, so libraries the highest hi are key on the top of the totem pole. And within the library you can have different events I think you saw. If you've seen the lesson on key wording that's within and events, you can have different key work collections. So in the event is a nice place holder for media that belongs to a separate category. I also talked about different resolutions of four K full four K ultra four K and H D. So events are also a nice way to organize media that are shocked in different resolutions. And that's what I recommend. So if we create a new events, I'll just show you here we have the ability to create the name of the events which library it's in, and ah, select the resolution as well as the frame rate and the type of Kodak that we want to use. We can click OK and then from there. Once we have the event created, we can drag in files. I'm just gonna create one for full four K. So full four K is, or 96 times 216 So at 24 frames, so it's going to create a folder over here once that's there, I can important media by dragging and over or going over to the important media and from that window, the import media. We can also create events, so events are a nice way to organized media. But media with different resolutions as well as our key work collections in final cut pro X . 11. 2.8 Monitor Background tasks : in final cut pro X Your background tasks are a good way to monitor things that are in progress. For example, if you're importing media files and they're really high resolution, you can track the progress of that. Or what I like to do is if I'm creating stock footage, I'm creating a lot of video clips that will have to be put into a batch because Final Cut Pro Axe needs time to process those files before they're actually created. So you can monitor the background task using this icon. So basically, if a task is finished, you're going to see the progress in this little circle here. You can also click it or press command nine to bring out the background task. No, if it's trans coating, it's gonna let you know. Ah, that that's what it's doing and then you're going to see what it's doing specifically if you drill down into it, you can see here that it's analysing specific media and you have the ability to other pause or kill that task. If you're importing media, you would see something similar if you're actually creating a video file and you have more than one videophile you can actually track the progress off that under sharing. If you want to get rid of this window, you can just press command nine. And that's your background tasks in final cut Pro X. It's a good way to just keep track of tasks or work. That final cut Pro X is working in the background. 12. 2.9 ADVANCED: Working with 4k footage and frame rate: in this video, we're going to talk about how we can work with video shot in different resolutions and different frame rates. We've seen cameras become more advance, especially with drones and four K Maryland's cameras being able to shoot in resolutions of four K and not all four K are the same. You've got ultra four K, which is 38 40 times to 160 and within that resolution you can shoot different frame rates . For example, this is 29.97 or pretty close to 30 frames, and we've got full four K, which is 4096 times 216 so shot at 23.98 or 24 frames per second. Now, if you want to see this I recommend in the import window, you can just right click and select frame size and video frame rates. The camera that I've started to use last year was the Panasonic GH five, and it has one of the big benefits was the ability to shoot in four K resolution in slow motion. So these are what those clips are, and this is full four K. I like to separate the different types of videos with resolutions into separate events. So in this import media window, you can easily distinguish between clips that are shot in different resolutions. So I'm gonna go ahead here and just import the HD clips from this event and just shift click, and I'll just create a new venture was called Seenu Log H D and Collect Import Selected. Now the main thing to be aware off is when you're working with a video project, it's okay to bring higher resolution video clips into a lower resolution video project. For example, we can use those four K video clips in the high definition project because the four K video clips are higher resolution and that allows us to actually zoom in on those four K clips in the HD project without losing clarity and ah, image quality in the HD project. But you can't go the other way. You can use an HD video clip in a four K video project because it's not high enough resolution. So you're gonna end up with block gaps in the video and it's not gonna show up is clearly because it's lower resolution. So that's the main thing to be aware of. So for no, I'm just going ahead and importing the clips with different resolutions into separate events, and later on we'll take a look at a high definition project where I use four K video clips . 13. 3.1 Creating a Project: in this lesson, we're going to cover how to create a project in final Cut Pro X. There are two ways the traditional way would be to go to file new projects. Over here you can type of name, so I'm gonna type Cape Town. And from here, I would usually just make sure I have the right video resolution for full HD projects. 10 NDP would be fine, but more more on filming four K video resolution, whether it's with a Dijon maverick drone or even with my Panasonic GH five. So then I would need to select the correct type of four K resolution so ultra four K would be 38 40 2160 and full four k 4096216 So and then you also need to know the frame rates. If you're not sure, you can also select automatic settings. I usually leave the rendering on pro rez, but if you need to change it to another format, there are some cameras like the Panasonic GH five, where you can film at different rendering. Kodak's like 10 but 42 which is going to create really large, high quality falls but generally, Like I said, I leave it on Apple Pro rose 4 to 2. And depending on the type of audio that you may have, sometimes I record separate audio or sometimes the audience already in there. You may want to change this setting. If you're unsure, you can click, use automatic settings and final cut Pro X will decide that based on the video clip properties so we can hit. Okay. And it'll just detect the properties of the first video clip. And we can actually check what it did do. If you go to the event browser, which is this area, we can highlight the project and then we can see in the Inspector. If you can't see this, you can just use command for just a double. Check the settings, all of the projects so we can see here to 1920 by 10 80 at 24 frames per second. Okay, let's cover the second method of creating a project. This is actually new to final couple rocks, 10.4. So we're gonna go ahead and just elites all these projects just to simplify things. I'll leave this one in here, So the new way is to actually go to the video clip in the browser, and you can just right click Select New project. The final cut. Pro X is supposed to be smart enough to detect the video properties, but I would double check, given your knowledge off what video you shot to make sure these settings are correct. And these do look corrects. I'm just gonna go ahead and type in the settings. Notice that use automatic settings is great out, and then we hit, okay? 14. 3.2 Adding Clips to the Timeline - Insert, Overwrite & Connect Edits : in this video, we're gonna cover inserting video clips, doing connected clips and overriding them. We have our basic final cut pro projects set up, and we have one clip in the timeline. If we wanted to bring more clips in the timeline, what I would typically you do is go to the event browser. Where we imported are clips into the event and just simply click and highlights. Drag it down and there we go. Another way we can do this is to highlight it and click, edit and insert. Or, if you use a short cut key W you can also insert it. Okay, let's cover a connected clip So the video clips on this level are part of the main or primary storyline and clips that are above it or attached to it. We call connected clips. So I'm just gonna position the play head somewhere in the middle here. And let's just say I want to dio cutaway seen, too Table Mountain, A different scene. What I would do is position the needle there and in the browser, find that video clip, and I could drag it down like this and then just let it go I'll just undo that and I'll show you another way. Teoh do that with a short khaki so we can see short. Cocky is que so. With this highlighted Aiken, just press Q, and you can see that it adds this clip to the main story line. So if we play back, we can play this video, and the videos that are higher up on the storyline will get preference so they will cover the videos beneath. Unless I change the scaling off this video on top so that there would be ah so that the video underneath, which is a regular scale, would show up. I'll just show what I'm talking about here. So if I just reduce the scale of that top one, you can see that clip is underneath, all right, so let's just undo that, command said, And you can move this clip around once it's connected 15. 3.3 Ripple and Trim Edits: this lesson, we're gonna cover the ripple, edit, trim, edit and blade at it. In final cut Pro X, we have an existing project with at least two clips to demonstrate. So if you want to fall along, please bring two clips into the timeline. So we're going to start off just by making sure that in the timeline we have the pointer selected so we can just press a to make sure now to perform a ripple at it. Too simple as just dragging your mouth, said the very end of the clip or the beginning of a clip and you'll see a Nikon appears that allows us to change the duration off a clip so we can do it in between two clips. And if we are doing it between two clips, we can double click over here. And this is basically an enlarged view. It's called the position editor just to allow us to get a more precise at it. So keep in mind, these at its are not actually changing the original media. This is only editing the clip in this project, so don't worry about your original clip if that makes sense. So let's just say I want just a bit of the second clip. If I'm happy with that, I compress escape to get back to the original view. So that is our ripple at it. Now, if you want to do a trim at it, this allows us to changed two clips of the same time. So we are gonna click over here and go into TRA mode or you compress T and let me just zoom in here with command. Plus, so what this allows us to do, it's actually use less of one clip and more of the other. So over here, what I'm doing here is reducing the amount of clip one and increasing the amount of clip to so Ah, pretty simple to understand. So that's just a different type of voted called trim. So remember, you can press t for that. I'm gonna cover one more type of edit that I do quite a bit. This is called the Blade Tool. So to find the blade tool, we can go to the same area and select blade or you can just like be so once we east like be weaken. See, we've got sharp object that looks like it's, ah, cutting tool, and basically this allows us to do a nice quick incisions. So if you want to just make a cut somewhere, you can see that red vertical line. And if we click, you can see it now Cut that clip in the to so we can edit them separately. All right, so we've covered the ripple, edit, trim, edits and the blade edits. 16. 3.4 Compound clips: in this lesson, we're gonna cover compound clips in final cut Pro X. So what is a compound clip? It's basically a clip that combines more than two video clips, two or more video clips. So over here we have two separate clips. We can click 2nd 1 and actually there's three clips. So to actually create a compound clip, we just need to highlights the clips. We want to be in the compound using our mouths and just striking a outline around those clips, right click and select new compound clips. Now it's gonna ask us how we want to name it and what events We're gonna click. OK, and we can see that those incisions are gone now, and we just have one clip, and this icon hair means it's a compound clip. So how would this be useful and why we want to create a compound clip? Well, if we have a different group of clips or a series of clips, maybe we won't apply some editing or color grading or some type of edit to these clips that we won't apply to all the clips so that could be coloring. Or maybe it's taking the sound out just as an example, we can also break up the compound clip by selecting clip and break apart clip items. I have a more advanced example. This is an actual client video where they requested some drone B roll over the video, so this would actually be a good use case for compound clubs. So let's head over to that project. No, I have many drone bureau cuts and because I'm probably going to be moving all these together might be better just to add them in a compound clips. So what I'm talking about is these clips over here. So if I just highlight them striking my mouse over them right click new compound clip, and I just called him drone compound. Once these clips are converted into a compound club, we can see that icon to indicate it is a compound weakened. Then click and drag the compound over other existing videos in the timelines. So here we brought it up to the third level to act as R B roll in this video project so we can make changes that apply to all the clips in the compound. One example of how we can use this is to change the scaling, which actually changes the frame size for all these clips in the compounds. So that's one use case scenario for having compound clip. So to take this off, I can just undo and easy enough to break the compound we just highlighted, and we can go to break apart items just to return it to normal. So that covers our compound club in final cut pro X. 17. 3.5 Blade Edits and Joining Clips: in this video, we're gonna quickly cover the blade tool for precision incisions. So, for example, if you wanted to make an incision on a video clip, you compress be that gives us this red line here. So it's just nice for cutting up a clip into more than one piece, just like a piece of meat. And we can also join those two clips together again. If we go up to trim here, we can see the shortcut is J for joining the clips. And while we're in this menu, just want to bring your attention to nudge left and nudge right. So these are shortcuts for trimming as well as war, also for precise editing. So let's go ahead and join the clips first. OK, but if we cut it again and we press t just for being some true minutes, we can use our keyboard shortcuts to do more precise edits that advance only one frame. So using comma and the period right? So we covered blade, joining clips and nudging 18. 3.6 Slip, Slide: Hi. In this video, we are going to cover slip and slide edits in final cut Pro X 10.4. So for this video, we have three video clips in the timeline, and we're gonna focus mainly on the second clip. For the first example, we're gonna cover a slip edit. So for a slip at it, we are just going to go to the trim tool ring are mouse over the second clip and then move the mouse left and right so we can see the actual length or duration of the second clip isn't changing. But we're changing which portion off the second clip plays. So for this toe happen, you actually have tohave more media in the second clip. So what I mean is that this second clip, if we select it has 27 seconds, but I think this is only about two seconds, so we have a lot of room to work with. So again, just change it over to the trim tool so we can change which portion off the second clip you want to play? All right, now we're going to cover a slide edit. So for a slide edit, we're gonna use the trim tool again, but now we're gonna hold down the option and use the malice button by holding it down. So this is not changing the duration of the second clip. But what it's doing is changing the where in the first or the third clip that the second clip is playing. If that makes sense, the overall length all these three clips of the entire project is not changing, so we can see that we have 15 minutes and 10 seconds. But when I move this middle clip, I'm sliding it between these two clips. So I just slid the second flip to the far right. And that means that this third clip is not gonna play as long. No, I slide it to left now. The third clip is going to play longer. Last solve the first clip, and that's our slip and slide at its in final Cup Pro X 19. 3.7 Three-point Edit Backtime Edits : in this lesson, we're going to cover the three point edits and the back time edits in final cut Pro X For this video tutorial, we have to video clips in the timeline and we have ah third clip over here in the event browser that we're going to insert between our start and or endpoints. So let's start off by defining our start points by moving the play Had needle over here, so we select I the start point. Just move the needle over here and press Oh, for end point Now for two. Complete this three point edits. We're going to move the mouse to the clip that we want. Let me point out that this selected portion is two minutes and 12 seconds. So if we want to be precise, we can actually highlights the portion that we want to insert. You can see here if we hold down the mouse. Okay, so that's about right. Two minutes and 14 seconds. Let's press d to insert it. So that's our three point edits. So let's just play that back using the space bar. Now we're just gonna set ourselves up to do the back time edit. So I back time edit is going to play the and portion off a clip. So just to make that clear, if we're looking at this clip over here of my uncle eating some french fries, you can tell the end of the clip. He's pulling away the napkin. Okay, so let's just do command said to get this back to normal and let's just reset here. So we're gonna use I for our start selection. Oh, for RN selection. Now, for the back time at it, we are going to use shifty instead of just using d. We're gonna highlight the clip. Let's do that again. Okay, so for our back time at it, we're gonna use Chef de. Now, If this was done correctly, we should see the napkin being taken away, which is at the and portion off the clip. Yep. So we have the napkin being taken away, so that completes our back time edits. And earlier in the tutorial, we covered the three point at it 20. Lifting and Overwriting Clips : this video, we're gonna cover overriding clips and also lifting them from storyline. So I've just picked an actual client video, a more complex examples just to show you Hollywood lift a clip from the storyline. So once it gets to be a bit more complicated, we may have more than one level in the storyline. And let's just say we want to get a clip completely off this area, which is our storylines. So what we can do is right. Click the clip and select live from storyline and that will just move the clip completely off and insert a gap there so we can take this clip out without interfering with the rest of the project. So let's just put it back with Command said. So if we tried to move that clip without lifting it from the storyline, it would be a little bit more complicated because it's connected to other clips. So let me just demonstrate over here if I try to click and drag it around, see outs connected to that other drone compound clip. So that's why we want would want to use lift from storyline, override a clip I led the clip. You want to replace it with you can drag it over and let it be replace. And let's just say we want to over right the clip. So let's select a star points. We're going to use I and so we have a range there. So the next thing we need to do is just to find the clip and then select D to override that . 21. Adding Video Transitions : in this lesson, we're gonna cover transitions in final cut Pro X. The transition is a nice way to transition from one type of scene to another. And just to start out, I've brought some clips into the timeline and just want to point out that we can change the default transition. You know, frontal cup pro preferences. The default duration is one second my belief, and I've just changed it over to to, so I'm just going to switch it back down to one. Okay, so how do we actually apply to transition if we just want apply it at one side? We can just place our play head there, and I'll use command T, and that's gonna ply the default transition, which is the cross dissolve. This is the cross result transition here. If you don't see this, you can just click this icon here to reveal the transitions browser, and you can change the default transition by right clicking and selecting make default. So let's just play this back to see how it looks like. Okay, So from data nights, we're gonna zoom in here. No. If I place the mouse at the edge share, I can adjust the duration off the transition, but it won't go longer than what it actually is. If I actually want to change the duration off the transition, I can right click. It's like change duration. Let's say I want five frames. I would just like five and enter. But if I wanted five seconds would select five colon 00 And from here, I can just the length off the duration. Now, if I put the play head in middle, I can ripple the transition, which doesn't change the actual length off the transition, but it's making the first clip a bit longer. Okay, let's look at some of the options. We have to change the transition. So I'm gonna open up the inspector with command. Four. All right, so we can see that we can change things like, Do we want it to be dark or cold warming up? So I've just selected a warm look and let's just play this back to see how it is, okay? And maybe we want to increase the amounts. Let's play this back, Okay? No. One of my favorite transitions is fade to color. So in the transition browser, if you go to dissolves, You will see fade the color. So to replace that, we can just drag it and place it right over it and click. Okay, let's just check out what the default feet to color is just gonna hide the transition browser. So we have more real estate, okay? And you can actually change the faint to color. So the default is black, so we can change that two white or some other color. It's Let's just change the position. Yeah, and the amount. Okay. To apply the default transition to either side off the clip, we can highlight the clip in the middle and we can press command T, and then that will apply the transition on both sides over there. And we can do this to more than one clip. So I'll just highlight two clips, command T, and then we have three transitions. I'll leave you with one more transition and this is a little trick that I like to use if I am ending the video are opening the video. Sometimes I want a transition that's a little bit more smoother. So what I will do is I was just placing gap. So if we go down to edit Insert generator, click Gap. So this is just a gap. Basically. Sophie, play this back. This is just gonna be all black for three seconds. And I can actually just command t and apply transition there. So by playing this back, we're gonna actually get and even smoother transition, which is good for opening scenes. Now, if I had a logo here company logo, I couldn't share where I could even just remove this last scene and have a different look for fade to black at the end. So let's just play this back here. So it's just gonna transition two black background. Okay, so that is an overview of transitions in final cut pro X. 22. Snapping and replacing clips: in this video, we're gonna cover snapping and replacing video clips in final cut Pro X. So what is snapping? Snapping is a feature you can turn on in your timeline. So it's over here, and what it does is it changes the behavior once you're moving clips around in the timeline , they just seemed to snap together. So you see, when I move that clip and I let it go, it just seems to want to snap with other clips together. And I find this is easier to video at it with this feature on. So I just wanted to points your attention to that. So let's cover overriding clips. So if we wanted to replace this clip with another one, we can simply drag this clip over it until you get this icon here and then let go of the mouse. And then what it would do is to do a simple replace. Just click replace, and there we go. It's completely replaced. The other clip 23. Demonstration - Working through a rough cut : in this video, I'm gonna cover a rough edit off entire project. We covered a lot of the basics, so let's just try put it all together, create a project and have some fun with it. So when we create a new project over here and I just called five men, I'm gonna change the duration here by right clicking, selecting duration and just make at it over here. Okay? So often times I like to put together a story that has a bit of a sequential story to it. So it makes sense ago is in a logical order. Just change the duration off this clip. These clips are quite long off the trim them a bit and in trying to select clips that mites go along together. So let's just select the wineries. So put these together. Many do you quick trim it there and let's just find that waterfront scene. But one of question of that and portion events can I want to just create more work space. There seems probably a bit long, and I want to end up with something like a sunset, just the mark, that it's the end of the day. Just do a tremendous, too so initially to start the project. I'm laying on the trucks, and then it's about doing the finer things, like trimming on and maybe publishing it up just to make sure that the clips are the right length. I haven't even played this back yet. All right, let's play this back. It's used space bar. So tell you what, I'm going to take this out. It's a no. I want to put in a transition between that eating scene and the mountains. So let's put our transition than you where we know back she'll workspace, transitions and, like the finish video with Fade to Black. Let's see we confined that page curl. Let's put that over here Now. If you can't find a particular transition, you can go to all and use the search. Fade to color. That's the one I'm looking for. So this is the fade to black popular transition. Okay, so let's give this a try played back. Okay, I think that's not too bad for a quick 45 minute rough edit. I'm just gonna trim that in a moment on May be just let's just quickly insert a title here . Let's do one of these three D wants. So when did you go ahead? And, um, let's just use the project files and see what you can come up with, given what we've covered in the basic section of this course and let's see what you can come up with. 24. Adding Audio Clips: I in this video lesson, we're gonna cover adding audio files to find a cup. Relax. Some different audio file formats include way files, Aziz. Well, as MP threes in this last second and cover adding away foul through one of two ways, first way would be to go to file and then we're gonna select imports. And then media, you would need to remember where your audio files are. Maybe they're on your memory card or your hard drive. So you're gonna wanna find those so we could see on the left. Here, we have our