Learn To Edit Using Final Cut Pro X - From Import to Edit, Export & Backup | Benjamin Halsall | Skillshare

Learn To Edit Using Final Cut Pro X - From Import to Edit, Export & Backup

Benjamin Halsall, Final Cut Pro X & Adobe Courses

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30 Lessons (2h 52m)
    • 1. Start Here: Check Version of Final Cut Pro X

      1:08
    • 2. The Interface - an introduction

      1:49
    • 3. Setting Up an Edit - working with Libraries, events & the browser

      8:24
    • 4. Importing Media - import Quicktime Video into Final Cut

      5:02
    • 5. Editing Basics - drag and drop and edit buttons

      5:43
    • 6. Moving Clips on The Timeline with The Select & Position Tools

      7:38
    • 7. Refine Your Timeline Edit using Trimming

      5:49
    • 8. Split Clips - 3 ways to split a clip on the timeline

      2:35
    • 9. Transitions - learn how to add, edit and use transitions to fade to black

      5:05
    • 10. Project & Timeline Customised Setup

      7:38
    • 11. Retime - Speed Up or Slow Down Clips on The Timeline

      7:51
    • 12. Split Screen Creation

      11:48
    • 13. Audio - Tips for Managing Levels & Edits

      6:28
    • 14. Create Transparency Using Keys & Animation

      4:52
    • 15. Editing Tip - use a J or L cut to fix an error

      5:28
    • 16. Scaling a Sequence From One Resolution to Another

      6:40
    • 17. Composite a FIFA Player Card PNG onto Game Footage

      4:05
    • 18. Stabilize Your Video Footage

      3:26
    • 19. Automatic & Manual Color Correction

      5:05
    • 20. Desaturate or Add a Tint to Your Video

      3:27
    • 21. Add an Animated GIF to Your Edit

      6:02
    • 22. Create Scrolling Credits

      5:39
    • 23. Export an Image as a JPEG or PNG

      2:34
    • 24. Speed Up Editing & Save Disk Space with a Proxy Timeline

      4:48
    • 25. Clear Space on Your Hard Drive by Deleting Render & Proxy Files

      7:10
    • 26. Backing Up in Final Cut Pro X

      7:07
    • 27. Create a Timed Image Presentation Video with a Voiceover

      6:08
    • 28. Create Looping Videos for the Web or DVD

      6:55
    • 29. Export an Image Sequence of JPEGs, TIFFs or PNGs

      2:46
    • 30. Image Resolution Tips for Final Cut Pro

      12:37

About This Class

This class is for version Final Cut Pro X 10.2

If you are using 10.3 or 10.4 then head over to my new updated class:
Final Cut Pro X 10.3 & 10.4 - Complete - from Import to Edit & Export ✅ 

Learn the basics of the interface, how to cut, edit and export your video as well as important techniques such as such as transitions and audio editing.

Key lessons will cover how to backup your final cut projects as well as how to manage files so that you can avoid filling up your hard-drive during an edit.

The lessons in this course will give you solid foundation in Final Cut Pro as well as introducing some advanced techniques such as split screening and smart editing to fix problems.