different devices. So this is my external hard drive, and I'm just gonna ads this way. Fall over here and you can add it to an existing event. I want to create a new event in this library in August. Call it Byron. And I'm gonna make a copy to the library and just leave. Everything else is and click import selected, and you can see the progress of the import over here. But you can still work with that foul even before its import and might be a little bit sluggish. And that's how you import the found the phonic up. Relax. okay, the second and my preferred way of adding audio. Final cut Pro X is to just simply haven't events and then drag it over into the event or the browser area of the event. So we are going to the finder and I have a way foul, and I can just simply drag it over there and you may wanna tests of this MP three, and that's it. So this is what I would recommend. Just a lot simpler workflow. So that's how you can add all your falls over two final Cup pro X. 25. Syncing Video & Audio : in this video, we're going to do a sink with audio and video clip. So why would you want to do this? Let me give you some background. So as you start to do things in videography like interviews, situations where you need dedicated audio or higher quality audio, you will need to use a separate audio device to record that audio. The microphone built into most of the cameras are just not as good as dedicated devices like feel recorders. So in this demonstration, I'm gonna use a video foul that's got the audio from my camera Panasonic J age five, which is a pretty high end camera. But even then, the microphone on this camera is not as good as a dedicated device like my H wives zoom field recorder connected to a live mic. So this will all make sense once we start to go through the lessons. So the first step is to find the video foul and just a tip for in the field. When you're actually recording this video fall, make sure that you have audio recording on your camera because you're gonna need that to help you sync. It also helps to reference the scene before you actually record. So, for example, seeing to take one so that if you're reviewing these clips, you may end up with a lot of audio video clips and you're trying to match up. Okay, here all these audio falls here, all these video falls Which of them go together? So in the example, I've already reviewed some of these audio and video clips, so I just labeled them. So I know exactly what audio and video fall to bring into final cut Pro X. So this all your files already over here and this video file. So let's bring that into the event by simply dragging it over, All right? And I've got my project underneath. I'm just gonna drag it under. And just if you look on the right in the Inspector. You see, this is dialogue one audio. There's a ready audio into this video file. Okay, fine. I'll take real. All right, now to actually do the sink. I just brought that video found on the project to show you that there is audio in this video file. So to actually do this thing, we're gonna highlight both the video and audio file in the event browser by pressing command and then clicked. Highlight both. We're going to right click and select synchronized clips. Now we're gonna get a window asking us. Do we want to change the name? Which event? The thing to pay attention to in this window is to use audio for sink. That's why we want to record. Oh, you honor camera to help sink with the dedicated audio so can match up the waves, the audio waves. So we're just gonna select, okay? And it's gonna go through and create a sink video clip, and we can tell which one is the same clip with this icon here. We're gonna drag this into the project. Okay? You may notice there's a black spot here. This means that this portion of the audio had no video to accompany it. Okay, so that's fine. The next thing we need to do is just to remove the audio from the camera. So I'm just gonna run click dialogue one, given the tests and listen position. I want to help you do that. Okay. Okay. You gonna start? Okay. This might just be, uh, So switch this audio on, take the same stage. Chances are for a new job right now, and you probably want to get higher pretty quickly so you can stop applying for positions. So we can immediately tell this is that it could audio. This is coming from the live mike. So I'm just gonna uncheck this audio feeds in the inspector. If you don't see the inspector, you can toggle it on and off with command for And I'm just over in the audio section there . All right, so that's how we can sink an audio video clip and bring it into the timeline and remove the audio from the camera. So now we're ready to finish the clip and do some final trimmings and polishing to make it ready. 26. Editing Audio Levels: Hi. In this video lesson, we're going to cover how to adjust your audio levels, how to detach audio from a video clip. And also how to this able audio. Let's get started. The first thing we need to do is look at our video clip. We have one in the project timeline here, so I'm just gonna zoom in here and let's just take a listen here, There. If you found this page, I'm guessing you're looking for a new job, right? Chances are you want to get higher. Okay? So normally, I try to tests for the audio when I'm actually in the field. But let's just say you're in final cut and you won't increase the volume, so it helps to highlight the actual clip and then have your inspector open again. If you can't see it, you can press command for We just need to highlight the audio icon and you can see here. There's this volume tab over here. And take a look at the on you away form. In the actual timeline, you can see as I decrease the decibels, you can see the entire wave going down. So this is how you can either increase or decrease the volume using the slider, or you can actually just enter in a manual value. Let's just say I want increase it by 20. I think that understood it as 12. I want 20. All right. I think 12 is the maximum, actually. And you can see there's some parts of the audio that are highly yellow and red. So these air definitely peaking. Meaning too loud. Let's take a listen. Here. Are you wanna get tired pretty quickly so you can stop going through the hassle. Yeah. All right. So I'm just gonna return that to normal by on doing that. Now, let's say you wanna enabling disabled. We covered this in the sinking portion and just some background. Why would you want to do this? Well, I was sinking audio with a dedicated field recorder. Live my You can see the live on Byron here, and I also had audio in the camera. So once we've sink the audio clip, we wanted this able the audio feed from the camera because we only want the audio from live Mike. So, to this, a blitz, we just simply unchecked the audio in the inspector once you have the sink clipped, highlighted, so you can see if you have more than one all your fee. You would have mawr check boxes for audio, and sometimes you just need to test just to make sure you're getting the highest quality audio feed. So that's one use case scenario for enabling or disabling audio. Or maybe you're doing stock video clips and you don't want any audio. You can simply just this able audio completely. Or you can also do this in the event browser by finding, uh, the clip, and you can do this to more than one clip and when you would simply do it, just uncheck the audio here and now I'm gonna cover how to detach the audio from a project . So to do that, we need a video clip with audio in it so we can right click on the actual clip on the timeline and then just select detach audio. So why would we want to do this? Maybe we need to taken audio track and place it in another portion of the videos. So when we do this, he probably wouldn't do it for this situation. Maybe if it's some music and, ah, we've already sinking with a clip. We need to just detach the audio track. So we have a bit more flexibility on where we place it. Eso that's one situation where we would detach the audio just to give you flexibility separate from the audio. All right, so we covered how to change all your levels. How did this able and able audio on a sink video clip and also how to attach audio from a video clip? 27. Disabling & Detaching Audio: we're how to adjust your audio levels and also how to detach the audio from the clip as well as disable it. The first thing we need to do is look at our video clip. We have one in the project timeline here, so I'm just gonna zoom in here and let's just take a listen here, There. If you found this page, I'm guessing you're looking for a new job. Chances are you won't get hired, Okay? So normally, I try to tests for the audio when I'm actually in the field. But let's just say you're in final cut and you won't increase the volume, so it helps to highlight the actual clip and then have your inspector open again. If you can't see it, you can press command for We just need to highlight the audio icon, and you can see here there's this volume tab over here and take a look at the audio away form. In the actual timeline, you can see as I decrease the decibels, you can see the entire wave going down. So this is how you can either increase or decrease the volume using the slider, or you can actually just enter in a manual value. Let's just say I want increase it by 20. Think that understood it as 12. I once 20. All right. I think 12 is the maximum, actually. And you can see there's some parts of the audio that are highly yellow and red. So these air definitely peaking. Meaning too loud. Let's take a listen. Here. Are you want to get hired pretty quickly so you can stop going through the hassle. Little. Yeah. All right. So I'm just gonna return that to normal by on doing that. Now, let's say you wanna enabling disabled. We covered this in the sinking portion and just some background. Why would you want to do this? Well, I was sinking audio with a dedicated field recorder. Live my You can see the live on Byron here, and I also had audio in the camera. So once we've sink the audio clip, we wanted this able the audio feed from the camera because we only want the audio from live Mike. So, to this, a ballot, we just simply uncheck the audio in the inspector once you have the sink clipped, highlighted, so you can see if you have more than one all your fee, you would have mawr check boxes for audio, and sometimes you just need to test just to make sure you're getting the highest quality audio feed. So that's one use case scenario for enabling or disabling audio. Or maybe you're doing stock video clips and you don't want any audio. You can simply just this able audio completely more. You can also do this in the event browser by finding, uh, the clip, and you can do this to more than one clip. And when you would simply do is just uncheck the audio here and now I'm gonna cover how to detach the audio from a project. So to do that, we need a video clip with audio in it so we can right click on the actual clip on the timeline and then just select detach audio. So why would we want to do this? Maybe we need to taken audio track and place it in another portion of the video. So when we do this, he probably wouldn't do it for this situation. Maybe if it's some music and ah, we've already sinking with a clip, we need to just detach the audio track, so we have a bit more flexibility on where we place it. Eso that's one situation where we would detach the audio, just give you flexibility separate from the audio. All right, so we covered how to change all your levels. How did this able and able audio on a sink video clip and also how to attach audio from a video clip? 28. Fading Audio: this video we're gonna talk about fading in and fading out audio. And some of the most common scenarios that I would use this for is if I am laying a music track in background for talking video, and I just wanna transition that music trucks smoothly into the video. Oftentimes the music track could be a bit longer than the video, so then would want to fade that out. So let's actually look at a climb project that I have here, and we can see that we have a music truck that's in the timeline underneath. So let's just go ahead and do a feed in. So to do that, we go to the timeline and we put the mouse over this icon here. I'm just going to zoom in a bit more so you can see it, and it's just that small icon there. And to feed it in, you wanna hold down on the mouse button and dragon to the right to faded in so you can adjust the angle here, so a higher angle, an angle closer nine degrees is not going to be as smooth as a fade in, so you can actually listen to this guy. My name is Natasha, but the music actions and starts Natasha and I'm the co founder of school. I always heard. Okay. And if we want something even more obvious, we can exaggerate it. An extreme fade in Hi. My name is Natasha, and I'm the co founder of school plots. I always heard the word shop lots working in attack and startups, but it didn't look into Okay, so that's a simple fade in. Now I'm gonna take us to the end of this video, are all faded out often feed on the truck. See you inside the course. So this track actually is pretty well designed, and it already has fading l built in. But some trucks either don't or your finishing the video before the music track is finished . So if you want a faded out simply, just do the reverse of what we did. So just find that icon and then drag it to the left and the further left you bring it, the more extreme the fade out effect be a honors soul. Your clients see you inside the course. All right, so that's how we do it. Fade and fade outs, and you got to see how I actually use it in the client video. 29. Making Audio Sound Better: this video, we're gonna talk about some ways we could enhance the audio, make it sound better. Some different options available to you in final Cut Pro X version 10.4 and let's get started. So the first thing I would recommend is to apply the audio analysis so you can click the magic wand if you haven't already, and that's going to do an analysis with the software, and the one that I like is noise removal, and then you can adjust the levels there, and I always recommend just played box. See how it sounds. Now It's a mother and has been Is it can make is the loudness. If you didn't recorded loud enough in the field and there's some different enhancements under equalization, you can enhance the voice. Give it more base again. I recommend you make these adjustments experiments and see what sounds good to your ears. Put on the set of earphones while you're doing this. Now, if you got an air conditioner on or fan, maybe you can try on the hum removal. My recommendation is to try improve the sound while you're actually in production or in the field, and some tips for that. Some basic tips are to look at the levels that you're recording the audio. You want to make it not too loud, so that is peaking. Not too soft. Ah, but at a good level that you can hear it. It's good to listen to it on the air phones and do some audio testing before you hit record . Some other tips are for the speaker to have the microphone as close to their mouth as possible. I find that the closer you talked to the microphone, the Les Echo and just the richer the sounds comes across. Also good to reduce echo and reflection by having any type of material that can absorb sound So blankets and pillows near the area that you're recording or recording in a room that has surfaces or material that absorb sounds. So cushioning or foam or curtains conduce that. But if you have a lot of glass or marble that can reflect sounds, so those are some basic tips to improve your sound in the field, and that will actually reduce the amount of work you have to do in post production 30. Getting Rid of Background Noise: hi. In this video, we're going to talk about removing background noise in final cut Pro X. I'm also going to show you a method to remove the background noise in a popular free application. It's called audacity, but since we're using Final Cut Pro X version 10.4, I actually think the noise rumble function has been improved. So let's cover how to do that first. So here we have an actual interview and I've sink the video and audio clips. But I haven't done any treatment to the audio over here. I'm just gonna disable this music track by right clicking this able So it's a little bit easier to focus on the vocals without the music. So let's give it a listen. And I'm the co founder of School of Butts. I always heard the word chatbots working in tech and startups, but it didn't look into them until 2016. Okay, I can tell there's a little bit of background noise, a little bit of echo, and, um, let's just see what final cut pro X conduce. So to do that, if you haven't already, you can open up the inspector with commend four and If you click on the audio section, there's his Magic one here that you can click to analyze a clip for any audio problems. So because I've already done that, it's sort of given in overall analysis, saying that there's no problems detected. But if I wanted to go ahead and remove some background noise in final cut, I could just click that button there. And it's given me the faults of 50% which I think is appropriate for this project. But you may want to just experiment by adjusting at lower. I wouldn't recommend going higher than 50% but you can adjust that lower and just just see what works for you. So let's just see how that sounds of 50%. I always heard the word Shabazz working in tech and startups, but it didn't look into them until 2016. That sounds pretty good to me. It sounds a little cleaner and crisper, and I'm gonna listen to it again. I'm gonna play back and then also uncheck this just to see what the difference sounds like . What's I always heard the word Shabazz working in tech and startups, but I didn't look into them until 2016. I was watching Facebook's F eight conference and when they started, So my opinion. I think there's a definite improvement with the noise removal filter on. And, ah, if you had some fans or air conditioners on in the background, maybe you could even try the hum removal. But we actually made enough for to turn off the air conditioner. So that's how you remove the background noise and final cut Pro X 10.4. I think it's improved a lot to the point where I don't necessarily need to do that in a separate program called Audacity. But I will show you how to do that. We will just prepare ourselves to export the audio out of Fundacao Pro X. So what I would do to actually do that is I would take that clip. I'm just going to create a separate project so you don't export all the audio out so I can create a file new projects we can just leave. This is the full. Basically, I just want Teoh get the audio out of the video clip. All right, so we're gonna go ahead and press Command E and we're gonna go to settings. I'm just gonna select audio because I don't want video there, and, ah, in a select way format that's going to give us a larger but higher quality files and work with and call it Natasha on you, and then we'll save it. So the final cut Pro X is gonna just take the audio of this video clip as away fall and weaken open just the audio file in another application, which will cover in another video. So in this video, we covered how to remove the background noise and final cup Rolex and also to extract the audio of a video clip so we can cover another way to remove background noise in a another application outside of fallen cup Rolex. 31. Removing background noise: in this lesson, we're going to cover how to remove background noise in audacity if you watch the video before you would have seen how we extracted the audio from the video foul and created a wave file because that's a higher quality audio file. And now we're going to open it in audacity. So we're going to right click woken with and open audacity. So this is a free application. If you Google audacity dots or dot org, you can find this application and its popular application to work with audio files. So we're just gonna select the first option there. It's the safer option and spend this. So this is the audio clip we extracted. You can see the ah kilohertz. So let's just play back space car. I'm the co founder of School of Butts. I always heard the word chatbots working in attack and startups, but I didn't look into them until 2016. I was watching Facebook spectate conference, and when they started talking about messenger bots and how much money companies are making open rates, the click rates I mean, the fireworks just started going off. Okay, so we're looking at the audio away form here. And ah, this is a portion off that Tonio where she is not talking. So I'm just gonna highlight that and then press the space bar so you can hear there's some background noise. So this background noise is in the entire audio over here. It's our goal when removing background noise and audacity is too, take a snapshot off this audio pattern because it's underlying the audio for the entire track. So once we've done that, we can then go to effect, click noise reduction, get the noise profile, and so I'm just going to go back there because I went over it quickly. So the noise reduction is a 23. You can actually make this Ah, higher amounts. Let's say 30 or 40 if if you want it. Ah, I'm just happy with the defaults over here. So, um, going x It's like get noise profile. And the next step is to select the entire truck so it can use command A and we go to effect . We're going to ply Nori's reduction again. This time, we're not going to select get noise profile. We're just going to select okay, so you can see that the way form. It looked like it shrunk a bit. And you can see this area where there was no talking. This area has almost become flat, has become a flat line. So let's just hear this. And what that is is its reduced that background noise out of the entire truck. So let's take a listen. Natasha and I'm the co founder of School of Butts. I always heard the word chatbots working in attack and starves to them until 2016. I was watching face looks at a conference, and when they started talking about messenger bots and how much money companies open reads the click rates. Okay, so that's just a simple example. So if we're happy with that, we're going to export the audio. And I'm just gonna name this a different file. Gonna name it Tasha on Destiny. And we're gonna save it as a way file. So this way fall has the background noise removed. And now I'm just gonna cover how we bring this back into final cut Pro X to use this treated audio. Fall in audacity. All right, so I brought the audacity fall into the project, and you need to give a little bit of time to render the clip, so it plays Bach smoothly. But now that I have, let's played back to see how it is. Hi, my name is Natasha, and I'm the co founder of School Butts. I always heard the word chatbots working in tech and start ups, but I didn't look into them until 2016. I was watching Facebook's F eight conference, and when they started talking about messenger bots and how much money companies open rates , click rates. Fireworks just started going off, right? So that is how we would bring clip treated from a dusty back in the final cut pro X. So that's the workflow, whether you choose audacity or the new noise removal in final cup rocks. Temple four. That's up to you. But personally, I'm going to try final cut pro X noise removal first. If that doesn't sound good, then I'll do you know Desi just because it's more work to take the audio out of final cut, treat it, bring it back in. Eso hope that helps you cover two different ways to remove the background noise and help your audio sounds a bit better. 32. Working with Music : in this lesson, we're gonna learn how to work with music in final cut Pro X So popular question is, where do you find music? Well, you can go to sites like Soundcloud or C. C. Mickster dot org's one I like. And if you want quality and you're willing to pay premium beats also has some really good music. I like this particular artists. Beira, Craddick and I actually paint a album license fees off permission to use his entire catalog for set fee. So the different types of audio formats the most popular ones. I work with our MP three and wave files. MP threes have been around for a while there a bit smaller. The audio quality isn't as high, but for the Internet, it's more than good enough. Oftentimes I'm working with Way Falls when a record interviews and I want the highest quality possible. So if you're curious about the actual quality, if this press command, I and this will give you the sample rates of this 44 kilohertz and ah, I'm just going to show you how we can work with music and final cut so you can either import the file in But if you already have final cut Pro X actual way I like to bring in the final cut. It's just drag it straight into the project. So I dragged the audio foul into the project and you can see it goes underneath the video fall. And this is gonna play in background so you can position it where you want. Give it a quick listen are there and stop. Okay? Actually can't hear this truck, so I'm just going to look at the volume levels. So there was muted out now we can played by stop. Okay, so there's a couple things we need to do here. First, we need to lower the volume levels so that it doesn't drown out the vocals. Maybe minus 25. And I find the music doesn't get going until further in the track. So I'm just gonna drag that over now. This is where we could use a fade in, fade out. We're gonna fade that in, and I can tell just looking at this, that the actual way form of the music still looks pretty high. So I'm just going to manually put that in minus 30 and actually think I adjusted the on you for the vocal track. So I want to put that back up to zero so that our vocals are about 30 decibels higher. Then the music. Okay, let's just put the needle over there and play this back. Just get a an idea by their was job right now. Stop. And you could just make adjustments here, depending on how it sounds like to you. But to me, it sounds like the music's a little too soft now, so I'm just going to change that to minus 20. So that's a little bit louder for the music. Be able to relax. Good. That's less existing example of how you can work with music in final cut Pro X. This is probably not the most appropriate track who probably needs some corporate music for something like this. But I think you understand how we can bring music in the final cuts and how it can make some adjustments to prepare for how the music's gonna work with existing vocals. So we did things like Fade in. We trim the music track a little bit and positioned it and just suggested the audio levels works better with the video 33. Panning Audio: in this video, we're gonna look at the audio panning feature of Final Cut Pro X version 10.4. We have an existing video clip with audio, so let's get started. So the first thing we need to do is open up the inspector with command for if you already have that open, then go to the audio section and we want to scroll down until we see the pan feature. So by default is set to none, and we can just do a basic audio pen. So if it's set to zero, this is just gonna be what we normally here. But if you wanna bring sound just out of the left speaker, we can set to minus 100 or we go 200. That's just gonna come out of the rights speaker. Now there's a whole lot more advanced options here under the surround section. And to be honest, I'm not an audio engineer because I think you can spend a whole lot of time in here experimenting with these different options. And once you select one of these, for example, let's select traits space. There is a visual that we can even adjust, and there's even more advanced settings underneath here that, Ah, I think you could spend a lot of time on. But what we recommend is to try these different presets, put a pair of headphones on and see what sounds best for you. So I'm just giving this a playback here. You can leave it playing back while adjusting to these different presets, and I think for just some basic use for someone who's not a sound engineer, I think that's the best use case scenario. But at the very least, I think you should do the audio analysis. And if this background noise, you can use the noise removal function. If there is something like based locking, then you can turn on equalization. But for panning, these surround sound features air quite advance. And, um, if you have time, you can experiment with them. But for my needs were working with audio for interviews. I tried to improve the sound while actually in the fields, so I have less work to do in post production 34. Doing voiceovers in Final Cut Pro: in this video, we're gonna talk about voiceovers in final cut Pro X. Before we start voiceovers, why would you use them? While voiceovers are nice, too, record your voice over something like images or video that doesn't have any audio. Eso. Some prerequisites for voiceovers are to have a microphone connected. Or maybe you can even just use the internal speaker. So once you have your microphone connected and you're ready, the next step is to go over to final Cut Pro X. We're going to go to window record, voice over. I know it's sort of in a weird area, and we're gonna wait for the papa window. I actually use the voiceovers quite a bit for travel videos and things like that, and just some basic options here so you can add gain here, depending on your microphone. I've got my external recorder. The H five connected, so I selected this Mike and I'm doing stereo. But you can also use the built in microphone and select motto or stereo, and you can turn the monitor on. If you want to hear yourself talking, why recording? But I turn it off because it's been annoying. This will give a quick count down before it starts over here. This on me project and you can select the events and this is the record button, so it's actually start. Just press a red button. It's going to give the countdown. And this is Cape Town, South Africa, followed by Bangkok and the Amazing Temples on the Child Prior River. So once I hit stock, it's gonna laid on the audio track I just recorded underneath. And from there that voice over is now ready to go so we can just close this window. And here's the voiceover audio himself. Oh, by amazing temples. All right, so I hope that covers off how to do a voice over and final cut pro X. It's a nice function to use if you're planning to do some narration for your documentaries or your travel videos or even some training 35. Adding a Title: in this lesson, we're gonna cover adding a title and lower thirds title in final cut Pro X. So a basic titles, just some texts on top of the video, lower thirds is going appear on the lower thirds of video often use. If you're giving the title to someone who's speaking or you're describing location or what not. So let's go through the basic title. First, we have a video image of Cape Town, South Africa, and if we want to start off, we are in a project timeline. So if you haven't open the project, go ahead and do that. And the first step is to make sure that our browser is open so you can go toe window showing work, space browser or use the shortcut over there and we can see our video clips there. But the area that we're interested in is this area right there, and this is gonna display the different titles. So let me just close this out here so you see a lot over here. I'm just going to close things off to simplify it. Now let's just add a basic title here, so if you want a basic title, we want to just highlight the actual titles node and in the search bar here because there's so many you can just search for basic where you can browse for it. It just might take you longer and then you can just left click and drag it down into the timeline, and we can see her title there. Now. How do we actually change the title? We can do this one of two ways, so weaken Just actually double click right into there and type or texts. If you want to modify further the other section we can do this is in the Inspector so we can open up the inspector with command. Four. Let's wait for the Inspector open and with the Inspector open, we can also change the text. But we have a whole lot more options to change. The style of font sighs the baseline. If we want it all uppercase a whole lot of things, so I'll just demonstrate here. I'm just going to add additional text. Cape Town, South Africa, and let's just make it all cap. This is something I would actually do if I was making a video, because the basic text by itself is a little bit too plain. I like to add some drop shadow. You've been outline and we could even make a bigger All right. So there is our basic title. So let's go ahead and add a lower thirds title. So lower thirds is located over here. If we look at the text area or the title area and we can see that we have our basic lower thirds and we can drag that down into the timeline and you can see that the title is located on the lower thirds off the video image. That's why it's called lower thirds. Maybe I just made that up. Okay, so let's type in Cape Town, South Africa, and I actually did visit here recently, so I'm just going to type something out here, one of the most beautiful places in the world. And just like the text, like the basic title, we can also make similar modifications in Inspector so you can see here the text doesn't stand up very well, and the way that we're going to fix that is just give it an outline, maybe a drop shadow. So let's just double click that, okay? So we can add a and let's do the same to this part by double clicking and the drop shadow is added when we checked the Dropbox so that covers adding our basic title and are lower thirds title in final cut Pro X. 36. Modifiying Text: this video lesson. We're gonna modify some texts in final Cut Pro X. We're actually going to use a previous example from our first lesson on titles. And we already have some text over here, and we're gonna go through, look at some difference modifications we can make. So to make the modifications we need to highlight the tux, either in the image area or in the inspector. You can highlight the texts right over in this window. So once that's highlighted, you can do things like change the fonts. You can even mouse over different texts without clicking it, so you can just quickly see what it looks like. So let me try to find something that looks appropriate. Okay, this one's not bad. Now, if you see an up and down arrow, sometimes that means that there's more options there. So it's nice to click on that not to change the size. You can use the sighs slider, or you can manually just put in a number like 90. Over here, you can change the alignment. Right now, it's sender lines where you can do left, centered or align the text of the right. It's actually doesn't actually go to the right. I rarely use these options, but at least you know that they're there. Another option that I may use is tracking. So this is the space in between the letters. So you go to a negative amount, they're gonna get close together, positive amount, they're gonna go further away, and then you can undo everything just by clicking on the arrow Baseline is going to bring it below this baseline, which is this line where you originally had the texts and you can bring it above that baseline by putting a positive number. So this is a nice, precise way just to bring the texts above or beneath the baseline. And I'll just quickly cover how you can actually just another wake and move the texts so you can click on transform. And with the text highlighted, you can also just move the text over there. And if you look above where it says position, you can see the exact X and Y coordinates, Okay. And you can see we have all caps checked. We can check that too. Put it back to lower case Shin. We can rotate this. We can also scale it so Let's just do quick example here. This has change this amount minus 90. It's a son. Do that so we can use the wheel over there to actually see the effect live so we can rotate texts. I think over there, one tilt it just a little bit. And one more way you can change things for any object is you can scale it. All right. I'm just gonna go back there and there's some additional effects again you can use. I'm just gonna move that background tasks of the way. So even though we have these options checked, if you could show, it's going to reveal some more options here. And so I have the face which is actually what color the, uh, filling is all the letters. I can actually just change the color. Let's just change it a blue and you could do the same for the outline. I can change this to I don't know, yellow. I think weaken even adjust some of the options with the drop show. Yeah, we can, so we can make the distance a bit larger. You can experiment with these different options to create custom looks because it does take some time to customize the titles, and you may be creating more videos in the future. And maybe you want to use somewhere customization is again. So let's just refer that back and let's just say I want to move it back up, Okay, so that's just one example of how you can modify and alter the texts. We modify things like the type of fonts, the size, the position, different ways of making a larger by scaling. We changed the face, which is the actual color off the letters we adjusted. The outline, as well as the drop, shows quite a few little things to give it a custom look. So I hope that gives you some tip, son modifying your titles. 37. Working with 3d titles: in this video, we're gonna sh work with three D titles. Let's get started. If you don't see the titles area, remember to open it up by going to window showing workspace, and you need to open up your browser so you can see the titles over here. If you don't see it, maybe you need to expand the titles node, so just expand that. So we have three D titles over here, so the three D titles are just that. They're three D a little bit fans here. They've got some animation. I used them for a while. Sometimes I still use them. They just look a bit more fancy than the basic titles. Let's go ahead and you scale three knee, so we'll just drag this down over into the project timeline. I just over laid it on top of a video clip, and they work just like titles. So if you want to just it, you can double click over here or with the Inspector Open, you can just type your title so they're no different than Texas. Just a different type of title. It's three D, and there's some different options you can play with with the three D texts. Let's just play this back first to see what it looks like. Okay, let's bring the needle back over there. So, yeah, we have things like the depths step direction so I can make those adjustments. Bring Neal back and play it to see what is actually doing. Not to be honest, I actually go play around with all these in the visual three D settings. There are so many minor modifications you can make in final cut pro exits. It's quite hard to play with them all, but, um, if you want to do things like change the substance, that's something I've used before. Let me cover that. So if you're not happy with this kind of white plastic look, you can actually change the material or substance, so that's kind of cool. He can change, too, would. So once these changes over the wig will have a couple more options so we can choose the type of wood, the green depths, so that's pretty cool. So let's change it over to old wood, okay? And with that old would, it sort of gets lost a little bit. Maybe we need to adjust the drop shadow color to a like your backgrounds. Here we go. It's trying. Make that, but more prominent. Okay? And maybe change this to upper case and adjust the fonts. There's my customized three title, and since I put some time to that, I think I will just go ahead and trying to see this. So I'm just gonna click over there and select Save Well, formats and appearance attributes. I'll call it three. Cape Town three D Ash. Okay, let's look at three D cinematic titles. So over here in the titles we have three D cinematic and these two over here or what kind of final cup? Relax, I added some of my own there. So if you're wondering, that's why you may not see a similar look in your final cut. Pro X. I'm just gonna drag this over into the timeline, and I actually used these three D cinematic titles, so they're not just title. They come with the background and it looks pretty high production value. So let's just play it back. It's just thinking right now, title here so you can just the title just like you can with with basic texts. So if you play back this title, you'll see that it's a pretty cool title effect tohave, and I'll give you a tip because I've used these quite a bit. Is you can make modifications not only to the font, but you can do things like adjust the background to give it more of, ah, custom. Look, let's go ahead and do that. Over here we can make some modifications to the three D cinematic title like Change the Background color. Change the title size. And there's some difference adjustments we can make to the animation. Okay, so that's just a brief overview of the three D cinematic titles. 38. Adding Motion to Titles: in this video, we're gonna cover how to do a moving title. So to pull this off, you need an existing title on your timeline so we can see Were there any got their title on top. And with her title on top, we can click Transform, which is that rectangle over there. So we're clicking over here, which is actually gonna add a key frame, press the space bar just to play through some of the video, press the space bar again to stop and just move text a different position. And then we can play through the video, but more by pressing the space bar. Okay, Now I'm gonna move the text over here, and then we'll just repeat the same thing space bar to play through, but and then I'll just move the texts over here. And when you're ready, you can click done now to see what this is going to look like. We're just gonna bring the playback needle to the beginning and press bass part to play back the the title moving over there. I do want to point out that you could also pull this off in the Inspector, but the way I showed you is simpler and easier, so that's how we can do a moving title in final cut Pro X. 39. Saving a Style Preset: in this video, I'm gonna cover how you can save a title modification into a preset. So if you make a custom modification like the font the size, you get that perfect look that you want and you want to use it over and over again, this is where becomes useful, deceiving as a preset. So this is a custom look that I made in final cut Pro X, and I'm just gonna modify it a little more and go through Saving it is a preset and then showing you how you can use it again with some new text. So I'm not gonna change too much here. I think maybe just the color. And, um, I think I'll change the drop shadow color, something that stands out. Okay, that's quite nice. So once you're ready to save a preset, you can scroll to the top here and you can click, save all format and appearance attributes can see here, and you have a few that I've seen for Cape Town already. So I just called this yellow and read. All right, so now I'm just going to copy the text because I'm lazy and I'm gonna bring a fresh title into this video. So click titles just gonna do basically on here and now I can apply one of my presets to the basic tux. All right. First, I'm just going Teoh haste in Cape Town and we click in the same area. The very top. No, I don't want to save. Click here and see there's my pre site right over there. Boom. So is easy is that and that saves everything from the size, the fonts, all the modifications. Now, if you look a two D and three D styles final cut, Pro X comes with some of their own custom modified fonts that you can choose from on. There's some pretty decent ones here, so I also encourage you to look around those, and you can even use these, modify them and save them as a preset. So that is how we can save and recall our tax presets in final cut pro X 40. How to Make Color Corrections in FCPX: hi. In this video, we're going to cover how we conduce color corrections in final cut Pro X. I'm going to supply you with three friends sample files that you can use to apply the correction. Color correction is a huge topic in video editing, especially as cameras get more advanced in the technology changes and you can easily get lost in this world. So it's okay if you find things little bit overwhelming. I'll try to keep it as simple as possible. And for these sample files, you may notice that they look a little bit flat. There's not a lot off color going on, and that's because when I shot these clips with my camera, the Panasonic GH five, we have the option to select a color profile. Now, if you just leave it in a standard color profile, it's gonna look fairly normal. It's gonna have some saturation, and color is gonna have a pretty standard look. But as you get more, professional professionals prefer to use what we call a flat color profile, which means that the videos we're looking at now may look more flat or ordinary, but we have more room to work with to apply more color grading or alterations in the post production process, which is where we are in now. So let's just keep that in mind. And to begin to open up the color board, you can either open up your effects and drag over the color board effects. I won't do that because I think it's just the long way to do things. A shortcut way is to just press command six. And that will open up our inspector with the color board option selected. All right. Now, if you're using final cut Pro X 10.4 or higher, they're gonna be some additional options to make your basic color corrections. So let me just highlight this clip here. You need to have a video clip highlighted in order to see the color board. So we're on the color board now, and from the color board, we can make adjustments to the exposure saturation and the color. Now, if you're using final cut Pro X version 10.4 or higher, you can also adjust your color not only in the color board but in color wheels, color curves and the hue saturation curves. So we're just gonna go quickly through each of these areas that we can adjust color. And in another video lesson, we're gonna use what we call our video scopes. So the video scopes are a way to view color in a way that weaken specifically, make adjustments that the human eye may not see correctly. But we're just gonna go over the controls very quickly here. So we have our color saturation and exposure, and we're on the exposure tab. So this is where we would adjust the rightness or the contrasts so we can increase the highlights over here specifically, and you can see the percentage value change over here. We can also just double click and put in the specific value. If we want the master control, we'll change the overall exposure. So if we just want to do keep things simple, we can adjust the master control over there. Just bring it down. If you want to make things a bit darker. The knob in the middle here is for the mid tones, so we can bring down the mid tones a little bit over there and in the shadows. If you wanna decrease that, you can bring it down there. Let's go over to saturation. So again, the same idea. We can make an overall saturation boost by bringing that knob up. Or we can do that in the shadows or just bring it up in the mid tones. I think you get the idea. It can go over to color, and now we have the ability to just that over here if we want a bit more green hue or from one but more Redd's. And if you want to reset any of these adjustments, we always have the ability to click on that back arrow. So that's available on the saturation and the exposure. So that's the color board. So we're going to go over to the Knicks area, weaken just the color, and that's the color wheel, all right. So before we start with the color wheel, we just want to take off the color adjustments we made on the color board. So we have a clean slate so we can just uncheck the color board and let's click on that icon Teoh, get into the color wheel. So let's look at the color wheels now 41. Color Wheels: So we're going to go over to the Knicks area, weaken just the color, and that's the color wheel, All right. So before we start with the color wheel, we just want to take off the color adjustments we made on the color board. So we have a clean slate so we can just uncheck the color board and let's click on that icon Teoh, get into the color wheels. So let's look at the color wheels Now. We have our color wheels open now and with the color whales. We can make exposure adjustments on the right hand side of each of these wheels over here, and we can make saturation adjustments on the left side. If you want to make specific color adjustments that could be done inside with the little circle inside the wheel. And if we scroll down here, we can see we have the ability to adjust the temperature if we want to make picture warmer or cooler. And we also have this ability to undo any of the changes, we can adjust the tent over here or change the hue. I'll come back to this area in a little bit, but let's look at how we can adjust this saturation in the color wheels. We can just move this area up on the master. See, that's applying a lot of saturation, Okay? And let's just say we want to bump up the highlights just a little bit and bring down the shadows and bump up the mid tones a bit King. If we just want to add a little bit of color to the skin, just drag small circle over the top left. All right, so know that we've made some adjustments. Let's just open up this area and we can click Show to reveal the actual specific adjustment that we made in your miracle value. And these can all the reset if we click over there. But I'm gonna reapply the saturation over there. Okay, so that is the color wheels. And now we're going to go over to the color curves. So we're going to remove the color wheels, and you can see the difference that it's already made just with some minor adjustments 42. Color Curves: we are in the color curves view of final cut Pro X, and if you worked with some third party applications, maybe color grading central, you may be familiar with color grading in way formats or Kerr ferment. Or maybe you're not for me. This is not something that I've used a lot in the past. But the way it works is that we have our Louima read green and blue curves, and we can use the top point here if we want to make an increase to the highlights. We would drag over this point over to the left if we wanted to increase shadows would drag over to the right, and we can add control points by just clicking. And the Solossa is to make some evil, further refinements to the mid tones. If we wanted to increase the blue in the shirt, we could go over to the blue curve, and I could drag this over to increase the blue highlights. If I didn't like that, I can reset it. Maybe I just want to make the adjustments more on the mid tones slightly over there, and you can experiment with this. We can increase the red in the image got a pretty unique look. No one is going to reset that back now. There is no area to adjust the saturation. Zaun, the color curves. So if we want to do that, what we need to do is go over to the color board. I'm just going to click over here and click on color board, and over here we can make a global increase to the saturation, all right, And that's how we can work with color curves and just keep in mind that we can't add saturation. So we have to use the color board to do that. Let's just remove that and we will go over to the hue and saturation curves. So let's just see what it looks like if we just change the image back to normal. 43. Hue saturation: Hi. This video, we're gonna cover how we can use the hue, saturation curves, as you can see here, I've got Beiring here with a green shirt, but this all started with a blue shirt. So we're just going to reset this reset parameter, and this is how we started out. But to start off with a good base, I'm going to actually select one of the other adjustments I made with the color wheel because the hue and saturation view of making color adjustments is a bit different. And just in case you're wondering, Hugh is just a another turn for color shade. Okay, so if we uncheck all this, this is the native image. This is how it came out of the camera because I shot it in a flat color profile. And I'm just going apply the color wheel effect as a base, okay? And we're going to select the color saturation curves. If you don't have this, when you could do is just click on that icon just to get over to this view, and we can then click over here and hue saturation curve. Okay, so we have a lot of different options here, and I'm gonna show you two areas that we can use to make practical adjustments. So let's just say we want increase thesis saturation in the blue shirts. We can click on the eyedropper. Just click on the bleacher to add some control points, and you can see here we have some control points. Now I can drag this control point up to increase the saturation in the shirt or decrease it , and I want to increase it. And the cool thing about this is that because we're using the eyedropper, we can isolate this just to the shirt. Now, if you want to make a color shade adjustment, we can click the eyedropper in the hue versus you. We can click in the shirt and you can see we have control points here and now. I can move this up, and we've completely changed the color of Byron shirt from blue to green and drag it down. We can change the pink so you can experiment here, and this is a pretty fun tool. If you want to change the color off shirt, someone's clothing and you can add additional control points here. If you want to experiment with some different colors and you can see there that we're going outside off the shirt over there and we can just back out of our changes. So that's just a simple overview off the hue saturation curves. 