Transcripts

1. Start Here: Check Version of Final Cut Pro X: hi spent household here before we dive into final cut pro 10. We want to check that you're working in the right version for this set of tutorials here. So this Siri's is a final cut. Pro temp went to users, which is an older version of Final Cut Pro on. If you're using the newer version of Final Cut Pro 10 then you want to head over to my interest from copper attend for version 10.3 and 10.4. We're gonna look now how you find out which version you're working with. So in either version of final Cut Pro. If you come up to the top left menu final cut Pro menu and come to about final cut pro, you'll see the version that you're working with. So if you're working with 10.2, then you're in exactly the right place. If you're working with 10.3 or any other 10.4 versions, then you need to head over to my other tutorials. Your final skill share, which is called Final Cut Pro 10 10.3 and 10.4 complete intro from Import to head it and export on it has 2019 and brackets. That's the most current version off final cut pro 10 that that you trolls based on. Otherwise, if you're working with version 10.2, you're in exactly the right spot. Let's jump in on have a look at how we edit with final copper attempt. 2. The Interface - an introduction: this video Siris on final cut Pro 10 is really gonna run you through everything you need to know about the basics of porting media previewing a media, making selections, making rough cuts on, then editing and exporting from final cut Pro 10. Now, the former of these videos is that each one is going to be very short, which will enable you to just jump to the videos that explain the exact technique that you want to learn what I want to do. Now, I just have a quick whistle stop tour of the interface on Did you see when you open up Final cut pro 10. So on the left hand side here we have the event, Raza. Okay? And in the event, browse and we basically use this preview window to preview any clips that we have selected from our event library. Okay, we'll have a quick look at that shortly. Over on the right hand side here, we've got the viewer which really serves two purposes. One is toe preview. Any clips in our event library that we're making selections from so marking in and out points before we actually perform our edits and then also to preview our final edit that we have placed on the timeline informants. One edit. Okay, we have the toolbar along the middle here would really come to some of the different functions within the toolbar of different types of headed. We can perform a Zwiesel, the short cookies that you'll need to perform kind of basic head. It's in Final Cut pro 10. Okay, we'll run through some of the animation tools that you have. Final cut, pretend, and also talk about the interaction that final cut Pro 10 has with Apple Motion as well. It's kind of partner motion graphics application. Okay, so let's move on to the next video and get started. Final Cut Pro 10. 3. Setting Up an Edit - working with Libraries, events & the browser: Okay, so here in final cut pro, we're gonna have a quick look at the libraries on the browser here and talk a little bit about how this could be used to manage our media. And also a little bit about where final cut is saving your your files in your project files as you're working when you're edits in final cup. So up on the top left here we have Macintosh HD is projects and events on basically this eyes. Ah, file. Actually a package on your hard drive that is storing these projects and events. OK, so actually, we can locate this on the hard drive. And then if we need to, we can move that to a different drive. Okay? And you can see as I over over it is telling me where it's located in my Users folder on the Bent household under the Movies folder on Macintosh H These projects and events but F C P bundle. Basically, it's ah kind of folder that looks like a fire. Looks like you can't get into it and access that the information within it, which you can. But if you do need toe back up all your projects will move things to a different computer. You can copy that whole file to a different drive and you'll keep all the media that you've imported or the projects that you've been working on in here. We have ah, Siri's, um, off different events that we, uh we've got set up. Okay, So basically, there are two things that we have Ah, project, which is our edit. Essentially. Okay, So if we highlight Macintosh HD is projects and events will see under here all the media that I've imported Onda also all the edits that I've important and we can filter those manage those. We can use the search up here to actually find particular projects, which makes things nice and easy. We can also view things by day and so on and so forth as we moved down here. And we have different events that we've been working on. So whenever I start a new project, the first thing I'll do is actually go to file new and make a new event like it will make it within the library. I have selected So in this case, within Macintosh HDs projects and events on once I've got that new event set up, I can start to make my new projects, which are essentially might. My edits, my timelines, the final projects them out, putting within the event. OK, so that's happened. That looking event we've already got set up here. So under Theis Sugar Shack, even we've got a syriza's. Ah, clips. Okay, we can throw down, have a look at them. We can also scrub over them so you can see as I'm hovering over days flips. Final cut pro is giving me a preview of those clips. I can also highlight this and hit the space bar, and it will play through that clip. OK, so you can see wherever I'm scrubbing here, it's actually gonna play through that clip. Okay, So we can do a few things here in the browser so we can scale down the size of the clips that were with you. So we get to see ah different portions of those clips. As we zoom out, we're seeing just the clip itself. And then as we zoom in, we're starting to see longer portions of those clips so you can see that we've got a short clip here. Just under 20 seconds and showing all of it there. Then we have a longer clip here, and it just enable us toe scrub through it slightly differently. So that's this slider down the bottom here. Okay. And then also within here, within our event. This is where we make our new at it. So we have the clips that we've imported here. But if you want to make a new edit, we would select the event that we wanna make that edit within to the project. We want to make that head it within and then go to file new and project. Okay. And this is where we set already up, so we'll just call this sugar shock. Breath cut. Okay on. Essentially, we've got a couple of different options here. We'll set our video properties for our timeline for our project based on our first video clip here, Andi. Then also, we'll just leave the audio rendering properties is the default. Okay, you can go in and set up custom sayings. We're not gonna cover that here, but essentially, I'm setting it as the first video clip will work in most instances. Especially if we all footage is shot with the same camera. It works pretty well, and it means you're not moving from one former to another right off the bat. So let's click. OK? And really remember, we're focusing on the libraries and the browser here. So what we end up with when we made this new timeline or project is way scrolled up on We have, ah project here. Now, that is a blank timeline. Okay, so let's just drag one of these clips into here, so just highlighted an entire clip and I can drive it straight down into my timeline on now , if the guns at it so you can drag and drop head, It flips straight into the time I we can click and drag out a selection of our clips, okay? Or just drag the whole thing. Okay. Now, once you got things on the timeline, we can shuffle them. We can move them, we can edit them. We're just gonna have a look back at the browser here to kind of see what else is going on . So if we have a look up here within ah project, Okay. I want to see a bit more information about what's going on between the eclipse and the projects. We can bring up the inspector. So if you go to Window and Inspector, we can start toe, have a look at the settings, the frame rate, the resolution of our projects and also of our video clips, which is really useful when you wanted to manage your your media. And it's kind of no, I'm the editing and rendering things at the right resolution like So we can just double check here that our project is 12 80 by 7 20 for instance, on that it's running at 29.97 p price Second, and also there are clips that were anything down to that. Timeline are exactly the same. Okay, so essentially one thing that is a little strange and final cut is that you never save a project during that final cut. Kind of constantly saves that for you on a lot. People were nervous about this at first, but it seems to do a pretty good job. I've even one final crashes. I seem to rarely lose headaches that I have made up to that. That crash, though final cut has a pretty good job of saving these projects as you're working with them . Okay, so that's a quick overview of the libraries on the projects. You can see these clips in here. One other thing that we might see in in the browser window his audio files as well. Okay, so if we go to my show a real file? Yeah. I mean, you can say we've also got some audio files here, which is where you see this green kind of icon. Okay, So might see audio files. You might see image files as well within the browser. And again, we can modify and change in review those. But the key thing to remember here is that and it I'm here just gonna hide the inspector, um, is saved within this file. This, uh, file on the hard drive on, then within that event, this is where we're making our new edits on where were important our media. Okay, so if you want to go and look for those files that you've imported, and then they will be located in a folder hierarchy on the hard drive. Okay, that's in this quick run through of the library's Andi browser. If you have any questions about final, cut them please. That has Ted send me a tweet happen household and I'm happy toe run through anything in more depth. 4. Importing Media - import Quicktime Video into Final Cut: Okay, so the first we're gonna have a look at here is how we import media. Now, in this video series, we're gonna focus on the technique. So any video footage that you have shot yourself will be kind of considered when we're working through things so that the techniques will be described. Andi should apply toe any media that you're working with. Eso the footage that I'm working with here is shot on a DSLR it saved in a quick time. Formats on is compressed in an age 264 video. Former will come to some of that Kodak information a little bit later on. Also talk a little bit about how we can import video into final cut pro 10 from a A camera connected via TV, so take place camera. Most new cameras nowadays are working on shaping video onto disk. So this workflow is really what will be focusing on. So we're gonna jump into file on imports on. You can see you can import. I maybe projects here or movie event libraries were just gonna jump straight into the media imports and just really drag and one of these movies that was shot at West Best in Ottawa, Canada, this year. Okay, so you can see we've got this option to use the scrubby slider here on to scrub through our video footage just to get a preview of it. We can hit the space bar place for it on If you're familiar with keyboard shortcuts for video editing, you can use the J. K and L Keys Teoh forwards on Factors Media, which is gonna select this one video on click import selected. Now, this set up here is really important. So only importing these together got a couple of options about where we save our files. So we've got the option to add a video to on existing event Will come to talk about Vince in the event library in a minute. But where you gonna create a new word for it? Tewes text 1012 minutes. Gonna They create events and store this media or reference this media within event in front . Copper 10. We've got the option to copy the files. The final cut for events, Father. Now, if you're organizing your media on your own father structure, then you shouldn't need Teoh do this. If you want to keep your final cut pro violence that any immediate life such as images, movies, audio, you import its final cooperate sent in the default folder of a neutral check this. I'm gonna leave it under checked for the moment, that means it's not been a copy. This file is just gonna keep them in their original location. I'm also gonna keep these checked as well. So create optimized media had created proxy media. Okay, I'm only importing one file. So this option fit point follows a key way. Collections doesn't really apply a little lip at that later on. Really key words. One of the really nice speeches. Final cut, pro 10 in terms of managing, organizing, your media took about how that functions as part of our process of marking up kicks before , before it, how we could use keywords. Favorite stock market. So believe these to check. The main reason is I'm working a laptop, so actually create up twice, media, it's gonna make the editing process a little bit smoother. Okay, on my can also check these options. Analyzed the violence color, but I find people now. If you don't check these options here, you can also check late from, but this has been analyzed. The video. Andi, allow us to apply Convergence. Electric, actually a private were just at this point in time. We just didn't announces. We have this box checked that the speed say, I'm gonna leave it. That turned up. And then we've also got something to find people. So if you're capturing footage such as interview, fix it where you got one or more people in shots, I actually find number of people have been a particular shot on collect those as smart collections on using Q. But we've also got the option here to analyze fixing the audio problems again. It's gonna leave those unchecked for speed sake. Here, you can always apply those a late stage. If you want to import, you can see quite quickly on my clip in courts on shows up here. Okay, Now just kind of run through the different view options by so you can see that that sign are for this. Clear Takes up space. I'm just gonna come down this duration adjustment slider. Just increase. That's until get some. Now I stopped you. Okay, So, bus, essentially, how to import a movie into final Cup and you can see now that it plays back there from the canal begins going on how we mark up I'm headed or clips the time. 5. Editing Basics - drag and drop and edit buttons: Okay, We're here in Falcon. Pretend we're gonna have a look here at how we perform. Have some of different kinds of edits that you can within final cup. Okay, so we're just gonna pull together a very quick rough cut of some British that I have, and then just talk about really the kind of technical aspects of how we're bringing these clips down on also what, those different head It's actually mean. Okay, so that's just Ah, jump up here and we're gonna very quickly grab some footage so will just drag out a quick selection. So I'm up in the browser here, and I'm dragging out selection off this short clip, drag it down to the timeline. So that's the first edit that you might do a final cut pro, which is a dragon. Drophead it. Okay, so we can drag and drop on entire clip by clicking on it and dragging it down. Or if we hover over a flip before we actually got it selected and just drag out, weaken, drag a selection of that clip and drop. It was a time when, Okay, Now, if we come up to a different clip, okay, we've also got some edits that we can make. Okay, so we're gonna talk first of all about these headed buttons. OK, so the first edit we talk about is the upended it. Now, this is nice, because what it's gonna do is take the clip that we've selected and put it right at the end of our audit. So wherever we are, wherever our play head is on the timeline here, if we hit, it's just place the play head here. If we hit append, it's gonna place that edit right at the end here. Okay, So if we're playing through on we've found a clip that we want to add, we hit upend, and it's gonna drop it right. The end. I've already Okay, so the next said it we're gonna talk about is the inside it. Okay, so if we drive between two cliffs now, one thing you might notice I'm driving here is that my play head is snapping to these edit points. Okay, So if I go to view okay, you'll see that snapping is turned on. Okay, I can turn this on or off. It really helps sometimes to have it on, and it really also hinders, sometimes have it on. So you will find yourself as you're editing more and more turning stamping on enough. But in this case, we're gonna snap to an edit point and then click on this insert button. Okay, so if we click insert, you can see that it's put the clip in. There just is, ah, different clip here. Okay, so place up ahead at the joint between these two edits the Edit Point and used the insert. Edit this middle button here, and that's gonna insert edit, and you can see it's extending the timeline as its inserting. If we grab a clip or a selection of a clip, it's going to stretch this out a teeny, tiny bit more on. We have the play head place right in the middle of a clip here. If we used the inside it, it's gonna split that clip, so you do need to be careful with it. It can split things, and if you didn't want to split them, can Nicholson problems? But ultimately, wherever the play head is, that's where you're gonna insert. Okay, Now we'll jump back to the first of these three buttons, which is the connected it. Okay, so what this is going to do is actually connected? Clip to the timeline. Okay, so let's just drag out a selection here on Hit Connect. Okay, so this is gonna connect a clip, okay? And you can say I should have got my my connections here turned off. It's actually here. I've got my connections turned out, so I just need to show them so that you can see what's happening here. So I'm gonna come down to the very bottom, right? And of my time. I here on click this little button, which allows me to change the view options for the time on the cliff appearance in the timeline of the things like the clip high, but also allows me to show and hide its connections. And you can see when I flicked this on. Now I see it. A connection here popping up. Okay, so basically, this clip, um here is connected to this low clip. OK, now, one thing that we can do once we have clips in the timeline as we can shuffle them. So if we grab a clip here, click and hold it and drag it to the right we can actually shuffle these cliques trips around like a deck of cards. Now, the difference with a connected clerk is that we can move it independently. Okay, off those other clips so you can place it wherever we want it. But if we have it connected to a clip, we move that connected clip and on the main story line and the connected clip is gonna move as well. Okay, which is handy if you've got an edit timed with clippers below and you're gonna move those and the connected click is gonna move with those as well. Okay, now, one thing as you're getting more more used to final cup with these head, it's which you do get used. Quite a lot is, too. He's a short cut. So you w a Are those shortcuts for connecting, inserting and a pending clips? Okay, that's a quick run through of those three headed bones on how to place one time. I also have to shuffle those clips once they're on the timeline. If you have any questions about final cut my editing with final cut, then please, that has take to send me a tweet at Ben Household on duh. Look forward to seeing on the next course 6. Moving Clips on The Timeline with The Select & Position Tools: Okay, so we're gonna have a look. Okay, so what, We're gonna have a look out here in this tutorial. Is the selection tool on the position tool in final cut pro. Okay, so if we come to the middle menu here, we can bring up some of the timeline editing tools you can see we've got the selection tool , the short guys, A for that and then just a couple of tools down. We've got the position. Toe. Okay. These are both for moving clips around on the timeline. We're just gonna have a look at the different ways in which these work. So the selector will be the default tool that pops up when you're working with final cut pro for the first time. So if we have a look at what this does, we've got three clicks. We've got three clips on the timeline here that we're gonna work with. OK, so, first of all, the selection tool allows you to select individual clips, um, and to select them and delete them, but also to move them around as well. Okay. So if we grab this clip a T end here, we can pull it and drag it, and it will shuffle like a deck of cards on the timeline in final cup. Okay, so the eclipse will move around based upon where we pull our the clip we selected to. Okay, now, the timeline, the duration of timeline will stay the same in this instance. Okay. The other thing we can do with the selection tool of selectable is actually moved clips up to be connected clips rather than clips on the main storyline. So if we drag this clip and put it up, you can see we can now connect to clip to the main story line rather than it being on that main story line itself. Okay, let's pull this guy back down. So let's pull this guy back down, okay? And you can see here that the clips are away snapping into position as well. Okay, now the position now the position tool does something very different. So if we grab this clip, we can move it up and connect it in the same way as we can with this electoral. If we just do command and they had to take a step back. If we now with the position toe grab this clip. Let's drop this guy back here. Okay? Now, with the position tool, okay? We can grab this clip and pull it up and connect it. But what you can see is different. Here is if we look at the end of the timeline, we're left with this slug at the end. Okay, So the position to was assuming that we want to keep the the timeline the same duration. Okay, that's the same If we take a step back by tacking. Commander said here, if we want to move this clip around, okay, so if we drag this back in time, you can see I've got a