44. Fixing exposure: this video, We're going to adjust exposure, and we're going to do this in a few of the different tool sets that final cut Pro X 10.4 and above gives us. So just to begin, I have set up the three different sample files and to begin, I just want to make sure that I'm in a proper workspace view. So I'm just going to again select color and effects. That's gonna change things up. So it's gonna remove the library, and I have more space to view my video scopes, okay? And because we're focusing just on exposure right now, I just want to have one display. So I have more riel State. So I'm just gonna select that view over there, and I want to just show the loom away form and I have my broadcasts safe effect, which I will use to apply after, and you will see how this comes into play a bit later. Okay, let's just start off with the video clip with Natasha. Let's turn our attention to the Loomis scope. So the way this is red is just how we look at the video. It's from left to right, so Natasha is over here. And overall, we don't see any colors that really stand out in this picture. Our goal is to bring up the highlights closer to 100 our shadows closer to zero. So we want to bring up the color board. So we're gonna press command six and let's go over to exposure. Okay, so we're gonna want to click on, uh, highlights first. And I could probably bump this up just a little bit, and we would like our mid tones to be at about 75% for the flush. Okay, were both there. And really, this image doesn't need too many adjustments. Now is the final touch. You can apply the broadcasts safe effect. And what this is going to do is just to make sure that where within TV broadcast CF standers, which means that our highlights are below 100 and our shadows are above zero. So you just quickly apply that effect over there. We don't really need to, but this is just a nice good practice to apply to video clip. All right, let's go over to another video clip here, just going to zoom in with command, plus just to get a little bit closer to the auction. All right, In this video clip here, we've got a bit more color. We can see that Byron is over here. He's on the right side of the video clip. And ah, we could probably bump up the highlights a little bit. Okay? We're gonna go over to the color wheels and adjust exposure from there just to give you some practice making exposure adjustments in another tool. All right, so if we want to bump up the highlights, just little bits we could drag up on the right side over here. We're just gonna bring down the shadows a little bit. And in the mid tones, we're sitting around 75%. I think we could probably just bring up the highlights a little bit more. And just to cap things off, apply broadcasts effect. Now, if we pay attention to loom a scope weaken, see the adjustments that is gonna make some slight adjustments there. So that's how we can make exposure adjustments within the color wheels. Not a whole lot that we needed to make over there. And Ah, in the next example, we're gonna use the color curves to make exposure adjustments. In this video, we're gonna make exposure adjustments with the color curves in final Cut Pro X and the Color curves is a feature that's available in 10.4 or higher. So just to begin, we have our loom away form video scope open. We are in the bloom a curve and to increase the highlights a little bit, I'm just going to move that control point over to the left a bit. Just a bit. I'm going to bring the shadows down just a bit and just increase the mid tones a little bit over there, and we have our exposure adjustment. If you want a final touch, you can just bring the broadcasts safe effect over there just to make sure we're within TV broadcasting safe standards. And that's our exposure adjustments. Using the color curves 45. Fixing White Balance: in this video, we're gonna look at how we can adjust the white balance in final cut Pro X. If we go over here, we can select balance, color or you compress option command be inversion. Final cut pro X 10.4 or higher. You now have an option to white balance. Now we need to just click or drag over an area that should be pure white. And I'm just gonna try over on the wall here, and that's our white balance. 46. Adjusting Saturation: in this video, we're gonna make some saturation adjustments in final cut Pro X. We're gonna look at some of the new ways we can adjust color in final cut, pro X 10.4 or higher, but we're going to start off in the color board. So to set yourself up, I recommend opening up the video scopes with command seven and selecting the RGB parade. So this is a nice way for him. Just to make sure that's your red, green and blue are, well, balance. We want to keep them within 0 200 and open up the color board. We compress command six. Okay, we're just gonna go over to the color board over here and click the saturation tab. So now that we're on the saturation tab, we can make just the global adjustments using the master knob. Now, if I drag this way over the top, you can see that our blues are way over What They should be same for the reds. And you can see that the actual new miracle percentage for the master control is that 69% well, spring that down to zero. So if we want to make a adjustments over here. Maybe I want to just bring them highlights, and that's just a simple adjustments, and that looks pretty well balanced. 47. Adjusting saturation in the color wheels: in this video, we're gonna make saturation adjustments in final cut pro X. We're gonna use the color wheels to make the saturation adjustment. If you do not see the color wheels, you will need version 10.4 to see color wheels, color curves or the hue saturation curves. I've just set up a video scope on the left over here. RGB Parade Command seven will open up the video scope and I have RGB parade open. This allows me to see the red, green and blue channels, and basically we once are blue, green and red channels to be within 100 to 0. So if we make an overall saturation adjustments using the master wheel, so just a quick tip for all these wheels, the saturation adjustments are on the left side. So if I dial up the knob all the way to the top, we can get an oversaturated image, and you can see that the blue highlights are way above what they should be. So we Condell this down. Yes, the beds. And maybe we want to brings some more color to flush tones. This by dragging in that little bowl towards the orange and maybe we can just bring the my lights down a bit. There we go, and we can cool this image by bringing the temperature down, but you can see that spikes are Blue Channel, so this is a bit of a dance just to adjust your values. Or you could just reset over here so we can see the specific values we've adjusted for. The master shadows, mid tones and highlights, and we can uncheck the wheel to see what it looked like before. So there's a lot more color and warmth on the saturation adjustments that we made in the color wheels. 48. 6.8 Color Masks for targeted corrections: in this video, we're gonna cover how to do color and shape mass in final cut Pro X. I've supplied you with this video clip. If you want to practice on it and just to set things up, we're going to drag this video clip into the timeline. If you haven't already, you can create a project is by right clicking on the clip, selecting new project. Once you've done that, we need to open up the effects browser with command five and weaken drag color board down here. And if you don't see this window here, command fort, open up the inspector and what we want to do here is first do a color mass. So we're gonna click on that icon and select color mask, and we're gonna take this needle over here, this eye dropper, and just click and drag over the color that I want to change. And if I want to add additional colors, I can click, shift, click and drag, right. And now let's go over to the color board using command six and you can see that we have inside mess highlighted. So that's going to just our water color. So I want to make the water but more blue and just taking the shadows there just going to take that moved back. Let's start off with the mid tones. Let's just move it more to a aqua blue. I could bring my global saturation setting as well, and now the water is looking pretty good. But you can see that I'm catching some blue on the clouds so I can actually press option. Click and drag to remove values from the mask so you can see that minus sign there. OK, so that seems to be working. See when a press option there there's that negative signed by the I dropped her head and let me just try, move more. There we go. So now we have a nice Akwa blue color and I think color mass are a great technique to have in your pocket to color and isolate those money shots 49. 6.8.1 Shape Masks for targeted corrections: in this video, we're going to Playa Shape Mask. In the previous video, we applied a color mask. As you can see, the ocean is nice, perfect. Hemorrhoid turquoise blue. And now we're gonna attempt to change the lens color off my sunglasses. So to start off, I have the effects browser. Open command five if you don't see that. And I'm just going to drag the color board effect over to the video clip. I have the inspector open in the top, right? So, command, for if you don't see that. Okay, there we go. So I'm just gonna let final cut Pro X. Think about that for a little bit, and we can see we have a second color board over there, so we need to click on that icon and select shape mask. So now we have this circle here, and you can see there's two circular shapes. There's inside and outside in points to change the heights as well as a side. But if you want. But if you want more of a square shape, you can click on that white circle there. And if we wanna move the mask over, we can click on that middle points, and now it's just a matter off getting the right shape. Okay, we also have this outside border. I'll just leave it like that just to illustrate what that actually does. Okay, let's have some fun with this. We can press command six to go to the color board and just to give us a bit more room to work with, I can close the effects browser command five and just drag the time line down the bits. Okay, so let's change this to a yellow color. Okay, so you can see the mass there, and it's sort of going outside of the sunglass shades as well. And that's way I want to close up that outside border. Just to tighten that up takes a little bit of precision and patience to get this right. If we had a perfectly square or circular shape, it would be a little bit easier. But because my sunglasses aren't it's a little bit tougher. They're just gonna drag everything over. Let's try and get more of a red tint. So here I've demonstrated how to use a shape mask. It's not perfect. It's a little bit tricky. If you're shape is not perfectly square or circular, require some patients and position, but if we take that off, we can easily remove it. It's just a fun way to experiments, and I personally think that the color mask is a little bit more practical. And, ah, we can click the color board over here. We can view the mass that we've created so we can see that square shape. And then we can also go to the color board. And then we can click outside Mass, and then we can begin to change some of the colors outside the mask. So that's how we can use the shape mask in final cut pro X ah, good tool to be aware of, especially if you want to change the color off a easy square or circular shape, but a little bit tricky for objects like these sunglasses. 50. 6.9 Applying & Modifying color presets: this video, I'm gonna show you how you can apply color presets or filters. They're quite popular in today's world of instagram and Facebook that a popularized this type of coloring, so I don't encourage doing it for professional work. But if it's just for YouTube and you're in a rush, this is a quick way to style eyes your video coming out of the camera. So with your video clip in the timeline, you can open up the effects browser. If you don't see it, you can press command five and you can scroll down to color presets, and you can see that there are some different presets available for you to use, and I'll just show you how you can use one. And so you can see there's Summer Sun, and you can preview what it looks like before you apply it. So I've gone ahead and applied that presets, and I've got the Inspector open with command for, and I can see that that effect is that color board over here. Now, if I want to adjust what that looks like, I can click on the icon to go into the color board and make some adjustments so you can see that this effect has greatly reduced the amount of shadows so we can actually make your own adjustments here. If you decide Teoh modify and existing presets and you really like it, you can actually save it. So you can recall this leader by clicking on the save effects preset, and you can also select more than one color board. But just say the one we actually did was color Board three. So we can actually create a name for this preset and select the category where it's going to fall. But I'm not gonna do that. I just want to let you know that's something that you can do, as well as the final cut Perot presets. You can also purchase third party presets. I'll just show you one that I used to use. I don't use it too often. It's called Lester grade presets, and they had some pretty cool effects, like cross process and epic that I found to be a little bit better than what final cut Pro X provided. So you can see if I just drag over there. I can see what that looks like before apply it so this is more of Ah Instagram style filter . But filters there are always changing year over year, and once you apply these presets, then you can do things like adjusted manually. We ready went over some lessons of how we can make adjustments to the color and the exposure if you want to customize it further. So that's how you can apply color presets within final cut Pro X, as well as third party their party presets. You often have to pay for, or you may give it on a free trial just to give it a try for a week or two. I don't recommend presets, but they can be a time saver if you want to use them as a starting point. 51. 3rd Party 6.9.1 Plugin, Luts, and workflow: in this video, I just want to introduce you to look up tables. These have been popularized in recent years with in the video world as shooting video in flat color profiles becomes more popular. I've been shooting in flat profiles since the Canon DSLR days, and once I switched to the Panasonic GH five in 2017. These are also becoming more popular, shooting in what we call vlog or seaney like D color profiles. So these airway to shoot your video picture so that it's really flat, so that in the post production you have a lot more flexibility to work with. Often this is the domain off color grading specialists. I don't consider myself a color grading specialist, but a look up table allows me to use that footage out of the camera that has a flat profile and give me a starting point and saves me some time. And then I can use my color grading skills in final cut Pro X to customize that a little bit further. So I hope that makes sense. Some companies that have made look up tables or color great central, and this is one such tool that I have here. It's called The Luck Utility, and I'll just show you how it works briefly. Just so you're aware of it. So I'm just going to apply the effects of already dragged it over to my video clip. And this lot tool or look up table has different profiles for different cameras, so I can actually preview what those look like. But I would choose one that's closely match to my camera. So that is the GH forests and you like de miners actually GH five. So when I comply that and you can see that it actually makes some good adjustments to the RGB parade balances things out. But I can see just from my eye this looks a little bit over saturated so I can actually dial down the effect, and I usually like to put it down to 30%. And then I can do things like look at the way form and you can see there that this requires some adjustments here, so I could actually add the color board over to exposure and just move up my highlights bump of the mid tones a bit and the flesh tones you generally want the mid tones at around the 75% mark. So that's where I'm in the picture, just a little bit to the left. So maybe want a bump that up a little bit and the last thing I like to do his apply a broadcast safe effect. And this is because I do a lot of stock footage. So for stock footage that might go on TV or commercials, so we want to keep those exposure values between zero and 100. So once this effect applies, it can see its within safe values. So here's a potential workflow that I might use for stock footage. It's got a little bit of saturation. I've adjusted the exposure a little bit, but it's not over stylized. Someone who may purchase this clip has a lot more room to work with themselves when they're using this clip with their video footage. So I hope this gives you an idea of what is possible. There are look up tables, which are used lots, especially with the more modern cameras, and there are so many different ways you can color the video footage now, so I encourage you to just keep it simple. Try not to get lost but tried to educate yourself and increase your knowledge and comfort with color grading and some of the different ways that you can do it. In final cut Pro X, especially with 10.4, it gives you a lot more power that third party tools used to have before, but now they're built in the final cut pro x 10.4. 52. 6.10 Blurring and Censoring: in this video, I'm going to teach you how to apply a sensor effect. So if you need to pick slates something or just censor it, so maybe you want to hide a brand name or if it's sensitive material, how do we do that? So you start off by bringing our video clip into the timeline and open up the effects browser with Command five. And I've got all video affects selected. I'm just going to search for sensor. There it is and just double click on the effect. You can see that we've got a sensor applied. Now there are some additional options that we can change to make this work a bit better. So let's just dragged us over. I don't think the effect applied correctly. And if you want to make some adjustments to the sensor effect, you can just open up the inspector with Command four. Okay, and there we go. So let's just say we want to censor that beer and not my face. First thing we could do is just changed the radius in just the just the rainiest there, and you see this little circle here we can click and drag to relocate that. And there we've covered the beer. No one knows what delicious beer I've been drinking. We also have some additional types of censoring. There is the blur, and we've got Darken, which is probably not something I would use that looks but ugly. So let's put it back on pixel eights. So from here we can reduce the amount of the effect, which gives us smaller pixels. And maybe we wanna reduce the radius. And another neat thing we can do is just also invert that effects. So it's just going to flip that fact around and blur everything also, which is a pretty cool effects. So in a nutshell, that's how we can censor something in final cut pro X. 53. 6.11 Demo: Color correction Workflow with colorboard & curves: OK, in this video, we're gonna try to puts all the skills that we learned together. So we're gonna start off with one of the video clips highlighted we have our inspector open with command, for we have a video scope open commands seven, and I have the BlueScope way form selected. So this is a good general work flow. We're gonna look at the exposure and contrast first. And with this highlighted, let's just go over the balance color and these some white balancing. So now that the balance color is applied, weaken, Select White Allan's, And now we can just quickly zoom in. I just click that button there. Okay? No, I'm going to go back to fits the video in picture and open up the color board. Command six. So we're going to start off with some exposure. Crease the highlights a bit. Maybe Donald back down. You can see the value is 14. Bring the shadows down a bit. Okay. I'm sitting just right off center. So we want the flush tones for the mid tones. Be at about 75% so I'll just bring the mid tones up a bit, okay? And then we can see your values for exposure over here, off and on just to see the difference. Now we can go over to saturation. Let's turn on our RGB parade, Okay, so we can see the We have a bit of a blue color caste. Let's go over to her highlights. Try and bring that down a bit. Let's open up the color curve. It's you some of the new tools. So our plan with the color curves is to keep an eye on the RGB parade while we make the adjustments of the color curves on the right. So by bringing that top points to the left on the blue Channel, you can see I'm bringing up the blue highlights too much. And when I moved the bottom blue points to the right bringing down the blue shadows too much. So we need to bring down those blue highlights And then sometimes we make a change. It changes the other color channel. So we're gonna adjust the green highlights, bring it down and do the same to the red. I remember these color curves don't have a way to adjust the saturation, so we're gonna go over back to the color board and then bump up the saturation obits. Jane, Let's go over to saturation. Okay, let's turn that off. Turning back on and the last thing I like to do is apply a broadcast safe effect. So this makes sure that your color channels and your exposure, or within 0 200 so that they're safe for TV or commercials. I like to sell stock footage, so this is something that is a part of my work flow. That's just, ah, basic overall color correction. Let's see what things look like if we turn off what we've done, so you can tell the picture looks a bit more livelier but more color, and I've used a combination of the color board and the color curves, but you can develop your own style for her. You want to color correct your video footage in final cut pro X 54. 6.12 Demo: Color correct Biron: Okay, We're going to put everything together to apply color correction to this image of Byron and I've already applied balance color, so weakened do a white balance. So let's click the eyedropper. And to make sure where precise, we're just going to zoom in and this click on his button over there J. Now let's go over to the color board command. Six jumped to exposure. So we want the limb away form and in Syria should bump up the highlights of it and bring down the shadows because we re just the highlights and the flush tones should be around 75% on the mid tones, which they are. So I'm pretty happy with the exposure, so it's turned it off. Turned on No, let's go over to our vector scope. Okay, so we want to add a little bit of color to the flesh tones so we can go over to the mid tones close to the orange. Generally, once our color values to be about 24 or quarter way from the center. Okay, let's go over to saturation and let's go over to our RGB parade. I'd like to see this in way form So let's just bump up mid tunes a bit. Okay, let's see what that looks like without the color that's looking a bit warmer. And one final thing I like to do is maybe just supply a broadcast safe effect at the end, not make sure that your RGB channels and your exposure are between zero and 100 so that it's safe for broadcasting on TV or commercials. Okay, let's look at the before and the after. So there's thief finish color grader product. I think it's a lot more livelier. There's a lot more warmth and color in the Color Grader product. You can see a tautological workflow, beginning with color balance and manual white balance. Next, we looked at adjusting the flash tones and the saturation, and then we applied the broadcast safe effect. So you may develop your own workflow here, and it does take a lot of time to color grade, and I think it's more art than science. So if you do have similar scenes, sometimes you can copy color grading and pace that effects so you don't have to redo all the work all over again. 55. 7.1 Blending modes and opacity: in this video, we're going to talk about opacity and blending modes in final cut pro X capacity refers to the transparency of your footage or your image, and I'll just show you where we can control it. So to actually practice this video lesson, I'm gonna supply you with some project files that you see here. So I have laid down a video clip of Cape Town and I've simply just laid over my local watermark. And this is the most common way that I'll actually adjust the opacity. So to adjust capacity, you need the inspector opens. So command four. And you just need to lay this logo or another image over on top of another on the timeline . So place the play head on the area that you have both clips and go over to a passage e. And you can see here I can adjust it from 100% to zero, so zero means it's disappeared. So when I'm doing a video project and I want to protect my footage, sometimes I'll put a logo watermark where I don't want the logo to ruin image and ruin the viewer experience. But I still wanted to be there in case someone tries to steal my video and by having just a light, transparent watermark that protects my image. So that's the most common way that I'll use opacity. But there are others, as we'll soon see. So now we're gonna talk about blending modes. Blending modes are a way to combine pixels from two or more video images. So to set this up, I've just got another video clip that have brought over from my Cape Town event, and you can use any type of image. I've just chosen to put an image of Cape Town downtown as the bottom layer, and I gotta keep telling Winery on talk as the top player. Now, immediately you see some interesting blended image, and that's because I have the color dodge blend mode. So let's see how we did that with the lying image over talk. Just select the color dodge and to justice effect. You can see that this is an interesting effect where the bottom layer gets priority, but you can see some of the background from the top layer so I can play around with the intensity of this effect by changing the opacity so I think this is a great way to experiment and style eyes your video projects if you're feeling a bit artsy. Okay, here's another fact. Call hard light and just going to adjust the opacity so you can see we have some really interesting effects over here. So let's just move over to two different images here, and we have a completely different look. Now, if I highlight on top clip, you can see what blend mood that I used and it's hard mix at about 54% had 100%. This looks a little like the old graphics on the computers, but we can soften that look by going down to 40%. And actually, this might make a very interesting YouTube thumb, so you can just be really creative of how you want to use us. Let's just look at some other options over here. You got hard likes got the lighten effect, which has a very subtle look, giving the top image priority that looks very cool. So hope of giving you some ideas of how you can use the blood mode and you understand how to use opacity. So again you can use the supplied footage from the project files or it can use their own to try create a very unique and custom look using the blend modes. 56. 