slug at the end there. That's growing in time. And I'm also over writing this clip before, so I'm not putting this clip in between sections of the other clip. It's actually moving into a different position and in this case, over writing part of this clip here. Okay. Now, the other option that we have with the move tool is that they need to be aware of what's happening when we when we do this, when we move clips around. So, for instance, if we drag this first clip and move it forward, we can override all or part of a clip. OK, so you can see that second clip in Our timeline is completely disappeared now that we've moved it. And if we position it back here, we end up with a slug in that place rather than the moved almost could be really useful when you're moving clips around a timeline, but also kind of tricky to the position to also allows us to do a straight lift. So if we want a lift, a clip off the timeline without these other clips kind of dropping back into place, then we can do that with the position tool as well, which is really useful to be able to do in some instances when you're managing your credit or audio within it. Okay, so let's take another step back here now with the position tool on the move toll. We also have some different options when we're cutting and editing eclipse. So it's gonna put these 1st 2 clips in order. This clip in the middle should be the beginning. So I'm gonna jump back and I have already to the selection tool. Okay, I'm gonna move this The beginning but I'm going to move this to the beginning. Okay, So now this clip isn't it flows into this different angle so we can see the acrobatics that going on in the background now that till we want to use to make this edit is the selection tool. Okay. Now with the selection tool, if we select the in or out points the end of a clip, we're actually going to do a ripple at it, OK? Which means that we're gonna short in the clip on the timeline. So if we click and drag us to the right, you can see now up in the top, right? We can see how second clip and we can match the movement here to the movement in the foreground. Okay, so let's play this for Okay, so we have a smooth at it from one shot to another. Okay, If we use the position tool for that same edit, then what? You'll see what happens when we drive this in. Its not gonna perform it replied, it's gonna move thean point, but it's gonna leave a slug in between. So this is useful if you want to create space between two clips Okay. Obviously, you're deleting part of this clip as well as you do this. But ultimately, you're creating this slug here which would allow you toe connect a clip in that space. Okay, It's also useful. If you want to add some black space at the beginning of your video, you can select ALS the clips on your timeline and then driving forward with the position tool to do that too. Okay, so you can see now we've moved all our clips on we've got black space at the beginning of our video. So that's a quick hunter of how to use the selectable. Okay for editing and moving clips on the timeline where we're shuffling where were shuffling clips around for the selectable on the timeline where we're shuffling clips around like a deck of cards, as you can see here on also the position toe where we're moving clips around, but actually making edits that over writing other parts of the timeline. So they're both tools that you need to understand, but in particular the position to when you begin to use it. Just be careful with it because it can overwrite and delete parts of your head it. Okay, I heard that she tour has been useful. If you have any questions about final cut about using the position of the about using the position of the move toe, then please don't hesitate to get in touch with me, have been household or send me a message, but has take to get in touch with me on Twitter at Ben Household or to connect with me on to check out my website. Www to check out my website. Www ben household dot com. 7. Refine Your Timeline Edit using Trimming: Okay, so today final cut, we're gonna have a look at some of the tools that we can use to make a really refined selection. So the project I'm working on here is a beat boxing. And we're not gonna do much of the editing. Were just really going to look at how we can make a very precise selection from the original clip up here. Okay, so we'll have a look at a couple of methods. So the first method to make a selection is to grab the clip and then just begin to drag out on it. And we will then have a bit of footage that we can drop into the timeline. That's really one of the most imprecise ways of doing it. Because they're super zoomed out on this clip. And so we can really only see a small section off what is quite a long clip. So let's ah, change one thing by refining what we see here. Okay, so we're gonna hide the inspector across in the right here to give up sounds a little bit. A little bit more space here in the library's OK, so once we've got more space, we're gonna zoom in so we can zoom ren right in on these clips. Okay, Now, we've already got selection here, which you can see. It's gonna be over written when we make a new selection. Okay? But we could also remove a selection by using the shortcut option and X, and you can see when I press option exit will remove the old selection. Okay, so I'm selecting pressing option X on removing that. But we can also keep making new selections, and that will just renew the selection. Okay, so you can see what quite zoomed in here so we can start to see the different areas off the clip that we want to select. Now, one thing with this particular clippers that we might want to see the audio way for us because we're selecting different beats within these clips. I'm just going to scroll down a little bit here, and we'll grab this clip here, but we want to make sure that we get the audio from that clip. Okay, so we're gonna come down here on show the audio way forms which will now show us where the different sounds are in our clip, we can see quite clearly where these kind of beats are so we can drag a selection around there. So we got quite a nice kind of clean selection of just that. Okay, so it's hard in this up a little bit, and then we're going to refine that when we drag and drop it down to the timeline. So I'm gonna remove this a longer clip that we added and then come and drag and drop our clip down the timeline. We can also use the append headed here as well. This place to add a clip to the end of the timeline so you can see a pen dead. It adds it right at the end of the timeline. Okay, so now the next step is to find out which bits of the clip we actually want to keep. Okay, so we want to cut these super short around this audio away form. So in the timeline, I'm gonna place the play had just before the beat. I'm here on then drag ahead in time on my edit point will snap to my play head there. Okay. So we can move to play head to the location that we want to cut. Now one way of doing this is to play through. I find the point which want to stop and then drag to a particular point. The other is to move forwards and backwards by one frame at a time. Okay, just to see where you want to place in or out point. Okay. So I'm gonna just use some short cuts on the keyboard, which some of you may be familiar with. The J K and L keys. If I play it backwards forwards. You can start to hear that beat now. And if we play backwards, Okay, we can then hold down K and tap jnl to move forwards and backwards by one frames. This is one of my favorite ways of kind of marking clips out or making selections on. Then to cut the end of this clip off, I can either drag the end of this clip back in or I could use I to market in point press delete to remove the rest. That clip. OK, let's have a look at another method of doing this. So we'll come back to the previous clip that we added, okay, and we'll place the play head here now to trim here. I don't even need to select the clip. I could just do the function under the trim menu to trim the start of this clip. OK, so it's option on the left square bracket and you can see that's gonna trim right from the beginning of that clip. Okay, so that's another way of refining it trimming applet so we can start to work quite quickly with this. So if I press plane can hear that be trailing out. If I hold down K and AL at same time our play forwards and backwards at 1/3 speed so you can hear, you know, the beat pretty much trails out by this point. And then I can use Bolt option, the right square bracket, the truth from the end of that clip. So that's one other method of training a clip. So we've had a look at a couple of different ways of trim. A clip here. That's just add another clip at the end here so we can place our play head here. We can use cult on the less guy brackets the truth. From the beginning of the clip, we can trim the end of the clip by marking in point here and then pressing backspace on that world trim from the end of the clip, Um, and then we can also, if we just had another clip at the end here. We can also place the play head position, the play head using keys like J, K and L to move forward and back by one frame at a time and then drag edit point to the play head, which is quite nice because accurate and it snaps really nicely. Okay, we've also had a look at how we can zoom in and out of the browser so that we can get an overview in more detail of individual clips that were working with in final cut pro. And that's a few tips for refining your edit it final couple attend. You have any questions? Then please drop down to my website and household dot com or send me a tweet up and household. Happy to answer any questions that you have about working with final cut pro about trimming , editing and the Ford C in the next tutorial 8. Split Clips - 3 ways to split a clip on the timeline: Okay. Here. Final cut. Today we're gonna have a look at how we split a clip in three different ways. So the first way that we're gonna look at is using the blade tool. So if we come to our tools in the middle here from what? We already have a clip on the timeline that we're going to split and just click and go down to the blades. Okay, so the first way we can split this clip is just a click right in the middle, and it will split the clip, but we can slept each of those sides of the click each of those sides of the clip independently. Okay, so then we could move them around at them, cut and so on and so forth the next way that we can split a clip. So we're just gonna go toe edit and undo. Okay, so we have ah, split clip back and intact as one whole pieces. You can see here the next ways toe. Use the blade tool, but to use it with a short cut. So the way to do that is to place the play head wherever you want to split, and then hold down command of happy, and that would do the same That will split the clip exactly where you want it to be. Split. Okay, so just undo that. So edit, undo. Or as I did command and said, we can also use the Plato in this way by using the scrubber. So this is the same method, the second method. So place the play head where you want it to be split and then do command and be, And it will split Where the scrub Aries. So this red line, rather than where the play head is, so the scrubber will override the player. So then we could dilate in the beginning of that clip. Okay, so the next way display clip is if we come ahead here in the timeline, Okay? We're gonna place our clip around here. Just this guy's coming. Now it's the maps, and we're gonna cut the same shot from a different angle here into that point. Okay, Now, the way this is gonna split the clip is by using the insert at it. Okay, so we have our play head here. We have a new clip selected that we want to insert. Okay, And then if we come ahead and use the insert edit here, you could see that. Now if we just move forward on the time on a little bit, we have placed that new clip in here. What? We've also split the original clip into Okay, that's the three ways that we can split a clip in final cut print. 9. Transitions - learn how to add, edit and use transitions to fade to black: okay here and from copper over Gonna have a look at how we add transitions And also how we fade to black in final cut pro So the first thing we're gonna look at here is what we have on the timelines. We have three different clips. Okay, Now, one thing that's important to note when you're adding transitions is that you have media available to you. So what this means is that when you're cutting your your clips that you don't see the red line on the edge here. Basically, in order for eclipse toe overlap to be able to transition between one another, you need to have ah, section your clip. So, for example, what that means when we pop up here to select a new clip Is that when we actually we make a selection or drag out an area that we're gonna add to the time we don't go right to the media limit here? OK, we can look an example of what that will mean when we see that in the time outs I just selected right at the beginning of the clip here. And if we drag this now down to the timeline and just with the selection tool drag out, we'll see that red line popping up. And if you see that on both sides of your clip, then final cut won't be ableto add a transition to your your clips. Okay, so how do we have a tradition? The transitions are available across here on the right hand side under this central button so we can show the transitions browser. And basically this will show a series of transitions that you have selected from one of your menus across here. So the basic dissolves, such as crossed his old on fade to color are available here. So if we scroll over these, it's going to show us a preview of that transition. So out of transition is really simple. We can just click and hold on it and drag it across to the timeline here, and you can see the transition is added. This orange line at the top here means that the transition is rendering in the background now, so we can still play it through by hitting the space bar, and it will give us a preview of that. But when we stop editing now, you'll see in the central bar here. We just had a little background render going on and final cuts now rendered that transition . So we have some cross deserves available here. If you want to access and information about those cross dissolves, we can go out the window to the inspector and we can see some information about that. Okay, so for crosses are but we pretty basic information, we can change things for the audio fade, which is added automatically. Here s so we can have an s curve plus three db and minus DB or a linear transition for our audio. Say it in or audio fade out on then for some of them or advanced transitions. If we click Onda late, this guy, we're just come to our wives, okay? And if we have an insect white Yeah, then you can see we have some other options for that transition available to us up here in the specs, we have real nice control of that transition. So, for instance, if you look at how this tradition works, it's pulling in from the center. We can either come here to change the sense point so we can move the center of whether transitions going to happened so we could made it to around the focal point of the next clip. Okay, We can also change the edge treatment up here so we can have ah, faded or feathered border. We can increase that or we can change it to a solid color or noir. Okay. And you can see how that now faith in nicely over the top. And again, if we hang on, we'll see this orange bar disappear. Once we click away from the timeline and final cut, does its background rendering Okay, So to fated black or to a different color. If we scroll up and come back to our dissolves, you can see we have a fate of color dissolve. And if we drag there once the end of our clip will get a fade to black. Okay, Now, the nice thing about using the fate of colors that we can change it if we want to. So if we click on the color here, then we can pick a color that we've previously chosen. And we can use the hue, saturation, brightness, sliders. Or we can switch to an RGB slider if we want to type in a certain value or jump to the other tools for setting particular colors so we can set a particular color that we want to fade to. Okay, we can also click on that downward pointing arrow here, which brings up a different color picker when we can pick out a color that we want to face it. So now when we fade, it's gonna fade to that color. Okay, so that's a quick overview off how to add transition and how to add a fade to black or a fatal color at the end of your film. You have any questions about Final Cut pro 10. Please don't hesitate to send me a tweet at Ben Household. I'd be happy to answer any of your questions. 10. Project & Timeline Customised Setup: Okay. Here, Final cup Today we're gonna have a look at how we consent up a new project on rather than just using the default settings for things like the resolution. The frame, right. We're gonna have a look at how we can set up some custom settings and where we'd look to find those and we set up a project and also then when we're within a project as well. Okay, so if we go to, ah, the farm any we're going to go to a new and new project because this basically your edit, the project is your edit. Bring up a new timeline, okay? And we're gonna name this frame, right frame rate and resolution. Okay, We're gonna drop it into the tutorials. Fold it now. The folder it's gonna drop it into is the one we have here. So the event that we have selected here is gonna be the default event that lists here. We can also change that, and we're setting up a new project to have one of dropping into a different I told her. Okay. Now, normally, the default for a project is set up toe set the project based on your first video clip. Ok, now, this is great if you're working with the same kind of video throughout your project. But if you're loading in something different on your first friend, you know, like a low resolution clip that it will base it on that low resolution clip that could cause some problems later when you start out states and full HD footage on the rendering and everything will still be at that lower resolution. So I tend to like to work on the custom sayings on and just make sure that I've got the projects that are exactly as I wanted to be south. Okay, so here we've got a couple things and there are some key things to look out for. So this is a 10 80 p. Okay, the footage that I have the format I have selected here. Okay, Now, if we have a look at this list, you can see that we've got some different versions of HD that we can use and also send different versions of standard definition SD we can use. Now the thing to really look out for on the third you're probably looking for if you're gonna broadcast in the weapons. 7 20 p. HD. 10 80 p HD interlaced is for broadcast, former so it will actually interlace it, which is a form of compression. And when you play it back, if you play it back online, sometimes that ventilating can show, particularly when this and fast movement in your video footage and you'll see a little funky, tiny lines at the edges of the things that are moving that can often there the annoying. Once you've gone through a dissidents for a long time, rendering exporting a project. So try and avoid the eye unless you know that you typically need it. Working at high resolutions to K four k for kind of cinema or large scale projections on their knees, the seconds you'll need. But normally 10. 80 p and 7 20 p well suffice for most people's requirements were listed with 10 80 p HD here, which gives us a resolution of 1920 by 10 80 Now the resolution for HD can be different. 10 80 p could be different on the way this works is that not all pixels are created equal, so it's 14 40 by 10 80 will a smaller file size But when it renders out on screen, the 1440 pixels in the wit will stretch out to a slightly rectangular picks, or rather in the square pixel that you'd get with 1920 by 10 80 the same for 12 80 by taters. So you're having a slightly lower resolution image in order, kind of loose and file size. So I only stick with 1920 by 10. 80 works well for May for the projects I do on then. Also here we have the frame. Right now, the most projects that your friends second will be more than a good for most video editing projects. But you can also export render 60 p as well. Okay, a lot of video will capture at 60 p as well. So if you're working with a lot of DSLR cameras and shooting on those or higher end cameras , you can shoot 60 p or higher, which is nice too slow motion, because then you can set your project up a 30 when you've got a 60 French second. That will work well for your project. Okay, so let's just leave it at 60 p for the moment. Okay, We'll click OK, here. And we're gonna drop the clip onto the time. I just look at how we can see the settings for that clip that we've imported. So we're gonna jump to the desktop a video screen capture here. Okay, We'll drop this onto the timeline, so this will inherit the settings that I set up for my project here. Okay, so I just got a screen capture without sliding from one screen to another. So if we have a look at this screen capture on, have a look at the video info. Now, up here. Now, if you don't see the inspector, just go to window on. Do you should see the option to show inspector on this Shows you the video options. There's no audio with this particular screen capture and then under the info, which is where we'll see the actual frame rate and the other information with that video clip. So here we concede that the video that were imported is 1920 by 10. 80. So it's the same resolution, and it's also 60 p. Okay, so if we scroll down, we got some other information about the location. Okay. On also the available media representation. So this would be the original format. And if we've asked final cuts, optimizing or correct proxy version would see the green light by those as well. If it had actually done that, Okay, we could see the duration of the clip here as well. Most importantly, Hey, resolution. And then also the kind of format now is a couple of things that we can, um, look at here as well. So if we come to our event library here, just scroll down. We're just looking for this project we just created. So down here we have our project. Now we have to go back to the event library to see the kind of current settings off this project. So if we highlight this, um, over here, okay. And then come to the info to the info window is still open, Inspector, you can see that. We can see it's 1920 10 80. These of the projects things now rather than the video on the timeline settings on. We can also see that we've got this option. Um, with this selected to modify the settings. Okay, so if we click on modify, we can change the resolution on the frame rate of our project. So let's just have a good doing that. So if we changed, it's the 7 20 p. Since it's dropped the resolution to 12. 