7.2 Applying effects and generators: in this video lesson work. Gonna talk about applying effects in final cut Pro X. If you want to see the effects, you can open it with command five. That will bring up the effects browser and in my facts browser. I have around 291 effects. You can also install third party effects, but final cut Pro X gives you a lot of different effects that you can apply to a video image to do certain things. Let's just take a look at some of these effects to start off. I've just put in a video clip from Cape Town. You can use thes supplied project files if you would like and just plopping into the timeline and let's go over to the Effects browser. So you can either browse through all these effects or you can search for a particular effect if you know of one. And if you just want to preview what if in effect, does you're not sure you can just put your mouse cursor over that effect, making sure that your play had needles already over there and you can take a quick look at it without implying it. Here's the night vision effects. It's just loading. So a lot of neat things that we can do. No. If you wanna narrow these down into different categories, you can do that on the left. And they're also different types of enemy graphics that you can put into your project. If you do apply an effect, you can adjust the settings off the effect in the inspector. Let me just demonstrate with popular effect. Let's try the prison. You can just drag that over now. If there's something to adjust in the effect, you'll see an icon into the clip, and sometimes you'll need to make the adjustments. For example, you can see there. The amount has been adjusted just by moving that icon in the viewer. I can reset that. And I could even make the adjustments over in the inspector command, for if you don't see it. If I just want to make the adjustments over here, you can undo, in effect, Bayan checking it. If you have more than one effect, you can. This able all the effects by un checking the effects in the browser and you're back to normal. And if you want to remove in effect, you can highlight it in the inspector and delete it. All right, let's spring Mac or video clip, and I just want to turn your attention to generators. Generators are good for backgrounds. They are found over in the browser over here. If you don't see that, you can go to window show workspace browser, or you can use the shortcut and I just click the tea to open this up. And I'm just opening up the generators now. These generators of goods. If you want some animated backgrounds and you can even adjust some things about the background like for this one, I can adjust the color. And I've used some of these backgrounds in the past if I'm putting in an old photo and the resolution's not high enough, and I kind of want to just replace the black background with something that's more colorful . And so these backgrounds, they look free pretty good. They look really professional, so I just want to make you aware of them. So again we looked at the effects in final cut. There's a lot of effects that you can apply from applying a prism to night vision modes to applying a blur, and you can adjust the settings of those effects that you apply over in the inspector. And we've also just touched on different backgrounds underneath the generators in final cut pro X. 57. 7.1 retime and reverse clips: We're going to cover re timing and reversing a video clip so you can use any type of video clip. But I often find video clips that are shot at a higher frame rate. So, for example, 60 frames per second are good video clips to re time or do for slow motion. So any frame rate that's higher than 60 frames per second will provide nice, buttery, smooth, slow motion. If you want to speed it up, that will also hold true. So actually, to start off, I'm gonna use this waterfall clip, which was shot at four K 60 frames per second in my camera. It is showing up in final cut pro as 30 frames per second. Nevertheless, this is a good candidate to show you how to change speed. So to begin with, we set up our project, and with the clip in the timeline, we simply go over to this icon and we can select to speed it up or slow it down. So with a clip like this, I'm gonna try slow it down and it's a ready shot insulin motion. So this is gonna play back like super slow motion once we apply that slow effect, we can actually click on the actual video clip. We can bring it back to normal speed, or we can actually even choose to speed it up over here. Okay, and there's not a lot of video there. So then the sped up clip doesn't look very good. Now, how do I actually use the speed up effect? I'll use it. If I have a long video clip, let's just say an aerial video clip and I like to do what we call a speed ramp, and speed Ram will speed up a portion of the clip, but no B portions of the clip ahead of it and behind it that are played a normal speed. So then it will have a nice effect where it's playing a normal speed. Then it'll speed up. I'll also show you the other area where you can change the speed of a clip. So if you go over to modify, you can go to re time and you can speed it up. We're here. I'm just selecting eight times. The times is normally what I use for a speed room, and I find sometimes right after make a re time adjustment. Sometimes it'll playback choppy if the clip hasn't being imported correctly and sometimes final cut needs sometimes, Teoh just render that. But once you actually export the final video, it'll playback smooth. Let's just play this back to get an idea of how it does. Yes. So the playbacks little bit choppy. Aiken C final cut is tryingto run some background tasks along with the change. I can see it's rendering. So that is normal. So just be aware of that. Okay, Now I want to show you how to reverse the clip so reverse we'll just simply reverse the clip. We can highlight it, and we go over to the same area, and we can just select reverse clip. So now it's just gonna go backwards. So this is going to go from the lake up to the waterfall. There we go. All right. So we covered re timing, and we covered the reverse effect to the video clip 58. 7.4 slow motion and frame hold: Hello. We're going to cover doing frame holds and applying slow motion to go pro. Footage shot at 10. 80 p. 24 frames per second. The ideal frame rate to apply. Slow motion two is 60 frames per second. Please watch the re timing video lesson where I use four K footage shots at 60 frames and apply slow motion to it. But anyways, we are gonna just apply this to 24 frames per second. So I've selected this clip over here. You can select any portion of the clip by applying a range, or you can make an incision. I'm using the blade tool by pressing B just to isolate the clip I want apply slow motion to So I compress a over there. And over here this is where you can apply slow motion so you can do the effect at 50% 25% or 10%. Let's just select 25% and we will play back. You can also access this menu over under modify every time, but it's just easier to access it over in the icon over here. So let's just play this back here. We have some snorkeling with the whale sharks. Okay, it's not bad. It's a little bit choppy. Sometimes you need to give time to the computer to let it render, so it plays Bach more smoothly. I'm going to just try and apply 50%. I don't think 25% was enough. Okay, that's not too bad. Now. Another thing you can try if applying slow motion is final. Cut has some built in bodes here, frame blending well. Attempt to insert additional frames using pixels from the other frames to make the appearance of smoother, slow motion. No, this takes some time to render, so I'm going to use another clip that I've already applied it to. No, if frame one frame blending doesn't work out for you, you can try optical flow. Final Cut recommends you try frame, blinding first and optical flow. Personally, I do not use these options, and maybe I should. But normally, when I'm applying so motion her second or higher. So even with the normal setting, it's 50% slow rate. It plays back pretty smoothly, and so let's just go over to the first clip, and I'll highlight that clip and just confirm Oh, you can apply frame blending to this one here. I think it's already done it before I shot this video so it should play. Bach's smoother. Okay, there's a bit of, ah, shadow effect that doesn't really look natural. Okay, we can try the other option. Optical flow. Okay, I see a little bit of warping. And again, this was shot underwater. It was kind of a chaotic scene with the wheel shark here, so is a little bit shaky. So maybe I encourage you to experiment Worth normal. Optical flew in frame blending to see which one is best for you. All right, so now I'm gonna demo how to do a hold. So hold is going to just do that is gonna pause the scene. So there's the hold, And if I zoom in, you can see the strip over here. This is where the hold is. So we have some markers. We can actually extend the holes to make it a bit longer. Nice way. Just pause the action. Okay, so we've covered applying slow motion to regular 24 frame footage and applying Ah, hold 59. 7.5 Chroma keying green screen: we have a fun lesson today. We're going to cover applying green screen using the Keir Effect. So to set this up, we're gonna use thesis, apply project files and actually use four K green screen footage and create a project in HD . All right, now, something I want to mention is that this green screen clip is actually shot in four K resolution. But we are gonna work in HD, so this is fine because the project is in a lower resolution than the video clip. So we're just going to change this over to HD and keep it at 24 frames now? Because this is four K in HD project, We can actually scale this image without losing the sharpness or the quality. I'll show you that in a bit. I want to drag over the HD image, which is also in your project files, and I'm just going to drag that underneath so your green screen video should be on top and the green screen picture on top. Okay, Now, if I bring the play head over there, you can see that's there's a gap there because this is four K resolution now. I just want to bring out some tips here for best results with green screen. A lot of the result depends on how well you shot the green screen, so some of my tips for best results are to have adequate lighting. You want to try reduce any overexposed spots or under exposed spots. You wanna have even balanced lighting, and even if you try your best, you can still end up with some spots. It's sometimes difficult to see when you're actually shooting image. So I recommend having a computer nearby where you can pop the footage into something like final cuts. And you can actually do this workflow really quickly when once you get more from live with it, just to see how well you're set up does in a green screen environment. So I think that is the best way to actually test the footage and then make any adjustments if needed. I can see here just with my eye that some of these spots our flared out there are over exposed. But because it is four K footage, we can crop some of that out, so I'm just gonna scale up the image there, see, we can go all the way to 150%. So now we have a cleaner green screen image to work with. We cropped out some of the overexposed spots, so there's a little tip if you're working with four K footage, that's one of the benefits of using it in HD. Okay, now that we've got our four K image scaled up, we're going to go over to the effects browser command five. If you don't have that open and we're going to drag the keying effect onto the green screen , no. Sometimes you get lucky, and it looks like you know, you've done a great job, but sometimes you'll need to make some minor adjustments to get the best screen screen image that you can. So over here, let's just play this back, okay? It doesn't look too bad. In my opinion, it just went to detach the audio, extend the video clip underneath. I don't want the all you to be distracting, so just detach on you. So let's play this back again, okay? This actually doesn't look too bad. If you don't have an image underneath, you just see a black background. Sometimes this is a good way, Teoh isolate some adjustments you may need to make. I'm just gonna go back here and I'll show you how you can refine your key. So in the inspector, we have the sample color tool. So if we highlight that, we can draw a rectangle in the around the color that we want to remove. This will make more sense if I actually just pop it up over here. So click sample color and bring it over the green there. Let's see what happens if I do it over the white coat. See, it removes the white coat. So we wanted over the calorie one remove, which is green in this case, and now we can use the edge tool. So the edge tool we want one endpoint on and color we want to keep and one endpoint on color. We want to remove. So, like so and then we could just use this line to balance it just over there, and then we can start to experiment with other options we have here, so weaken experiments. So we see if we reduce the strength, it's actually not helping the image. If I die, all of the strength it is and you may or may not need to make these adjustments if you see they're not helping. The image image I have right now is actually pretty good. But you can see if you experiments with some of these tools. They may or may not help seethe spill level. When I reduce, it increases the green, and I can always just change it back to the fault. And there's a whole lot more options you can play with. There's light drop. There's Matt Tools, but I'm pretty happy, you know, with the basic green screen off the result that I have here. Okay, now that the images moving Aiken see, is a little bit of an outline there. Sometimes it's just a bit of experimentation you need to do. Don't be afraid to experiment with the different settings because you can always revert it back here. I'm playing around with spill level, and I can see is changing the color tones. Now there's some options at the bottom that you can expand, and they open up even more options. So the light rap softens the edges, and the streak and expand removes a bit of the outline. But it's a little bit too much. Every recording, green screen situations going to be different. And it looks like I'm gonna have to settle with what I've already got, which is pretty decent, I think. OK, so that's our basic introduction to the king tool. Again. Try to get the best lighting balance lighting while you're actually shooting your green screen shot. Try not to over expose, and that will make things a lot easier When you're trying to apply the green screen and final cut pro X, you can try manually set up your green screen using sample color and the edges. I think if you've done a good job, you won't need to play around with these tools too much. You've got a lot of other options over here just to tweak some things. I recommend experimenting if you're not happy with your picture, and you always have the option to revert back 60. 7.6 Luma keyer: this video, we're gonna demo how to use the loo MK ear effect. This is often most useful if you have an image in the foreground over backs by default, out of the image, sleek and superimpose the image over the backgrounds. There are two interesting examples that I figured out how I would use the looming key just by playing around. I think there's a lot of different creative uses for it. For example, I have this maverick image over the background of an aerial image, and I'll just show you how I actually got this look. So if you play this back here, you can see Phantom Drone with the image playing inside it. So I think that's pretty neat. Let's just go back and see how we got that effect. So because this is a four K aerial image, first thing I needed to do was just scale up my maverick image because it was too small. So I did it up, too. 156% see there. So just by increasing that it looks but more dramatic. Yeah, I really like that, and you also inverted it by clicking invert. It takes out the whites. But how did we get a maverick to white? I took the the fault. Let's just reset this over here. I took the needle and I brought it over closer to the bottom rights. So we got Mawr, the whites and focus. Then I inverted the Image and Walla. That's how we got that look. Let's go over to the Phantom and somewhere thing here. I skilled up the image and because the drone is white, able to convergent, that's what it looks like without inversion. And you can see what the settings are for the Louima. So you have a phantom image, and we have the aerial image inside the drone, so hopefully you can come up with some creative uses for the loom A kier. I don't often use it, but ah, we got some interesting effects using it. 61. 7.7 multi-cam edit: in this video, we're gonna do a multi can edit in final cut pro X. So for those of you who are not familiar, a multi cam at it is editing more than two camera angles in one project. So it's a common thing to do in interview where you have come. One focus on the speaker and you might have the camera switch to Camera two occasionally just so that people don't get to board of one camera angle. So to set things up, you can import the project files. I've got two different camera angles set up. No. In some camera angle setups, multi cam setups, they may have a separate audio source. This is not the case here. We want to keep things a bit simpler, and I've got the audio included in the camera one Videophile. So to get started, let's set up an event we can go over to file imports media, and then let's look for our files. Here are the two project files that were going to use to create our multi count projects. I've labeled them camera one in camera, too, and we're gonna highlight these both, and we're going to create a new event called Multi cam and just leave everything as it is and select import all. Once those files have been important, we can highlight both of them in the media browser. I'm just going to make that larger so you can see now. So this is camera one. This is the feed that has the audio. And this is camera two. We don't actually need the audio from that camera, but we may need it to sink with the camera one angle. So to start off the multi cam Pro Jack, we're gonna highlight both of these video clips. Right? Click and select new multi cam clip. Gay project. Name is multi event multi cam. And this is the important part here. We want to use audio for synchronization, and we're going to use the camera name to sort out which is which. So just got a little tip here. We're gonna just go back to the media browser highlights camera one clip, go to information. And there's actually a field here where we can just give it a name was gonna call it one and then do the same for a camera too. And this will help us Select camera one in camera to when it comes time to edit. Now that we've given our cameras name now we can go back to new multi cam clip. Just call it multi. We're gonna create it in the multi cam event Click use audio for a secret ization and leave everything at automatic. And I recommend that both camera angles, air shot in the same resolution and frame rate. We can leave everything the same and click. Okay to set up our multi cam project are multi cam sink video and audio clips. Now we're ready to actually create the project. We're gonna right click on this clip here that has been sink select new projects. So we set up our multi cam project by right clicking on the sink Multi cam clip. Okay, now we have a project with this clip with this square tiled icon. So that's exactly what we want. No, to kick things off. We're going, Teoh, display the angles. And now we can actually minimize this media browser just to give us more real estate and because we're just starting off the project and we've already sink camera one in camera to using the audio. We no longer need the audio from camera to, So we have that unchecked. And so now we can start editing this project. So I'm just gonna find our starting points. Yeah. Okay. Tips for doing a multi cam edit. Take one. Okay. That's why I ended the claps. Think there. And that's actually a good point to begin our projects. No. It's actually gonna be easier to apply some color graining before I start cutting up this clip. So I'm just gonna ply this look up table. And I was just ah, quick way of fixing up the color grading. Okay, Just gonna punk our scopes. Okay, let's just quickly fix up, are exposure. Looks like we can definitely bump up the highlights. And that's gonna bring our flush tones over to 75% the pump of the mid tunes a bit. Okay, we fixed up the exposure. Now I just wanna displaying my RGB parade. Okay. I can see there's a blue color tests. That's just style down this lot here to get things more balanced. Okay? And just a quick broadcast safe. - Okay , so I'm pretty happy with the colors. Now we can start to clip this project. So let's go back and display the angles. Now you can see in the angle window there's one and two. This is based on how we named it in the information area earlier on if we have more than two angles and we also had a separate audio feed, you see, here we have four tiles. We would see the third and fourth window where we can also switch to that camera angle. So the way this works is weaken. Bring the play head to the beginning of the project and we can use our one and two keys to actually trim and switch to that camera angle. So once you have this set up, it's pretty smooth and efficient to get going here. So I'm just gonna press the space bar to skate on this great Kong. And in this video, I'll give you some tips on how to do a multi cam set ups a multi camera set up, going to switch to camera two by pressing two. I quips, I just noticed that I messed up here, so I actually going to restart the project I'm gonna controls at to undo that last clip plane back. Okay, Now, I was gonna use the blade tool to cut the first portion. Okay, let's run it back. Hi. My name is Greg Hung. I'm in trouble, videographer, in this video give you some tips for doing a multi camp set up with just one person. So about every 10 to 15 seconds, I recommend switching the camera angle. So I'm just gonna press to to do that. Civically you have one camera that's facing the person, and then you might have another camera able to side shooting from okay. Switched to kill the one. That's this is a tutorial that you can look at the camera angle that's focused on the camera to minimize the amount and that pretty much we're just going to be clipping between two and one just by pressing the true and run keys. So I recommend or camera one. Okay, so we're just gonna skip through until I finish flipping with project between camera one and camera two. And then I'll show you a few more things before we wrap up this project back at our multi cam edit. I've finished making all my cuts, and now I wanted to show you a couple of different things. The first thing is that you always have the ability to change where you made the incision. You can make one camera angle longer simply just by putting your plea head on the timeline , and it's making the trim a bit longer. If you want. Teoh make camera tube but longer. And while you're actually making these cuts and the video is playing over in the angle area , you can monitor both camera feeds so that if you're messing up on camera one, that's a good time to switch to Camera two. So that's the advantage of having to camera angles. You can cover up something with camera, too. I actually, somewhere over here I'm looking at my notes. So I quickly switched over to camera two. So you couldn't I really see that as much. So over here I'm just gonna demonstrate how we can shorten this camera one clip and make camera tube and longer. Okay. And now the last thing is, we want to make sure we're getting the audio just from Camera one, where we had our live mike. We don't want the audio to switch to Camera two So if a highlight a clip with camera too, and we go over to the inspector, you can see that it's got the audio from camera to checked. But if I go to camera one, I'm going to see that the audio for camera one is checked. And that's the audio we want for all the clips. So I'm just gonna go ahead and select the entire project while I'm in the inspector with the audio tab highlighted. Now you see that we are some close with. It's half checked on two and one. That means that some have on your to checked and some have on your one checked. We want everything on audio One check. So I'm gonna keep clicking on this check box until it's empty and then on audio for camera one. I want a check for all the boxes. Now you can see over there. Not sure if you caught that the audio wave is now, even because it's switch to camera one from camera to to camera one. Okay, now I believe the project is ready to exports, but let's just finish the last step here. I'm going to go to commend E to export this project, and it's pretty much the same as exporting any type of video. You do just want to make sure that you've got video and audio checked, and then all the camera changes. The details are in the timeline, so just gonna select where to save it on your movies, and I'll just move this over to the project files later, I will call it Chips for filming a multi cam set up with one person. All right, so that covers are multi cam at it. So just to recap we filmed with two different cameras we filmed with the tripod and each of those cameras. And if you actually watch the video, I'm giving tips on how to on the production side on how the film, a multi cam set up from the editing side, we imported both camera angles. We did the multi cam sink and then we set up our project. We then applied or color grading because you can see there's a lot of different cuts here. So it's easy if you do the color grading first, and then we showed angles and then we cut them by switching from camera one to camera two. And we actually named the camera from the browser so that we know which is which. Okay, so that's her multi camp. Set up for a final cut, pro X. 62. 7.7 tips for filming a multi cam with 1 person: Hi, My name is Greg Hung. I'm a travel videographer in this video. I'm gonna give you some tips for doing a multi cam set up with just one person. So let's just start off with what the multi camps set up is. And why would you do it so simply, it's just to camera angles shot. Typically, you'd have one camera that's facing the person, and then you might have another camera angle to the side, shooting them from the side profile. But I've decided, since this is a tutorial, that you can look at the camera angle that's focused on the camera. So there's some challenges when you're doing a multi cam set up with one person. First of all is that it is difficult to set up the focus if you're the person talking from the camera as well. So I recommend for Camera one that you focus that on the person so your camera one would be your a camp for your better camera. I'm using the Panasonic GH five for a number of reasons. First, it has the flip out screen so I can actually see what the picture looks like while I'm recording it. also has a microphone inputs so I can plug a lab directly into the camera. So I don't need to record audio into this h five zoom, which means I have separate audio that I would need to sync with later. And we also have, um, a nice picture quality. I still have room on the hot shoe to place lighting over it and ah, my second cameras, the Canon SLR have got a 50 mil prime lens which has some nice boca. But it's difficult to focus if you just have one person. So what I'm doing is I just haven't focused on the camera on the GH five, so that's not going to move. So that's easy to set up. I also have my earphones plugged directly into the GH five so I can monitor the sound as I record it. Some other tips are to film both cameras in the same resolution. So full HD, same frame rate and if you can similar color profiles. And um, I like to use manual settings and ah, just adjust the exposure and the I s O so that Ah, if you have a light meter, that it's nice and balance. So right now I can see I'm using F 3 50 frames per second and 3 20 I So on the GH five and probably on the canon 60 it's an aperture f 1.4, but I think I'm using F 1.8. I saw 100 something like that. Okay, so those air some tips on how to do a multi cam set up with one person uh, las it will give you is that it's nice if the primary camera is within reaching this sense so I can actually adjust the focus and still see the picture. So I make sure that my picture is in focus. I'll probably look at the picture after and see that I'm not in focus, but, uh, yeah, those are some tips for filming the multi cam set up with one person. And in another video lesson, we're gonna show you how to take the footage from this multi cam set up into final cup, relax and show you how we can set up that Edits in final cut pro X 63. 