80% 20 we can, um we can't change the frame right here once we've got it set up. So if you do want a lower frame rate, you would need to set that the outset of the project. Okay, so we can change this. We can also change the resolution off the 10. 80 p. But we can't change the frame. It's There's a limitation on what you can actually change. Okay, So if we click, OK? Now? Okay. You can see that the petitions scale. And now our project is 12 80 by 7 20 minutes. Were changed the resolution of this, but not the framework. That's a quick intro into how to control the resolution and the frame rate of your projects . Okay, So if you have any questions, then please don't hesitate. Toe, send me a tweet at Penthouse. I'm happy toe. Answer any questions you have about setting up projects and final cut or any of the editing work that you might need to do 11. Retime - Speed Up or Slow Down Clips on The Timeline: either. So today we're going to cover how to change the speed of a clip in final cut pro. And also just have a little play around with it and see some of the interesting effects that we can get going as we start toe play around with speed in final cut. So we're gonna jump up. I've made a selection of a clip here I'm gonna use. I'm gonna drag this down to the timeline, okay? And this is my introduction to another course that I've taught, and basically, we're gonna grab the hello part of this. So we're just gonna come in. So we're just gonna come in and play this and pick out a section of it. So the market, we're gonna come in and grab a section that so we can see the voice starts here because of the audio away form. So we're just marking out point here and use delete to delete their to start that clip. So I use the shortcut Oh, to market outpoint, and then we'll press play. Okay, so I'm gonna grab everything just before I start saying my name. So the high. Hi, there. My name is okay. So we'll cut out there. So basically, what we have is this I don't know. Okay, we're gonna play around with speed on this, and, uh then we'll have a look at how we can copy and paste this and have some fun with speed. So festival to change the speed, Meteo, grab the whole Plett. Okay. And where we're going to change the speed is in the three time button up here on the middle rights of our final cut pro interface. Okay, so if we click and hold here, we have some options for retirement. We're gonna look at the basic options eso the slow in the fast options here today. So first, we're going to slow this down. So 50% 25% and 10% getting increment incrementally slower. Okay, so we'll go for so we'll go for 25% in the first instance, and you can see it slows the clip right down. So if I just undo speed adjustment, you can see I've gone from a clip that's around 18 frames long, and then I just go to edit redo, and you can see I've gone to a clip that's just over two seconds long. So it's stretched that click out quite a lot. So if we play this back now, we get a distorted voice on a really slow down flip. Now, what you'll notice is this orange bar that appears above the clip. OK, so we can use this if we come to the end of the clip, Um, two retirements and more. So if we click and hold here, weaken, drag that clip in to speed it back up or stretch it out even more. And if we zoom out of the timeline a little more, we can stretch out even more. So we can really slow this clip right down. Okay, so I've slow this right down to four seconds now. Okay, so that's the basic kind of re time in final cut. Now, there are a couple of options if we come up to the inspector on the top right here for how we actually, there are a couple of options up in inspector in the video options for how we render out the re timing in final cup. So if we scroll down So there are a couple of options for the way that we actually render are re timing. So if we come to the re time editor and scroll down here, we can see that we have under video quality. Normal quality are framed lending an optical flow. Now the obstacle flow will really come into its own. When you've got options, move when you got objects moving a lot on screen. Eso weaken. Have a look at this for this particular example, but it won't make a huge, huge difference. Okay, so if we play this back through with optical flow once it's rendered, we'd notice a little bit of difference. Okay, so the next thing I want to do is speed this clip right up. So we can either drag this clip in until we start to see blue. So orange means slow down on blue. You can see means that it's sped up. But actually, before I do that, I just wanna make us like a different selection of my clip. So I'm gonna grab the high, Okay, So the high there and I'm gonna copy that on paste it to just after my clip here. Okay, so I just used Commander C and command V to paste or edit copy and edit paste. So now I'm going to come to the re time editor and speed this up 28 times a case that becomes a very small clip. Okay, I'm gonna zoom in. And in fact, I'm just gonna speed up its high any time, a bit less So we have a couple of frames in there. Okay, so let's just grab this clip now and copy it and paste it in. And I'm gonna do command V a few times here, and you can see, but if we do this if we get this nice repetition, okay, so it's almost like a rhythmical beat, okay? And we can speed up. And when you don't see the re time editor there, if you just come to the re time button and scroll down to the bottom, you can just show the retirement it or command are, and that will bring it back up. So we're just gonna stretch these out. So I come to this other click command and are specially is out. I'm not too worried about the precision of it. Okay? And you can see now we'll get fast and superfast next to each other. Okay? Which has this strange kind of rhythmic effect anyway, So that's a quick overview of how to speed up and slow down a clip. There's lots more toe cover on this topic, particular if you're working with video off moving objects, but here, this gives you a quick intro into how to get the basics right. One thing you want to do is before you make a judgment about how good your re timing is is just to make sure it renders first. So you lose this orange bar at the top, and then you'll really know how well your your video is playing back with the re times that you've done okay, and that's everything for today. 12. Split Screen Creation : Okay, so we're here in final copper attend. We're gonna have a look at how we create a split screen here with multiple layers. Were gonna how have a look at how we can use cropping and reciting to get some multiple screens going on on where they are at it here. So we'll just have a look at the piece of footage that we're working with. Got this retro skateboarding, this footage and where going to come up. And then somewhere in this spin, we're gonna move to, ah, split screen and look at how that works. Okay? So the first thing we're gonna do is just hide some of these other windows in final cup. So first, what? We're gonna have the library's and in the browser so that we can really see clearly what's going on. And then also, we're gonna end up with a few layers here within our timeline. So we're gonna just resize the clip height. We need to see the I found out the clips. Okay, so we'll drop those right down so that we can see two or three different layers there as we're working. Okay. All right. So the first thing we're gonna do is break the clip. So there's a couple of different ways of doing this. One is to come to a a point in its five line and then come to our ladle on. We can use that and slice right through this clip. OK? The other way of doing it promised. He's a short cut. So if we come to a point in the clip and then use command and B, that will slice the clip and you can see now five. Got the selection tool highlighted here. I can select those two clips independently. Okay, so we wanna have this kind of fluid motion between the clip. So we're not gonna move these clips anywhere in time. We're going to kind of keep them, lay it up so that the skateboarding movies continuous even though we're gonna move toe multiple screens, which is gonna give quite a nice effect. But the first thing we want to do is just click on this original flip. We're gonna re scale it. So that's what we're going to use is the transform till across here on the left. And once we've selected that, we've got the clip highlighted. We can come in and we can transform this up. Okay. Now, one thing I sometimes like to do when I'm transforming is just zoom out. So I can really have a bit more control either where I'm playing these handles outside of the screen. So see the view level. Is that 4% here? I'm just gonna come down toe 25% so that when I Dr these handles shows me. But what? These house? I'm moving it. So you want to make sure that when we end up here, we have as much of the kind of skateboarder get the shot as possible. So I'm just gonna about this up a little bit, okay? That's pretty good. Yes, they were coming to this point. Okay, so now it's nice. That means we've conflict down across here on the top, right? It's nice. It's We can actually see that we filled the screens. We've got rid of some of this detail from the old VHS video format that's been used to fill this. We've just got this nice kind of clean edged image. Okay, so we'll come to the second clip that we've made here in a split. Okay, and we're gonna use a short cut key on the keyboard is we're gonna held down the R key and just drag back. Flip up. OK, now, one thing I've got turned on here, which is important just to make sure that we keep things lined up is snapping. So across here on the right, you can see my snapping accepted blue. And that means that when I'm dragging these clips around, you can see that, um, they're starting at the same point. If we want to see the clip, the low, this clips that we have now off the previous clip, we can right click, and they just go to disable that clip, and you can see that they're both in exactly the same position. Okay, so let's credit first split screen. So the first thing we're gonna do is take this top clip on. We're going to enlarge a bit, okay? And then underneath the transform tool here, we have some other options for transforming, cropping and distorting. We're going to use the crop top. Okay, so we're gonna crop this from the right hand side. You'll start to see We can actually see the clip below it So we're gonna crop this down and they jump back to the transform toe. Move this so you can see we're already ending up with two video last night. Okay, we get it's kind of nice effect where it splits. Okay, so let's jump to the lay behind, okay? We're gonna scale this one down. Okay? So it's got it down, and then we'll just move him across today inside here. So it's still see a nice amount of this video footage, and then we'll use the crop tool just to tidy up some of these edges that we can see here. Okay, let's come down to a timeline and just change it to the clip display option. And that will make our layers even smaller so that when we're actually so actually, the only things will be able to see multiple layers as we kind of go along. So we've got these two layers now, and you can see there nice and in sync as we move through that. Okay, lets grab one more. So hold on the l key again and drag us up when we could just keep moving on repeating this as we move along. So go back to transform. Move this guy over here. And what you can see here is that the layers on top here are obscuring the layers behind. Okay, so it's stacking in the same kind of wayto something like photo shop stacked if you know, work with layers a lot for and we're gonna zoom right in on this one. Okay? On the skateboard. I would just see that spin come a little bit more to the right here. So get a bit more that spinning there. Okay, we can move this across. Okay? And sometimes when we're working here now we want to zoom right in. I was zoomed in. You can see that. We can see this. Little control on the right allows us to move around nicely in the cliff And really, what I'm looking to do here with to transform until selected. So I've jumping back to transform on the left. There is just to make sure that the edge of this video it's nice and lined up. Yes, we got a nice, crisp inch. No, they will jump back to fit and zoom in again. And I'm just gonna adjust this right edge so that it matches up nicely. Come across to here. Grab the crop again on just drive this corner out. I can actually that we're gonna have to move this across, okay? They come back here and then with the crop till just pull this edge out. It's way. So we reached the edge on the other side, Which is why we've now I got to come in and move things around a little bit. Okay, let's go back to fit. And you can say if we click down, we've now got this nice in the play through right spins and you get everything nice and in sync. That's good. And then I think when we land back here, we're gonna go back to the full screen. Okay? So if we pull these two clips back so I'm just jumping to the end of those clips and bring them back and they will select the bottom clip, just his command, and be again to break that layer will come here. Okay. And then if we go to window on show inspector with this clip selected, we'll go to our video and you can see in here that we've got more control, can I ask per pixel off the position on the rotation and you can see you've also got this reset button here, which is really useful. So we've split our screen. We've come here, and now we're going to reset back to the original screen. Okay, so we've reset the original properties now. Actually, if you remember, we crop this up so that it would fill the screen. Okay, So actually want to come back rather than the original set up. We want to come to this. Cropped off, zoomed in, set up. Okay, so if we grab this clip, head it and copy and then come here, we could go to edit and use this function. Paste attributes. Know what this is going to do? Spring up a window which will allow us to paste audio levels, for instance, audio effects. But also the video trick. It's OK. And you can see here that we've got transform options set up here, so we've got position scale, and then we've also got crops it up here. Okay, So if we paste these three attributes that we've changed this first clip, we'll get exactly the same. So this is a really nice feature. We can do this on more than one clip at the same time on this copy and paste attributes. But this you can see now because the real nice it's fit screen. So what's in space Had a hit film. You're gonna work on that in a sec, and then we jumped back. So this is the same positions are Let's play that through. Okay. All right. That's that one more flippant here. So we'll grab spot math, bring him up to the top crap transforms ho are, then just enlarge this, okay? And what we'll do here is just used the fact that we've got these multiple layers to, and I must kind of dropped that behind those other clips. Okay, because this is the same length. I can drop this onto the timeline, and then we can pull these other clips across them because they're exactly the same length and we've got snapping. Turned on. We can kind of move these around like a deck of cards until we've got them in the right order so and see them highlighted. That's the kind of news through. Okay, so I'm just moving these around shuffling around and now you can see that we've got a nice crispy edges. There are click done as we can ministry, and we end up with this nice split screen with crops and zooms. We'll set up there jumping back to the original size. The footage. Okay, so that's a quick intro. Teoh using a split screen in final Cut Pro 10. If you have any questions, send me a tweet. Happen household. I'm Happy toe. Provide a tutorial based on your questions I look forward to seeing on the next one. 13. Audio - Tips for Managing Levels & Edits: okay, in this tutorial, I just want to share a few tips for managing audio in final Cut Pro. And the main thing here is managing audio levels so that in this example when were mixing music sound a za backdrop with some interview voice. We don't have any audio distortion through Peking. Okay, so the way that we see if they're thinking it's just by playing them through here and having a look on the right hand side and you can see as the sound of the music gets a bit louder, we start to get some of these red dots here, which are the audio peeking out. So we need to come back and first of all, fix that. So the first thing to do here is to think about which parts of the audio we want toe keep at the maximum level over the interview. That would be the interview speech on then, where we would want to drop down the audio levels for that. Some of the action here and then also coming back into the interview speech here, how we would drop down the audio levels for the music in the background. We're just gonna de select our clip and just come and have a look at this Black bars. This black bar here for our audio levels represents the levels adjustment. OK, so we can increase or decrease the audio levels by putting this down to reduce it well up to increase it. Okay, so that's the first step in kind of managing the level. So as a first instance here for the middle clip, we're just gonna pull this audio level down, okay? We want to have some element of the noise from this jump going on, but actually want to kind of drop that right back because it's not critical to the kind of timing and pace of they said it. Okay, the next you want to do is make sure that our audio levels for our interview text here and here. I dropped out. Okay, so we can use the range tool to actually adjust part off this music track. So if we come to the middle here will come into the range selection till Okay, this allows us toe select part this audio, and then once we've got that ranged elected. So I'm just clicking and dragging across my green audio in the timeline here, I can begin to pull that down. So we should see now if we come to the left as well. We dropped the audio levels down that we've reduced some of the peaking at the beginning here. We're looking across that the audio bars here, and actually, it looks like we've fixed all of that peaking. That was happening. Now, one thing that might happen when you're work with audio is that you adjust the levels of one clip and then won a copy that adjustment to another clip. I'm just going to show you how to do this. So if we grab the selection tool Okay, I'm just gonna make a small adjustment to this all you hear? Okay, just bring it down just a little. If we've got a number of clips in the timeline as we do here with the same audio levels, then we can copy this clip. So if we go toe edit and copy, and then we can select one or more cliffs and we can actually pace the attributes. So under edit and paste attributes, we have this option to paste. As you can see, video attributes such as effects kinda transformations, scale transformations and then audio attributes such as volume. So we can check volume here on Just watch. When I click paste here. What happens to the audio level here? So I'm pasting the only love when you can see it just dropped down just a tiny bit. Okay, The other way of doing this is that if we have two clips that are adjacent to one another that we know, we wanna just that audio level by the same man, we can hold down the command key so we can select clips that are out of order. So I've got this first clip selected. I'm gonna hold down command and click here for now. If I come to the audio levels here, I can adjust those two audio levels together, and you can see the moving. This could be for two clips or 10 clips and or more, depending on what your plans do on your time line. So the copy and paste attributes is really useful. But also being I slept more than one clip on the timeline is another useful thing to be able to do now. One thing that may happen when you're recording your audio is you get some problems of the audio. Okay? So we can also select multiple clips on then in our audio tab here in the Inspector on the right hand side. And if you're not seeing Inspector, just goto window and show inspector, and you'll be able to then see that. Okay, we're gonna jump into the audio analysis, and this is where you you can remove background noise or where you can actually adjust the loudness throughout a clip. OK, so if we check background noise removal, Okay, this will now remove the noise. And it's normally defaulted toe 50%. What you might find is that anywhere between 50 and 100% you start to get very tinny sound to audio. So you wanna be careful to make sure you listen carefully, toe how this audio adjustment is taking place on Make sure that you don't get that kind of robotic sounding tinny voice in your your clips. Okay, We just leave this of the default 50% but you can play around with this also. If you've got an electrical noise in the background, you can use the hum removal to remove any kind of electrical humming that is in the background as well. Okay, we can also change the loudness. Okay, which will former similar function to the levels but actually looks at the whole clip. Tries to create a uniform sound throughout the clip. OK, so will try and improve the the overall levels throughout you add it. Okay, So once you've added those, you can see where editing the two items that we selected using the command key here we can go back and then we can play with our clip. Now. One other thing that I often do when I'm editing something, it's what I'm using A cut away like this. I'll have the audio mixed into the visual. So double click here and expand the audio out for these two clips we conduct for the middle clip to Then I could mix this audio through the other clip. Now I can push this across. You can see I can now and at the audio now that I've expanded it out. But I can also come up here and grab the trim tool and pull the audio across so that I'm actually producing what's called a hell cut because this means the interview text will flow into the action shot that we have here. Okay, which could be a nice effect. So we're using a cut away there to kind of illustrate what's being talked about. That's a few quick tips when you worked with audio and final cut pro. If you have any questions about this than please don't hesitate to send me a tweet up and household look forward to seeing you in the next tutorial. 