8.1 Importing 360 Media: Hi and welcome to this video lesson where we're going to import 3 60 video. This video is also going to kick off are 3 60 VR section off final cut Pro X Final cut Pro X has added new support for 3 60 VR beginning with version 10.4. So I'm excited to kick off this new section year and just sue start off. You may want to get your 3 60 media on a hard drive or if you don't have 3 60 video, I'm going to supply you with some files that you can test out for this video lesson. I've used two different 3 60 video cameras. I've used the 3 60 Fly four K. This is an orb shaped camera that you can actually get from best buy. And you can tell these files here which have already got set up. If you don't see this window, the media import window and this is the first video you're watching. You can access it from file import in final cut pro X file import media and then ah, I'm just gone to my internal hard drive and folder where I've got my 3 60 videophiles Now, when you have this window open, you may want to add some columns that are specific to 3 60 video files. You can do that by right clicking up on one of the columns, and I recommend adding 3 60 modes stereoscopic mode if you want to add the frame, size and video of frame rate as well and maybe even camera name. Okay, so these 3 60 fly four K files you can tell they were shot in a different resolution. Then 3 60 videos shot with another 3 60 camera. The Samsung Gear 2017. So these are the Samsung Files. They're high resolution Full four K. Let's go back up to the fly files and we can see frame rate there 24 frames the size as well as a 3 60 mode fisheye and the stereoscopic mood. So these air all monos Coptic and the video shot with the 3 60 fly our fish, I but the ones shot with the Samsung or Acqua Rectangular. Okay, so I'm going to look at the Samsung Files. I can play them back over here summat the tennis bubble, and I can tell this is a 36 2nd file. So I'm gonna select the tennis one one of the coffee shop and one at the gym. Okay? And these are full full four K 3 60 files. I'm just gonna pause out there, and we're just going to create a new event. I'm gonna call it 3 60 Samsung. And because thes follows air in my internal hard drive, I'm just gonna leave them in place and just gonna leave everything as is with select import . And this may take a little while. So when we rejoin, we can start looking at these falls in final cut pro X. So you haven't done so you can go ahead and import your 3 60 media. 64. 8.2 Editing 360 Video: Okay, we have a 3 60 video in final Cut Pro X, and we're gonna go about how do we actually edit 3 60 video? I want to point out that when you're creating a 3 60 video, you can look at your clips in the media browser and you can see this Icahn here. So when you see this icon, you know that's the 3 60 video. I'd also recommend that you list your clips in less mode. Well, we want to make sure is that they're set to monos Coptic ECU, a rectangular, so we can do that by scrolling to the 3 60 mode and stereoscopic mode. And if you do not see these columns, you can add them over here 3 60 mode and stereoscopic mode. Now, at the time, the most common settings, like a setter, Akwa rectangular and mollusc OPIC. So you want to make sure your 3 60 clips are set to those values and then once you've set those values, you could just change them on the drop down here. Then we can go ahead and create our project. I'm just going to go back to the filmstrip view, and you can right. Click on a 3 60 clip and create your project. Normally, final cut Pro X is smart enough to know what type of clips there are, but this is a very important thing. You want to make sure you're creating a 3 60 project and then select the appropriate resolution. Based on what? 3 60 clips, your shot. I'm just gonna set this to mollusc OPIC and I'll hit. Okay, I already have. Ah, project set up here and you can see that it's ah Ultra four K project. And these are the values that have set it up for 3 60 ultra four k 23.98 friends for second . And it's monos copping. Okay, Once you've done that, you can go ahead and bring your 3 60 clips in the timeline I already have. And editing 3 60 clips is very similar to just editing regular video clips. I'm gonna show you a few different things about editing 3 60 clips. I'm just going to go ahead and hide the browser, okay? So you can go ahead and lay them down, just like you can read the regular video clips. You can also trim your video clips just like regular clips, you can undo them. If we look at the clips in the timeline, you'll see this icon over here, which is also over here, where we would normally see transform, cropping, distort. And we also have the option to select the 3 60 viewer, which I recommend. So we'll enable that. So let's talk about the 3 60 viewer. The 3 60 viewer is going to give you the point of view from a 3 60 enabled video. So this is what you're actually going to see. If you hop over to YouTube and you view this video over there, the viewer can also change the angle and re orients the 3 60 video to their liking. We can also zoom out and zoom in, and we can also click and drag to change the angle. We can go ahead and reset the angle, and this information over here is what we call the overlay so we can disable and enable that. But if we change the angle in the 3 60 viewer, this is not actually going to set the position. So this is just more of a display. The actual angle or orientation is controlled in this window here, the right window. So there's two ways we can change that's orientation so we can highlight the reorientation icon. And in the right window we can click and drag. We can change the handing value, and I recommend you have your inspector open. We're just gonna scroll down to the Orient area so you can see how these values are changing. When I'm clicking and dragging on the right window, notice how the panning value is changing. And if I click and drag down, this is gonna just the tilt and the role. If we get a little bit too crazy, we can always reset the orientation. So we just school over to the inspector and click Show and let's reset these values over here. Did you want to be a bit more precise? You can also change the orientation by setting the value, or you can move the wheel. So if we change us around, we're just basically handing. So if we look at the left window the 3 60 year, this is what we're actually going to see on YouTube. But it's controlled by either the inspector or by clicking and dragging in the right rear window. So I'm just gonna leave it there, maybe just drag it over a little bit. So we're looking at the tissue box, then angle it down a bit more just to emphasize tissue box. Okay, I've added some transitions here. This is the same as adding transitions in a normal video and on this clip here that set up the orientation. So we're looking at the coffee, and if you move over to the third clip and see in the right window, you can see myself. But what we're actually going to see on YouTube is the actual players that are playing hockey. So I would recommend laying down your clips and try to change the pan or tilt or rule values experiment with it. And when we return, we're going to be looking at adding titles and effects to our 3 60 video 65. 8.3 Adding title to 360: in this video, we're gonna be looking at adding text to 3 60 video. First thing we want to do is make sure we can see the titles. If you cannot see it, you can go over to window showing workspace and browser, or you can use the shortcut. Once you've enabled the browser, click on your titles and you'll see that there's a lot of different categories of titles. So I've put down a three D title over here, and we're also going to be looking at the new 3 60 titles. What the differences are so you can see here 3 60 and I'm just gonna drag it down to your timeline and then we can take a look. That's what we got. So I also have the Inspector Open command for if you cannot see that. So we're looking at the top right hand corner, and I'm just going to click on some of the text options just to contrast what a three D title looks like versus a 3 60 title. So with this 3 60 title, we have different options. We have distance. I'm gonna show you what that does, So if we look at the 3 60 window on the left. If I give this ah, high value of 900 9000 you can see it pushes the text further away was just make it 800 and you see it comes closer. So let's just put that back in zero and you can see we have an area. We can change the rotation. So this is a little bit different than actually changing the angle for the video clip. So you can experiment with that. If you want something similar to rotating the video clips, you can change this option from use rotation to use orientation. Okay. And you can also click the orientation icon over here, and we can try and move things around on the right window. But what we're actually gonna be seeing is on the left window on YouTube or Facebook in the 3 60 view. Let's go ahead and change the text. Let's just change it to tennis 3 60 And if you want to just things like the size of the font, the color that's just done like normal texts. Hey, wanted to say tennis there is 60 and I'm gonna ply one of my presets just to give this text accustomed look. So if I click the drop down over here, I'm just going to select the gold presets. Okay? Applied one of my presets, and let's just make this a little bit bigger, and we've added our title to the 3 60 video. 66. 8.4 Applying 360 Effects: we're going to add some 3 60 effects. Or maybe we'll just add one. But we'll just look through some of the effects now that we've got our base project set up in 3 60 So to begin, we're going to open up the effects browser. You can do that by just pressing command. Five. So when we press command five, you can see our regular effects. But with version 10.4 or above, there's now a new section called 3 60 Well, look at this 3 60 degree patch later, that one is a little bit more involved. And just like our regular FEC's, we can actually preview what it's going to do just by mousing over. So this is our regular Gaussian blur. Let's look through this one here 3 60 aura, taking a little while to load. That looks kind of cool. It's just dragged that one over, okay, and you can see in the inspector that we have some options to play with. So it was just scroll through or the effects. So we have one for sharpening. There is a glow effect, so these aren't too different from what's available for regular video clips It's nice that we can no do this in final cut Pro X. I'm gonna add a Gaussian Blur. I'm gonna try to blur out that tissue box, but I think it's going to blow the entire clip. Yes. So it took a little while and take effect. And the blurs on everything, Not exactly what we want. So let's just see if we can use the shape mask it was. Take that off first and at a shape mask over here around the tissue box. So to make the mass more squarish, I'm going to move this control point and just reduce the border between that outside and inside box. Oops. But with sluggish here. And I think that will do it. So we have applied some effects titles, music transitions to our 3 60 video, and now we are ready to export it. So the next video we're gonna go through how to share this 3 60 video 67. 8.5 Exporting 1st 360 Video: moment is here, and we are ready to share our creator 1st 3 60 video. So it's actually quite similar to just doing a normal export or share so we can go over to the file share menu. Or you can use the short cocky for command E. But let's just go through and look at our different options. So we go to file share. We can see we have the different choices now, just some background experience here, having worked with 3 60 videos before the platform that you share it out to House to support 3 60 video and Facebook is one of those platforms. Aziz well as YouTube now final cut Pro X version 10.4 and I'm suing higher in the future we're using tempore for at the time of recording 10.4 and above will actually inject the matter data. So what that means in plain English is that final cut Pro X will put in the 3 60 information so that platforms like YouTube and Facebook will know this is a 3 60 video in the past would actually need to download and install a separate program to inject manner, Dana so that platforms like YouTube and Facebook would know your videos 3 60 And so it wouldn't look all warped when you actually watch It would act like a 3 60 video. Another thing I want to point out is that you do not need those 3 60 VR classes to enjoy this 3 60 video. Of course, it gives you amore immersive experience, but you can still enjoy this from your smartphone or your tablet. But you need to open a YouTube video using the YouTube app, not YouTube. Open up on a Web browser. Okay, so let's just go ahead and I'm gonna select master file. Okay, so over here, we can just change the title. I'm just gonna put Samsung can see specs and the frame rate. Let's go over the settings. We're gonna include video and audio. Leave it at age 264 Projection type is equal rectangular, so everything looks fine. Let's go ahead and create this video. You know, what I could have done is I couldn't Could have actually just shared it over to YouTube as a destination, but I prefer just to create that file. So I have it on my hard drive, and then later on, I just haven't handy. I can just uploaded later. So in next video, just to recap, we're just going to cover the upload process in YouTube. 68. 8.6 Publishing 360 Video to Youtube: okay, we have are 3 60 video created. And I'm gonna walk you through what? The final step is to get your video onto YouTube and with your 3 60 capabilities, so pretty much you need a YouTube channel and you just need to upload it. And just like any other YouTube video, if you've done this before, you need to give it a title description and tags. Now, to save some time, we're going to skip forward to the already uploaded 3 60 video. I'm also going to provide the link to allow you to interact with this 3 60 video on YouTube . All right, we have the 3 60 video playing on YouTube. You can see we have the controls here, which means you can click and drag around. Sometimes it takes a little while for for it, the loads to get the maximum resolution. So let's just go ahead and play it and walking through this So there's the title that I put up. You can see the Let's just go back there. You can see the Kleenex box that has been blurred outs and I placed the or effect, so things are a little bit blurry. So this is the second scene in the coffee shop. Weaken. See the title and check out the Siphon coffee, and we've got her music playing in the background. Now we're transitioning to the last scene, and we got a nice view. This is the actual point of view for this hockey game. There I am. All right, so that is the final step and how you can view your 3 60 video on YouTube. 69. 9.1 Adding Images to Your Project: in this lesson, we're gonna cover how to add images to your final cut pro X. So to begin, you can either create an event or you can go to file important media and then just browse over to the folder with your images, just like you add video and audio clips. So I'm just gonna choose my internal hard drive and let's just try, get to the desk, talk to the dreamless, these air, my dream locations. Alright, and just like with video and audio, you can select if you want to add it to an existing event or creating event. I'm just gonna added to an existing event and select import selected not to do this for more than one image. Let me show you the second way, and this is the way that I prefer to add images to my project. So what I'll do is I'll just browse to the folder in the finder and then just simply highlights and dragged him over to the event. So let's just do that highlight for these. We'll just drag these over to the events, and what I like about follow Cup Pro X 10.4 is because just highlights an image creating new project. And it's going to create something based on the actual matter. Data in the footage select. Okay. And we have a project ready to go with our image. 70. 9.2 Cropping an Image: this video, we're going to go through cropping and image in final cup. Relax 10.4. Also going to go through some other adjustments. Typical adjustments that I might make to an image. So to make a modification to the image, let's highlight it and clicking over into this area. So we've got crop over here, so crop weaken, click and ring over one of the corners, and we can click here to crop that image. But if we don't want that particular part, we can drag that frame over. And when you're done, I like to just click that all right so we can revert this back by oppressing command said. Okay, so let's try again. Let's do a trim. So we're gonna click over there, so trim gives us more options. The crop just allows us to drag the corners over. But here, with trim, I can actually make adjustments to the top or the sides. Let's just make this window bigger. Drag that down. Okay, When we're happy, we can click trim, All right, some other ways you can adjust. The image is you can adjust the scale, So with a highlight, it you can make it smaller or larger using this slider or put in the exact percentage. Also, with the image highlighted, you can move it around. Now, if you find this doesn't work, you'll need to click this rectangle the transform rectangle over here. And then you can move the image around. And if you just want to bring it back to normal, you can reset all the changes by uncheck ing transform crop. Okay, so we're back to normal. So that is how you can trim crop and re scale and move your image. In final compra works 10.4 71. 9.3 Adding the Ken Burns Effect: in this video, we're gonna cover how to do the Ken Burns image adjustments. So what is Ken Burns? Ken Burns is a pan and zoom effect. You can apply to an image. I don't use that often. So we're just gonna do something basic over here. So I've got an image of my drone in the project. My old drone in the cave so we can see here the images not quite large enough. So I'm just going to increase the scale. So fills up the entire image or frame. And with this highlighted, we can click on Crop. And this is where we have the option to do the Ken Burns so you can click there. So basically the green boxes where it's going to start and AM boxes where it's gonna end. So if I don't do anything, we can play back the image, see what it's gonna dio. So that doesn't really do too much. Let's make the image a bit longer. Tell you what. Let's try. Do this with another image. Humans of me in Cape Town and let's supply can burns, So the green boxes a start position red box is where it finishes So let's just play this back. Sort of a nice zoom out effect. Actually, I might see myself using this a bit more just to give my images some life so you can make a slight adjustment to this effect when you move around the started end positions. Ah, so it's just change it a bit. See what this looks like now. Interesting. All right, so that's how you comply the 10 Byrne's image effect to your images and final cut pro X. 72. 9.4 Creating screen capture & image sequence: in this video, we're gonna cover how to get a screen grab from a video clip. I'm also gonna cover how to do an image sequence, which is a sequence of images from a video clip. So let's start off with a screen grab. So here's a video clip I dragged into the timeline. And let's just say I want a screen grab of this sort of a nice image of sparkling water and some food. So we go to file, share, save current frame and then just select where you want to save it and go over to settings, and you can select from a variety of image formats. I use J Pack almost 100% of the time and the resolutions gonna bhd so 1920 by 10 80. Well, let's go over to a different image. Let's go over the buyer in here. Let's create a new project. So this is a four K video, so this is gonna be slightly higher resolution. And let's just do an image sequence here, So file share export image sequence. So this is gonna be interesting because the images are gonna be high resolution. Usually I do screen grabs in HD and image quality is good enough for the Internet. But this is the first time I'm actually doing ah export image sequence to four k video. And because this is gonna create a lot of images, I'm just going to create a folder for it. Okay, we've got a window from Final Cut saying you already got the screen grab. So I just click show to take a look at it. There it is. There we go. And I think the image sequence is still working away. But let's just go to the folder in the meantime and see what it's up to you and just a little tip. If you actually wanna monitor the process of something that's working, you compress command nine to open up the background tasks. So that window hiding down there I can expand sharing so you can see it's still got quite a ways to go. But if we look at the actual full over there, you can see it's already created coin a lot of images, so I'm just gonna pause us. Otherwise, we're gonna end up with a lot of huge files here and see these files. Oh, are just over a megabyte, so they're not exactly small. I'm just going to go over to the finder window just to confirm they are four K and the R. So this is ultra four K, not full four K. So Ultra four K is just about a little bit lower resolution than full four K 38 40 by 21 60 . Okay, so two different ways you can get screen grabs from video clips from an H D, as well as a four K video clip. 73. 10.1 Publishing for Online Viewing: Hi. In this video, we're gonna cover how to share your final cut pro X video online to share with the world or share with your friends. Let's get started. So to begin, I suggest you have your project open. Here is my finished project off Cape Town. And when we talk about online viewing today, it's typically to sites like YouTube or Facebook or maybe even instagram my preferred way or my prefer workflow. To do that is actually just to share it as a regular video file first. And then I would upload to that site directly. That way, I have a local copy of the file. Not a movie is the default file that you would use to play on quick time. And it's pretty much the defaults video format for Apple devices, but it works on other platforms as well. So let me just quickly take you through the basic master file. So this is going to create a dog mall file, and then we're gonna get info window here and just a little tidbit here so we can see the resolution, the frame rate, audio format, the length and the type of files couldn't create and the estimated size we're here, it's gonna tell us that it's creating a fall for Mac. You can add some meta data in here or a title click on the settings, and then I have the choice to leave it as video and audio, which I want because I have music in this. Or if I'm doing stock video where it's a video without any audio, I can just change to video. Or if I'm just trying to extract the audio over, just select audio and also change the Kodak, you can go up to a higher quality, which will create and even larger file you can see here. The estimated size hire car, the car quality but larger file and on compressed tended 4 to 2 is sort of the new format that cameras like the GH five are able to create these days. But just join enormous follows. As you can see there, it's gonna be over two gigs. Each 264 is currently the most current standards in the near future and maybe h 265 So we click on Nick's when you're ready to create that file and then just select the name of the file and the location click save. And basically, when this file has finished being created, I'm gonna upload that to YouTube or Facebook. Okay, so that's the way I would do it. But let's cover how you can do it through final cut directly so we can also go over to file share. So I have account set up for my YouTube. I have a couple of YouTube account, so we see we have one here. I'll just show you what happens when I click through that. So we get that familiar window. But you see there at the bottom, it's got my YouTube account and a click settings. Now it's got my details here. Before we go there. Let's just take a look. We have the option to select the resolution compression privacy. So these are options you get on YouTube. One option I don't see here is scheduled. All right. So I can actually just authenticate here. If I wanted to go ahead with that and click knicks, and then he would publish directly to you, too. If you don't see that option, you might want to go over to file share, add destination, and what you can do is just click on YouTube in the window, over on to the right, and it'll add an option there for you to sign in. And this window here, we're going to come back to again. This is where you can add different accounts. So this is also where you can add Facebook or video. So let's just close that. If I wanted to share the Facebook go file, share Facebook and sign in, select the resolution and go ahead and share. Now you're probably wondering, what about Instagram? Instagram is one of the most popular social media platforms, so we go over to a destination. You see yoku video, but we don't see instagram. So the way that I can share my videos Instagram is I'll just share out the master file like I showed you and you'll need a mobile device, preferably an apple mobile device. This workflow I'm going to share with the only works for Apple devices because we're gonna be using a format called Airplay. So I'm just gonna go over to the full dear, where I have a video file that would go over to video right click, and it would go share and I would use air drop. So airdrop is Thea Apple format to share files over the air wirelessly. And to open this, you would need to go to your mobile device. Open up, airdrop on there. And if you don't see a, you can flick up the options to open up your control center, turn on air drop and I would transfer the file over the heir to the mobile device. And because instagram is a mobile, only up. That's how you would get the video over to your mobile device to share on Instagram. All right, so that covers how we can share our videos online with final cut pro X. 74. 10.2 Publishing to Apple Devices: Hi. In this video, we're going to cover how we can publish our final cut Pro X video over to our apple device . So to begin, we have our project open in final cut Pro X. We're gonna then go over to file share and then see, we have three options for Apple devices with different resolutions. So let's just go ahead with Apple Device 10 80 p. If you have the device that supports four K and a four K video, you can select Apple Device four K and then we're gonna get We know that's gonna pop up. And over here we can add some metadata under the tags. You can see the resolution audio format, length of the video, the type of video estimated file size. And if you put your mouse over here, you can see the supported apple devices. So this pretty much will play on most devices. If you click on settings, we have the option to still change the format. We can change the Kodak something that's higher quality. You can still change the resolution and we can add this to our playlists. So I cannot this to my iTunes library so that if I want to sink it to my iPad, I can do this after all, right. So I'm gonna go ahead and share this. It's not too big a video, so this shouldn't take too long so I can open up background tasked with command nine. And you can see that it's just beginning the rights. So when it's done, you can just go over to iTunes and you see the library over here. So I will just search for Cape Town, plug in my iPad, and then I can sink this video second watching on my iPad. We're just that 13% here, so I'll just let this finish over here. So that's how we can publish to Apple devices with final cut pro X. 75. 10.3 Publishing to Blu-ray / DVD: Hi. We're gonna cover how to publish a final cut Pro X video to Blue Ray or DVD. So we have our final cut Pro X project open, and we're going to go over to file share, and you can see I have an option for Blue Ray and DVD. Now you need a DVD drive on your computer to do this, a DVD drive that will burn and, ah, what's his click settings over there and you can see that we have a few options to select, so I'll just cover some of these briefly because I've burned DVDs and blue rays in the past . So when you put the burnt DVD into a DVD player, you have some options to just play the movie or ikan. Create a menu you can out of backgrounds, logo and title, and you can preview it over into this window. Okay, and basically, we're click next and create the name of the file, and this is where it would point over to your DVD drive. That's I don't currently have, but that's the steps of how you would do it now for Blue Ray go to file share Ray, just a quick tip that you may be wondering, What's the difference between DVD and Blue Ray? Huawei is double the quality, It's HD quality, and DVD is about 4 80 p. So just about half the quality of a blue ray and the blue ray you need special dis to support the blue reformat. Same with the DVDs. So let's get back to our Blue Ray menu, and you would need a special blue ray burner to create these blue rays. I have a burner that can do both. Actually, it's called a buffalo drive. It's not connected and not currently operational right now. But you can see the menu that we can use to create the blue A pretty much that similar and identical to the menu for the DVD. So he would just filling some of these options and the side on the background logo. And if you want to display menu or just I wanted to play. If for some reason you don't see these options, you can go over to file here. Select add destination. Get a window over here, and this is where you can add theocracy in for blue Ray DoubleClick. Okay, I'm just going to remove that. Alright and just a tidbit. If you do plan to create DVDs or Blue Ray, you may want to check out software meat by Roxio. That's what have used in the past. Software cold toast. It's There's other third party manufacturers that specialize in making software for DVDs and blue rays, and you get options to create MAWR elaborate menus if you plan to create them for MAWR professional use. So that's beyond the scope of this lesson. But at least we know now how we can publish to Blue Ray and DVD in final Cop Relax. 76. 10.4 Exporting Using Compressor: in this video, we're gonna cover how we can share a final cut, Pro X video or project to compressor compressor. Is the program the compliments? Final Cut Pro X. You can use it to change video formats from one to another. For example, dot movies to MP Fours. I like to encode some of my stock video files from dot MRV to photo J Peg formats, and let's just just take a look. Ah, compressor. I haven't opened already, and it is paid software, I believe, But it's well worth it for the amount of things that you can do with compressors. So here it is. So my typical workflow is I'll just export a regular video from final Cut Pro X and then bring it into compressor. I like Teoh. Add a watermark logos to my videos in a batch, so that's another good use for compressor. It could do a lot of batch operations if you need to do repeatable tasks. Two videos that you don't wanna do one by one. And here's just a glimpse of some customizable options. You see, I've got a watermark over here, but you can apply lots of difference. Video effects as a template over here. But in this video lessons beyond the scope, I just wanted to point out what compressor is so from final cut Pro X. If you want to export this directly to compressor and go file here and you can set up a destination if you click compressor settings, you can see I've already got one in my destinations under Blue Ray for 10. 80 p. And these air different groups that I already have set up in my compressor. So let's see. Yeah, there is one for my watermark. Okay, so that's now destination. So I could actually just file share, and it doesn't say compressor, but that's sharing directly to my compressor presets. So we go to settings, click change of the option to change it to another presets type test. You can also do a direct share to compressor. Or should I say you can also send directly to compressor. So if we open up compressor, you can see my projects is in compressor, and now I have the option to add one of these presets. So what am I gonna do? I might gonna at a watermark. Am I gonna convert this video over to a dot MP four. So I would just drag over the preset and then start the batch from the actual compressor program. All right, so that's how we can publish our video projects over to compressor from final cut pro X. 77. 11.1 Why and how to export to XML: in this video we're gonna cover How can we export our final cut Pro X project to X M l? And you may be wondering, Why would you need to do this? Well, I'll just share an actual scenario where I use it. I had a video project that I wanted to outsource to someone in the past, but the actual video files in the project were pretty big. And we're wondering how Doe I actually get the ah finish video project that he's created and continue to open that on my computer so I can make refinements if I need. So after a lot of research, I found out that if you exports your project as XML, you can share a lot of the matter data and the data within your events, your projects. And I read even in your libraries across different computers with final cup, Rolex. And apparently you're also supposed to able to read information even outside of final cup. Relax that support XML for final cut Pro X. That's a bit beyond the scope of this video lesson, but just a little background on why you would need to do this. So the actual sharing all the video project between computers is something I've used this function for. So to do this, you need to go follow export XML. And, um, what it's doing is creating an XML file off my project. So we have a couple different options, and I'll be honest. I haven't tried them all. I I usually just leave it on general, and I leave it on current version. Now, if you do plan to share a project with someone else, they will need the raw footage. And when the open the video project with the XML file, they may have a lot off missing footage in the projects that you can actually really think to the raw footage using file re link files. That's a little bit events, but just ah tidbit. If you do plan to use this export two Excel malfunction and, ah, so that's it. That's how we do it and why we do it. In final cut pro X 78. 11.2 Creating a snapshot: Hi. In this video we're going to cover How do we create a snapshot and why do we create a snapshot in final Cut Pro X? We're also gonna cover how to duplicate a project. So let's get started. So with our project completed, we can right click on it and we have two options. Duplicate project and duplicate Project A snapshot. So let's cover why we would do this. Reason why is it creates a backup. So if you're working on a long video project, you make a lot of changes. Maybe you want a backup copy so you can just right click duplicates. Project Now duplicate project as snapshot will create additional copies off the media. So if you're doing something like a multi cam edits, it's gonna have isolated files. So changes from the original or the actual changes in the project are not going affect the original media. So I would recommend to duplicate a project as a snapshot. So it's a simple was just right clicking and selecting it, and you can see here It's an identical project to this one over here, but it has additional information about the date and time, which is useful if you're creating multiple versions and you wanted experiments with different things, like different coloring or maybe a different version. So if I double click in the snapshot, you can see it's identical. I'm just gonna go back to the original so you can see it's identical. So the snapshots Nice. Just have another copy with separate media. You could make changes, and it's nice to have an easy backup. It's the worst thing you can do to work on a project for a long time and have something happened to it so great to have a backup copy of your video project. 79. 12.1 Changing User Preferences: we're gonna cover changing the preferences in final Cut Pro X. Personally, I don't make changes to the preferences, but maybe you want to change something that's gonna affect your daily workflow, and that actually makes a huge impact as a video editor as a full time video editor. So if you want to access that under final cut Pro, you can go over to preferences, and you can see here that we've got five main areas general editing, playback, import and destinations. So go over briefly each of these so time display. You can change that to a different formats. Hours, minutes, seconds frames and you can reset dialogue warnings. I don't change any of this over in the editing. We have options to change our timeline. Inspector units default Fage oration now editing duration for images. This could be something that you might change if you add a lot of images to your videos. Maybe four seconds is too short. Can change the duration for transitions, and this is another biggie here. If you have used the new coloring options in final cut Pro X 10.4, maybe you want the default correction to be the color wheels or the color curves, so that's where you would change that. Let's go over to playback. Okay for rendering. You can change when it kicks off, and you can change some of the playback options and a swell as player background. Let's go over to import so a lot of these options you'll see in the import window, but you can change the default. I just leave them as they are fascinations. This is one area that you may want to set up. If you like to publish directly to YouTube or Facebook, you can go ahead and book so that you can publish directly. Also, if you like to send your falls over the compressor, you can also do that over here. I've got separate videos that show you how to dive into this area if you want to set up publishing to a blue ray or DVD. So this is where you would do that under destinations, so that covers our preferences for a final cut pro X Again. I don't make any changes here myself, but as you can see, there are some changes you can make that will affect your day to day workflow. As a video editor in final cut Pro X 80. 12.2 Using Keyboard Shortcuts & Customizing the Keyboard: now, do you use a lot of shortcuts in final cut pro X? I use them sometimes, and I'm guilty of not using them enough. There are so many key more shortcuts to remember. Well, I'm gonna show you how you can look up the keyboard shortcuts and also create some keyboard shortcuts off your own that you can save and reuse on different final cut pro X systems. Let's just say another computer. You can import your customize keyboard shortcuts. So let's get started. The area we want to go to his final cut, pro and commands we want to select customize. And this is gonna bring up the full keyboard and you can see here. If we mouse over any of the keys, it's going to tell us what that she does. And we have our modifiers here. So, for example, if we click command and if we use command six, that's gonna take us to the color Inspector. If we do come in seven that's gonna show or hide our video scopes. Okay, what about if we wanted to make our own keyboard so we cannot modify the defaults? What we need to do is to duplicate And I'm just gonna name this after myself, Greg. And now I can make modifications. Now, any of these modifiers you can highlight and it will tell you what it will do. You can also make combinations off modifiers, for example, Command shift five. Well, Haider show the transitions browser. If the key is gray, that means there isn't any command associated with that combination. Over here, we've got some color coding. For example, Editing his blue effects is orange, brown and for example, windows are purple. Okay, let's just say we want to change the command for zoom in and zoom out. So that's one of the shortcuts that I use quite a lot. I know that in order to zoom in, we need to press command plus, So if we want to change that key weaken, search for Zoom and let's just say I want to change. Zoom in. I just want to do that by pressing Plus, now there isn't any plus on the keyboard, so plus is also equals. So let's just click that. And if we don't have any modifier and we just press plus that is zooming in. Okay, how about P? Okay, so If we have no modifier, that's the position tool. So let's just say I want to zoom in with P. You can simply drag this command over to pee, and it's going to replace position Tool with Zoom in. Okay, so no, a mouse over the p No, it's set to zoom in. Let's do the same to Zoom out here. Let's see what under, oh set range set So we can see here what oh does with no modifier set range. And if we use the command modifiers going open the library. So let's just replace this one over here if we just press. So we wanted to zoom out. So simply again a drags amount to the O click. And now, if I'm else over, that is zoom out and that is human. So that's one way you can replace some of the commands using your own keyboard shortcuts. Let's just do one more here. Let's do the voice over or record. Okay, so this is the current keyboard shortcut to start a voice over, and so this is option shift. A pretty hard to remember. Let's just say we want to make this shift a so shift a is to monitor or on you. So we wanted to start our voiceover recording with shift a Mrs Drag it over and we can see here that now if we mouse over shift A will start and stop her voiceover recording if I take off the shift modifier a Well, just select tool. All right. The last thing we need to do is if we want to save all this hard. Work is, we can say this by clicking safe, being close, and we can just make sure which keyboard we're using. We're using Greg. So if I want to start a voiceover recording, I can hit shift A And that should bring up the voiceover pictures were that my picture is okay. And we can also import this key ward over to another system. So what I recommend is that you save this file, you export it and put it in the cloud like Dropbox. We're somewhere else. So you could easily recall and important this shortcut file. So I'm just going to save this over into our project files if you wanna import this into your system. All right, so that is keyboard shortcuts for final cut Pro X 81. 12.3 Creating an imovie project on mobile: Hi. In this video, I'm going to show you how you can make a quick video movie with the APP. My movie. It's a free download on apple devices, so head on to the APP store. If you don't have it, you will also need to import your video or photos the media you're gonna use on your mobile device before you start So you can use your cable with iTunes to transfer that over. Or you can use the airplay technology to transfer that wirelessly. Assuming you've done those two things, let's open up the I'm movie up and going to show you how I created my masterpiece called Thailand Life. We're also going to show you in another video in the Final Cut Pro X Course how you can bring this video project from my movie into final cut Pro X and then edited using this professional video editing software. My movie is good, though, just for creating quick video projects on your mobile device. So let's get started. First thing we can do is click the plus and we're gonna select movie. Okay, so we want to recreate the Thailand Video Swiss Re thing I'm gonna do is head over to my video media so you can highlight a clip. And if you want to play back, just press the play button. And if you want imported, you can click the check box. So the highlighted portion is what's going to be imported. Let's just say that I just want to import a portion of a clip that can use my finger just to select a portion and click the checkbooks. So now I've got my two clips highlighted. Now we can click, create movie and import those two clips. Okay, let's just say I want to move this clip over to the end. Aiken, simply just touch it and bring it over to the right side. So now we have to video clips, and if I tap one of the video clips, some options open up, I can speed it up. I can add a title and add a color filter, so I want to add a color filter, so I'm gonna click filters and select the blockbuster effect and also on at a title. And if you let these titles playback, you can actually preview what they look like. So I'm just gonna select gravity quickly. Just add a title here just by tapping on the text. Thailand life, too. This is called three, and I wanna add the filter, too. The other video clip is well, so in a click blockbuster. So it's consistent. Something else I want to show you is if you click in between the clips, you can see the transition so we can change the duration. Oh, that transition. Or we can change the type of transition by defaults. A select dissolve as the transition, which is fine. So you contested out just by rewinding or bringing the play head before the transition, then press play. All right, that's fine. Something I want to do is I want out of photo just before this diving video clip to give an establishing shot. So I'm gonna hit the plus, and it's like photos. I'm gonna find my aerial photos album and look for appropriate photo, which is this one. This is actually when the water was blue. It's an aerial photo of the same sites, so I think it's just ah, very fitting. I'm just gonna change the transition here just so you can see what that looks like. Okay, so added, Ah, sliding transition. See, there's some movement in the image, and that's what we call the Ken Burns effect. So with the image highlighted and auction selected, we can actually see Ken Burns enabled. If I click that I can. Besides, Ken Burns enabled disables that. But I want to keep it enabled because it's a nice effect, all right. And that is almost the complete video. Maybe I want to add a music truck here just going to see if I have any music. Okay, so I just selected a music track there, So let's just quickly play this back. This is not a long movie, so I'm gonna click done, and I'm just gonna double click there just to name the movie Thailand Life three. And when we ready to share its we can click this icon here. We can share it using airdrop, not airplay. So to do this, you'll need another Mac device with air drop, and you can see my laptop is just showed up there so I can either share the video file or the movie project. I'm just gonna do the video file for now, and it's exporting the movie. And if you selected the video project, you can open that project in final cut. Pro X is a new feature. So that's what we're gonna cover in the next video. But hopefully, this gives you enough so you can create your first video in the free. I'm movie up on your mobile device. Wait. A competition filming. I got it. Uh 82. 12.4 Importing iMovie projects into FCP x and editing it: Welcome to this video where we are going to open up and I'm movie project that we created in our iPad. Or maybe it's your iPhone. We're gonna open that up in final Cut Pro X. If you're interested in how Weaken create a simple video on I movie owner iPad and send it over to our Mac book wirelessly using airplay, you can watch the previous video lesson on how to do that. So I've moved the I'm movie project file over to a folder on my Mac book, and now I'm just going to go over to file import and I'm movie IOS projects. So why would we want to do this? What a cup Rolex is a bit more powerful. There's more options that you can use the mobile version off. I'm Movie is pretty limited, but it's a quick way to create something on the fly. If you're out on a boat and you happen to have some media on your mobile device, all right, so here's the project file and just gonna go ahead and click import, And just for some of you that may not have version 10.4. This is a new feature that was introduced in final cut Pro X 10.4. So you'll need that version or higher if you're watching this in the future to be able to do this. Okay, so it's found the I'm movie Project Fall. It's recognized it. Now it's just doing its thing. And when those finishes, we're gonna quickly open up that project foul, maybe make a few modifications and then we'll create our final video file. Okay, we know have music imported into the events, and now I want to bring this into the timeline by dragging it down. No, I'm gonna use commands minus just to zoom out a bit. And this clip already sounds a bit loud, so I'll probably have to reduce the on you on it just a bit. So let's lower, but 14 decibels. This move the timeline needle to the beginning, and let's just give it a listen. Okay, We have insert the music, we reduce the volume, and one final touch that I want to do is I just want to bring over that same color filter to that new video clip that I brought in. So this blockbuster effect may not be in final cut. Pro X. I was going to do a quick search here. Okay, let's just select Oh, and it's not so I'm not sure why Apple does this, but there's not consistency across my movie on different devices. So because we have this color filter, we want that filtered to be applied to the first clip. So here's a little trick. I'm just gonna press command, see, to copy all the affects and any modifications that were made to this clip. And then I'm going to paste the effects and I can see I've applied the blockbuster effect over to the clip and just click on that clip. I think we lost the scaling. And again, this is a four K video clips so we can zoom in a bit because this is an HD project and still retain high quality resolution. All right, so this is our projects. So the last step is we're gonna export by pressing command E and I will put the I movie project file in the project files so you can practice importing this I movie project into your final cut pro X and see what modifications you can make in the final cut Pro X and see what you can come up with. So again we brought over and I movie projects into Final Cut Pro X and the eye movie project was created on my iPad. But you could do that in the iPhone, and we made some modifications. And now we're just going to export a regular movie through final compra wax that was originally created on. I'm moving on the mobile device so pretty cool and just got a select where I want to save it and I'll save it so I'll give you access. Is video fall if you want to watch it? Not the greatest movie, but I just wanted to illustrate the the workflow in the process to bring that project in the final cut Pro X. 83. 12.5 Demonstration: Vlog Putting it all together 4K footage with audio and titles: I wanted to give you behind scenes off the vlog that I'm creating for my Cebu Philippines flog. I've prayed at least 3 to 4 hours of work in the hair and I can tell you Yeah, once you start, you don't think it's gonna take that long. But depending on how much work and how perfect you wanted to be in how long and take a long time, you can see my vlog is approximately 14 minutes. And my goal is to put this on YouTube and try to build my brand. Try to give direction to people who want to create trouble videos. So I mean, directing to my trouble videographer school. And, um, let's just start off by what I've done so far. So imported the footage and I use different keywords. So once I imported the footage, what I did is used the keyword tool that we covered earlier in the course. So if I highlight the clips and I click on the keyword tool over here, I used the key words for selection. And if I wanted to label the Miss food, I would just entered in over here. Select, enter and Final Cut, which give it a nice keyword folder, and this really helped to find particular footage for a category or a day. So the first thing I think is to really get organized. I also went through some music trucks to select for this flawed before starting it, and actually created a folder for that as well. So you can get your music from sound clouds or cc mixture dot org's, or you can go to some independent artists. I use one called Ah, his name is Beira. Craddick paid $15 for access to his entire album catalog, and, um so I imported those music tracks, and once all the footage was imported, I started laying down some of the footage clips, so I used a variety off different media. Let's just start off by looking at the actual project. So I decided to create a 10 80 p 24 frames per second project. In this project, I'm using a variety off media shot at different resolutions and frame rates. I'll just go to the list view here so you can take a look. So we got GoPro footage shot at 10. 80 p 24 frames. I've got slow motion shot at Ultra four K 60 frames and then I have full four K shot at 24 frames. I'll just try scroll over here so you can see so you can just add these columns here for not showing up. So frame, size and frame rate and the GoPro footage I've actually already color graded them and cut them because I licensed video clips and what I like to do before I creative log. I didn't do it. For all the footage, only the GoPro whale shark footage is I cut them for stock footage so they already color grated. They're ready, trimmed to the best portions off the clips or not raw video clips anymore. And this is actually a good first step to do before importing, so that the clips are all ready to go. You don't need to focus on color grading something I should have done, but I didn't. So now I'll have to wory about color grading actually in this project. So here's the ultra four K. It says 29.97 so 30 frames. But I actually said it in the camera to 60 frames and ah, you see, we got some HD A 24 frames is a GoPro footage. So this is a good example of a project that uses a lot of different resolutions and frame rates. All in one project, I have full four k video clip shot the 24 frames. Now it's okay to use high resolution video in lower resolution project. So four K in HD project for some of those four K clips, especially the full four K clips. What you need to be careful of is that you're not getting any black borders on the top or bottom because it doesn't. The ah video clip doesn't match the frame size off the project, and you can easily just highlights a clip. I'm not sure this is an example of full four K, but I'll just show you the area where you could fill that out. So over here and special conform, you could select fill so I could do that, too. More than one clip if you have a lot of full four K clips that are in your HD project, so I'll just quickly take you through some of the project here. So in some of these areas that have along play area with no audio. I'm planning to do some voiceovers. So I think over this part where I'm showing the apartment, I may detach the audio and just voiceover because maybe I was focusing on actually filming and not talking enough. So maybe I want to redo that. I've got one music truck there and faded it out, Did a transition into my talking spot over here. And then you notice I've got some clips over the talking head, and then that's usually when I'm talking about something like the beer. And then if I have the B roll or this stock footage, I like to actually show what I'm talking about. So that's just a little tip you can use. So let's just keep going on there and you can see over here. This is near where I'm finishing talking, and I've got a music track underneath. I like to start playing it while I'm finishing one scene. So it transitions nicely into the next scene, which is when we're driving. Go see the whale sharks, okay. And then a transition with the same music into the waterfalls. So when I'm laying on these trucks, I'm also trying to think of the story, and I like to lay down my trucks and sequential order. But, um, I try to think about other travelogues I've seen and movies, and you don't want to try to lay things down. So it's actually entertaining the watch, and it makes sense. So we have a scene that we're in nature in the waterfalls, and then we quickly transition to the city. So I want to provide some voiceover, some commentary just to guide the viewer and talk about some of the food that we tried in Cebu while Nick seeing we shift to another selfie talking head where I'm sharing information about the flight costs. So to help the viewer along with that, I'm using the actual screenshot of my plane ticket and a lower thirds title. So I'm using the transform tool to position that plane tickets so it's not completely covering my face, and Arthur's is good for sharing information, and then we move on to some B roll, and then we got this another apartment tour. So I'm thinking to do voiceover to provide some background, and over here, this is something I want that's not finished yet this will be part of the last step is that this is the actual festival, one of the main events. But I don't want to just put any music truck. I actually want to use some audio from the actual events, So I recorded audio. So I'm actually going to detach the audio and somehow try to just put this in the background music and then cut up Eclipse. So just all blends in nicely and then transitions into the food bits. I want to talk about the food briefly, and then we have another music truck where we lead into the snorkel venture. This is another, ah, big thing I want to finish off the video with, and I think you should finish strong with a nice closing scene. So I may do a voice over at the end just to put some closure on the trip and and on a nice music truck. So that's how my vlog is shaping out. So just do one more video just to wrap things up. I still have to do the voiceovers, finish the senior log scene, and I gotta figure out the color grading. There's a lot of color grading to do for a 14 minute project, so ah, well over visit that in the next video 84. 12.6 Demo Cebu VLog color grading: we're finally finished. The CEB movie log finished the color grading, inserted the voiceovers over here and added a title and a few lower thirds titles here. So I think this vlog is a great example of how we can apply. But if everything we've imported video clips of different resolutions and frame rates of high resolution into a low resolution project, we've got clips that we've color grated. We've insert titles, voiceovers, music fade and fade out transitions, storytelling. So let's just cover the final portion of the color grading. And I just want to start off by saying that I think a lot of videographers have their own different styles. And there's more than one way a lot of video offers turned to third party color grading tools. But with this particular version, 10.4 final cut now has improved color grading. So maybe videographers will begin to use more off the native tools, as we say, and cameras are introducing new technology as well. Before I shot with the Canon SLR and I used a color profile that gave a cinematic looks straight out of the camera, so I didn't spend too much time on color graining, but now shooting with E Cindy de flag color profile. It means a lot more work in post production, so I gotta rethink if I can create a more efficient workflow myself. But for this project for you guys and girls, I did this color grading manually, So let's start off here to start off with the color grading. I recommend changing your workspace, and you can do that by going toe workspaces color effects That's going to optimize your real estate so you can view your video scopes here. I changed it to a three block window, set up my RGB parade and vector scope and my Lima scope so I can monitor all that from final cuts. And my general workflow for color Grading would go as follows, so I would apply balance color. So that's the built in tool. So we do that for all the clips to start off with. After that, if there is a lot of white in the scene, I would do the new manual white color balancing. Then it would look at the exposure, maybe adjust the highlights, mitt tones or shadows, depending on the scene. Anyway, look at the RGB parade and in just any color casting. If there were too many reds in the highlights that would bring that down by adjusting the highlights they're bringing, bringing this knob away from the red. And it's sort of a dance and an art because you have to make the adjustments in the color wheels, and then you have to pay attention to the feedback that you're getting into video scopes. So, uh, that was my general workflow for color grading this project. I played closer attention to the money shots, which all covering a sec here and for talking videos like this one. Where I was talking, I would need to pay more attention to what we call the vector scope. Make sure that this line here is between yellow and red, and then this let up area is about the core of the way. So we're getting enough color in the flash tones, and to do that, I would bump the mid tones. But closer to the orange direction for the whale shark footage. Those were already color graded, and so I just imported them in. And now let's look at some of the money shots. Like I said, I paid more attention to the money shots, video scenes that I film with my Panasonic Change five and high bit rates. So there's more room to work with. And over here I'm just gonna take off the color correction so you can see how much it was over exposed. And we've got our Reds, greens, blues that are way too high. So applied some exposure correction over there. And I did the same for the other money shots at the waterfalls. So that was the basic workflow for the remainder of the projects. Let's skip forward. This is the last part of the video you can see. I've got my voice over over here, the music. And here are the clips of US island hopping. I paid a lot of attention to color, grading these as well and see what it looks like without it can see. It's a bit more gloomy, not as warm. So we've got things to pop out a bit more, and this GoPro clip is a bit different than the others and I'll show you why. So I applied the huge saturation curve. If you remember, this is one of the new occurs that allows you to do a color mask and isolate the color so isolated the ocean. So if I take the soft, you can see looks a lot more murky and green and through the hue saturation, I drop her. I was able to isolate the ocean and make it a bit more blue and more Akwa, more torque toys. So it's just keep on going here. I added some lower thirds titles just to promote my footage and my video school and I finished the scene with a nice, appropriate seen that I I thought match the end of the video. I gave my final thoughts on See Boo and color graded. This one spent a bit more time. It's kind of a nice shot looking at the ocean. Second, you can see without the color grading that you know. There's not a lot of dynamic range now, a lot of highlights, So I bumped that up. Kerry bumped up the colors. I also did increase the color temperature a little bit. The default is 5000 and did a cross the gulf and the project. So instead of feet to black, it's feed toe white because I change that in the preferences if you remember. And, um, I just end on seen with my company logo. So that's our project again. We applied a lot of different things here. This was an HD project, but we imported a lot of different clips of different resolutions and frame rates. Four K 60 frames a second ultra four K and were able to use those high rez videos in a low rez video project. We imported several different music trucks. We recorded voice overs, apply titles, transitioning and along the way we have to tell somewhat of a story and then the color grading. That was quite a giant task, but I developed my own workflow that I shared with you and used the new color wheel that was introduced in the final cut Pro X 10.4. The last thing to do is to export the video fall, the video and the audio. I'll include the video somewhere in the course for you to watch if you're interested, and I hope that inspires you and give you some ideas of how you can put everything together for your video. In final cut Pro X Thanks for taking the course and hope you learned a lot and enjoy this and got entertained along the way 85. 12.7 Demonstration: Client promotional video behind the scenes 4K and drone footage: this video we're going Teoh Analyze finished Klein's video project, and I think this will be very helpful just to give you an idea of how we can actually use final Cut Pro X for this style of video. The style A video was a promotional video for their course, so they were doing talking head. We also got some B roll in here. We've used some titles. We did a separate audio feed, so you may learn a few new things and you'll learn how we can apply some of the skills we've learned over the course. So a big thank you to Natasha for giving us permission to review her finish client project . So let's get started. The first thing to be aware of Waas how was this video shot? And I mean the resolution and the frame rate. This project was shot in two different types off four K resolution. Over here we use the Ultra four K, which was shots at 30 frames, and I set it up on my camera to do 60 frames so we can get this slow motion effect Were some of the talking head videos like this one, they were shot in. They were shot in ultra four K at 60 frames a second and actually just was one of the first talking head interviews. I've shot in 60 frames per second, and I wanted to do this to match the resolution and the frame rate of the B roll and the talking head videos as much as possible. The client also wanted Drone B roll in the video, and we can see further on in the project nets. We're gonna have some aerial B roll, so we have our drone B roll shot a full four K, almost 24 frames per second. Now there are a couple options of how you can approach shooting a different resolutions and frame rates, trying to set up your project and the resolution of frame rate that matches most of the footage that you're gonna include. It's not always possible, and one of the options that you do have I didn't do it. Here is you can use a converter to take your media and try Teoh conform it to a similar resolution and frame rate. Now, if the video clip doesn't match the frame rate off the actual project, final cut pro X and does have some support that will try to match the frame rate, all the video clip to the project. So if we click this clip here, so this is B roll and we scroll down, we can see that Ray Conform is turned on and they're different types of frames. Sampling floor is the default. So is actually doing its job here. And the client didn't even notice that we had video clip shot in different frame rates. But sometimes you can. There's a big difference between video shot at 24 frames per second, which are closer to the film look, and 60 frames per second is more of a slow motion or broadcast look. 30 frames per second is quite common for Web video. Okay, so these aerial shots are shot in full four K 24 frames and the talking head these shots in ultra four K 60 frames and what's the actual project shot in? Let's just check that out so we can actually scroll in the Media Browser Click Project, and you can see the actual project is full HD 60 friends for a second. So something to be aware of is that You can include higher resolution video into lower resolution project so you can use for four K video in an HD project. But it's not a good idea to include HD in a higher resolution project like four K, because you're gonna distort the image quality because it's a lower resolution. So you also get to see how we can use high rez full four K in an HD project. Another thing I want to point out before we start going ahead is if you're putting a video clip into a project with the different resolution, there's an area that you can fill out here so final cut Pro X will try to fit the video clip. But if there's a difference in the resolution, you can also select Phil so that it will fill up any black borders. Sometimes what I do is instead of doing the spatial conform, I'll actually scale up the footage so that it's more than 100%. If I'm inserting four K video into an HD project and it doesn't quite match, all right, I think we're ready to start analyzing this video. And by the way, if you want to see the finish video for this project. You can go ahead to my website over here. She clears productions dot com and just click on the portfolio. If you want to see this finish video just over there. Okay, Let's just take away the effects browser so we can increase the size of the timeline. And Okay, so you can see I started off with my company logo and actually got a title over here. Have a title over here. And before we actually start the video, I have inserted a transition, not just the transition, but I have what we call a gap. And what I like to do is insert a short gap. This is three seconds long with a cross dissolve on either side. So this gives a nice, smooth fade to black, and then it'll fade into beginning on the video. So I'll just show you where we can find that that's under insert and generator. So edit menu, insert generator gap. So that's how we got this here. It's over here. You can see we've got what we call a secret eyes clip. So a secret NYSE clip is when we record separate audio and separate video and the reason is because the audio from the camera is not very good. So here's a sample clip that we shot over here, and I'll just play this back just so you can see how terrible the audio is always for the buzz, which serves. Okay, you can tell that there's a lot of echo in that audio, and that's because it's coming from the camera, which is far away from her. Now, if we zoom in on Natasha, we can see that there's a love my care and I actually recorded the audio separately, and we may see the audio files here. I always heard the word chatbots working in tech and startups, but it didn't look a so that's an example of a dedicated audio file. So what I will do when I'm creating a Klein video is I can actually highlight the video clip where she's talking and the audio. So I have two clips highlighted right now, and I can right click and select synchronize. And because there is the same audio in that video clip, it's just the poor quality version. Final cut Pro X is going to use the audio to sync up a video clip with audio with the dedicated audio. If that makes sense and if we hit okay, where final Cut is going to do is create it would call synchronized clip. So we have that over here and after Final Cut does that. What I'll do is I will go over to Inspector, and I will uncheck the audio that's coming from the camera. And then I'll just conclude the audio feed that came from the dedicated audio source. In this case, it's a field recorder h five zoom. So that explains the white says synchronized clip. And I just briefly went over how we can create a synchronised audio clip. Okay, this project also has music in it. And what actually happened here is that the music in this project was not long enough for the length of this video. So I actually had to do a bit of a remix here at to include the beginning of the music, and you can see by this icon here I'd really did a strong feed in. So let's just play back to see companies making with them open rates click rates. I mean, the fireworks just started going off not weak. I was planning to launch a social media agency and in this moment, so I'm not sure if you can tell from that playback, but you can always go to my site on the portfolio. If you want to see if you can catch this sometimes as a video editor, you can actually see those details in the timeline. But for someone who's watching the video, they might not pick this up. So that was something unique that I did don't often do this. So he did an audio remix, and I faded it in again. So the idea was just to make the music long enough for the gap because video is longer than the audio or than the music. And then we have some B roll here. So beer oh is like stock footage, these air scenes of her actually doing something. I'm just going to reduce the size off the browser, so I'll just play this back and you'll see this B roll play. But there's actually voiceover, so there's some talking. Well, we're playing this purely. I was planning to launch a social media agency in this moment, I realized, Holy crap, this is the next big thing like bigger than social media. It's so I scrapped an idea and started looking for pots. I took every course out there, but it always felt like something was missing. All the courses always left things out. Soon enough, I convinced my business partner. So we're continuing on in the video, and you can see that there's a separate audio clip here because the recording was done at a separate time. Very common thing to do because people can only remember so much so as a video editor. One thing to note is that you may need to feed in the audio clips slightly if you want to avoid any rough transitions. Sometimes there's a bit of, ah, a blip in audio Pulip between the two different recordings. So I can just smooth this out with a little ah, fade in over there and depending on how did was recorded. When I record the audio, I like to listen to it. In this case, I remember the customer or Natasha spoke louder than her actual test, so actually had to reduce the volume by three decibels and nothing out of the ordinary for the rest of this. I just got some B roll over the audio and then we're back to talking head video style. So I've got the music underneath. I've got the synchronize clip where we've removed the audio from the camera and we're using the dedicated audio. Another thing I'll point your attention to is I used the audio analysis so you can actually click this magic wand and final cut will do an analysis on the audio, and then it will allow you to select different options to improve the audio. In this case, I actually applied noise removal at 50% and I think with final cut pro X 10.4 noise removal feature actually is pretty good sometimes. Or in the past, I would actually export the audio once I've actually cut it up like this, and I would export the audio Elton to away file so I could reduce the background noise in audacity. There's a separate lesson on that. It's just a lot of work. Teoh. Remove the background noise and then sink the video to the audio just to have really good audio. So now this noise removal option built in the final cut pro X can see me some time. So let's just play back, see how it actually centers. We could build lots for their clients. We were running out of money, so he said Yes immediately. And then three more agencies reached out wanting this same. These partnerships literally saved our business. In a month, we were managing dirty thoughts. Okay, maybe you can or cannot hear that usually or almost always. I use earphones while I am listening to this so I can pick up any of these ah improvements that noise removal makes. Okay. Now we are moving on to the project and we've got mawr. Voiceover. One thing to note here is that we have now. I started to put the drone aerials and we've got a compound clip here. A compound clip is just basically a group of clips that have been put together in one group . So it's just better for organization. Cleans up your project, and you can. Any adjustments you make are applied to the entire compound. Now, if I want to break that up, I can under clip break apart items, and once that's done, we can take a look at the individual clips. So we highlight this clip here, you can see that it's full four K at 24 frames and so final cut. Pro X would need to make some adjustments to this clip so that it matches the project. Sometimes you may even need to scale this up if you're getting Black Borders because this is an HD project and we're inserting four K. You also have the luxury to zoom in or, ah, increase scale off four K in an HD project without losing resolution. So I'll just show you what I mean by that because this is four K resolution footage in HD Project. You can see we can actually scale it up without breaking up the image. So that's a nice luxury that we have using four K in HD and let's just continue on over here. We've got a similar scene. You may need to actually play back the video because it might be a bit choppy over here, but actually just did it cut. Well, she was walking, and then I cut to another clip where she was walking, and sometimes it can get away with this. Depending on the timing, I'll just show you what that looks like you'll be ahead of your competitors. Soul. Your clients see you inside the course, so sometimes I'll do that just to. It's a little trick I used to save time. People may not want to see. We're doing the entire walk. So sometimes you can get away with cutting that I like to use across his old transition between different scenes. And I like Teoh end on it. So that wraps up our in depth analysis of this video. Believe it or not, we're not quite there yet. We're going to cover the color grading off this video in the next lesson. 86. 12.8 Client promo video color grading: last thing we'll look at in this project is the color graining. I actually made this video before the final cut Pro X, tempering for update. And so I used my look up table. So the look up table is a way we can apply some base color grading two footage that shot in a very flat color profile. And that's how I shoot my footage. So I have more room to work with in post production, but that also can create a lot of work. So this look up table allows me and apply some base color, and I use one from Color Finelli and basically applied it to the clip. And I selected the look up table that closely matched my camera and actually have to dial down the effect to make sure that the RGB parade was color balanced and ah, this Emmanuel exposure adjustment nature. The flush tones were OK and then last thing I did was apply broadcast safe effect. Now this all takes a long time. So if you have another clip that shot in similar lining, which, thankfully and interview does, what we can do is copy what we did and then apply the color draining so I can I can actually copy this color. And then for another clip that shot in the similar way I can goto edits and paste those effects that I applied to the previous clip. In this way you save a lot of time. So we go to paste the fax that will actually pace the color. No, I'm just gonna edit. Undo. If you actually want to select and choose what you're doing, you can go at it pace attributes, and in this way you can select. Okay, so we want the effects. We want to look up table braca safe. We want the noise removal and we can pace it over. So that's one way you can save some time on your workflow. As to the drone shots, these were imported from other projects, and I already applied minimal color grading to them. And that wraps up our analysis of the project. So I hope this is giving you some help or some insights into how we can use final cut pro X for a talking head interview for a client 87. Course Summary: congratulations and thank you. Phil and I would like to thank you for enrolling in our course and choosing us. We hope you learned a lot. You enjoy the course and got entertainment along the way at the time. Recording this chorus version 10.4 is a major update. It requires you to upgrade your operating system, and it also includes updates and support for a lot of new technologies like 3 60 br h E V C H 265 files and a lot more power in the color grading. So I think that final cut Pro X is a good investment. I was there right in 2011 when a lot of videographers didn't support Final Cut Pro X. But now I believe it should satisfy most videographers needs from basic to professional work flows. Apple is futuristic and its forward looking thinking keeping up with the new video technologies. My recommendation is to practice lessons with the project files if you have a camera start to make your own videos and maybe even start a YouTube channel where you can start to share consistently, get feedback and maybe even build up your own following with all the features in final cut Pro X and may be easy to get overwhelmed. I recommend to start off with the basics, import some of your video footage, make some basic cuts, maybe add a bit of color and start publishing your videos, export them, get some feedback, and then when you get comfortable with that, start to ADM or layers to your video editing game. Maybe you want to start to add some shortcuts. Or at some temple it's and do things like he were collections that help you organize your video projects so that you can be you edit a lot more efficiently and look at getting a second monitor. That's a big tip from me, because it will make things a lot more enjoyable for you as a video editor, and you can give your eyes arrests with a larger screen to enjoy that amazing footage. Try to find the workspace that works best for you. If you're color grading, maybe you want to change your workspace layout. Personally, I like to display the viewer on the big screen and then do my editing on my laptop. But up to you really hope you enjoyed the course and learn to lock Thanks and I'm out