14. Create Transparency Using Keys & Animation: Okay, so here, I'm going to run through how to take this image and Moscow, the background, the white background so it can overlay it over the top of the grass here. So the first thing I'll do is just take this image in the same process, applies to video to and pull it up over the top of my grass layer here, and you can see them laid over one another. And the effect that we're gonna use to actually remove this white background is the keying effects. Okay, so we'll come across here to our video effects, and then here we're looking for the key insects. Okay, so I could just type in key in the search. Okay, So we're gonna drag across the blue Vicky home to the image here, and you can see straightaway. It's keeping out the darker areas, the image okay, and will press in there, and it will begin to kick out. The lights are areas of the image. Okay. And then if we use this slider for the Lewicki, we can bring that in, and it will gradually reveal the bits of the image that have mawr color information in them . So the areas that have kind of so you can see here quite quickly, we get those different past the image. So that's with a simple image that's on a white background like that, then that's one way that we can really quickly key off our image in some of my images here . I have holes in them assuming a little so we can see this a bit more clearly. So I have some holes in those parts of the image. When you can see that if I play around with the settings and eventually I end up with a pretty good musk of those images. So there's lots of different options here. Toe actually kind of adjust things. 11 thing that we can do as well is if we look at the for the view options here and we have the view which is showing us our image on top of the layers. But then we have this view of the The masks are basically the black and white image that's marching things out, and sometimes here it's easier to see where there are problems in our mask, things we don't see when we're actually just viewing it on top of the layers. So the other thing we could do is if we want to get just one of thes space, for instance. Okay, we can use the crops for this image because they're all lined up nicely. So if we want to get one of these particular items, If we crossed from the left here, you can see we can add kind of multiple effects to one object. So if we wanted to have one, then this process will work. But the nice thing about this is that if we take this layer now on, we hold down the r key on. We drag it up, we can duplicate it. Okay, so I'm gonna come to the transform option here. I just move this across so you can see I have more than one now and then if I come down to my crop again, I can change, like Trump name. So I get multiple objects that I can layer up in here and then have those multiple objects . Okay, Okay. I just increase the scale of the background here. So one other thing that we can do once we've got these objects set up, so I'm selecting these with this transform button on in order to be ableto move them. Okay. One thing we can do with these is we can actually animate the location. Okay, so if we come to the position option here and I had a key frame So this position has a little key frame button just to the right here. And I dragged that off the screen, and then I come ahead in time and drag it back onto the screen. You can see now it's going to animate between those two different points. Okay, so we get some animation, we have control over the location. We can also come in. Ah, do things like rotation as well. So we can gonna have it rotates. Oh, so you can get it. Teoh, right site. We can also control the scale, So Okay. So Okay. So I'm just gonna come back to the beginning. Scared it down. Okay? And now that shared in the middle of. But here, Now I can scale up. So now it scales up. Okay, so there. So that's, um, simple animation. A nice thing on the way that this will work well in final cut is that when it's rendering. You can have as many layers as you want, where is with something like powerful, And it will struggle once you get too many objects on screen. So that concludes the tutorial, and I have enjoyed it. If you have any questions you'd like me to answer, just drop me a tweet. Happen household on Duh. Look forward, Teoh, You watching the next tutorial? 15. Editing Tip - use a J or L cut to fix an error: okay, We're a final cut pro, and we're gonna have a look how we fix some audio errors. So I've made this green recording earlier, and basically, there's a point at it where an email pops in on as a bleep in the background on. So I left a pause and then repeated what I just said. But the video, the original video still has that Aaron. It still has the bleep from the property. And as I was recording the video So let's have ah, play through some of what we got here and I just zoom in a little more so we can see clearly what's happening here. So this is ah, screen tutorial about final cut pro. And if we play this through, Okay, on. Essentially, we've got a couple of different options here. Well, so video based on our first so we can hear their that on my tablet. Someone sent me an email and it leaked, so we need to get rid of that. So, as I was doing the recording, I just took a pause and repeated the section that I'd started already back here. Okay, so what I want to do is actually make an overlapping cut. So this is called a J Cup or an L Cup, where we start and stop the video at different points in time. On first thing I'm gonna do here is just break the video timeline, so I'm actually gonna just use the Plato. So if I come here and jump in and use the rays of little, we can cut that video footage just before I start. Well, so this sentence will set up on that. I'm gonna come here and is the blade still here? Just five removed this section and I could use an outpoints toe, break that clip as well and then deleted. But I just want to show you how this works. So essentially we're starting again. So we're removing the first Well, so where there was the bleep in the background and then coming up to here to start that sentence again. Now, there's another thing to fix once we've made this change and I'll just show you what's happened here. So if we play through this, OK, essentially, we've got a couple of options here video, so you can see that the audio is fine now that the sentence flow as well. But we've got this little jump in our video. So the click is just a little bit too quick from one point. Another on this is we want to open up our final cut timeline so we can work with the audio and video separately. So I'm just gonna double click on the already here, Okay? And you can see now I've got the option to edit and change the video track or the audio track separately together. So we're happy with the audio track. This flows through nicely, but we want to do is just use an edit here toe. We actually pull this click a little further along. So we're going to jump into our edits here, and we're going to use the trim function. Okay, so this is Ah, call the trim function here. But you might not better. It's kind of like a role at it. Okay, So you can see now, as I hover over my edit point, I can click, and I can hold down and just drag to the right, and it's dragging both those at eight point. So here, what I'm creating is ah, Jacob. So the audio is cutting before the video cuts. Okay? And I just want to move this to the point where the in point on the out point match. Okay, Now I'm looking kind of closely here just to make sure the mouse's in roughly the right spot. So you can see now where I've moved that edit point to Okay, The mouse doesn't jump around too much, and it flows a lot nicer. So the click and that works nicely. So let's just play this through a couple of different options here will set video properties for our timeline for our project based on our first video clip it. Okay, so you can see now we've removed the BLEEP. And also, we've just offset the cut for the video and the cut for the audio so that we get that nice line of Yes, that's how to use a Jake what's called a Jacob. Because you can almost draw a little J in here, and l cut would be their audio coming after the video cup. OK, so it just means they cut a different point in time. And it kind of looks like a Jr El Sort off. Anyway, that's a quick run through of how to fix some of those problems that pop up when you're recording audio video, and there's a little error or mistake particular with a screen capture here in this example . But also this is useful when you're editing live footage to okay, particular if you want to flow in someone's audio before you cut to the face when they're kind of talking about it. So this former offsetting these two edits works really well. The key to remember here if you're recording a screen capture, is that don't stop the screen capture. Just leave a pause. Try and place your mouse back in the same position that you had it before and then re record from a sentence or two before the era happened. So that will allow you and give you a bit of leeway to kind of cut that in. Ondo. Correct that mistake. Okay, Do you have any question that final cut editing the final Cartman, Please don't hesitate to send me a tweet at then household. I'm happy toe parts. Your questions 16. Scaling a Sequence From One Resolution to Another: Okay, so we have some tips there for re scaling at it, but in particular, and how to take a widescreen of it down to a 43 standard definition edit in final cut pro. 10 on. And there are two options here really want is to set you up in 43 Standard definition on the other, is to actually convert and edit into standard definition. So we're going to run through the conversion first, and then look at how you would set up a new at it. So we have ah, quick at it here that we're gonna work on. Okay. And you can see that if we come up to our projects panel here and highlight this project, you could tell us a project by the clapper board symbol up at the top here. If we highlight this on, we can see on the right hand side that we have Ah, 1920 by 10. 80 edit on its in 39.97 French second. Okay, we're going to go in with this selected here, go to modify settings. Okay, so we want to change this to a standard definition at it. So we're gonna drop this down to NTSC Este on. We have cup of options here. We have standard definition Ah devi or standard definition Devious animal thick set up. OK, so we're gonna select 7 20 by 4 80 which is the kind of stand that sets up. Okay, we'll leave the frame right at 25.97 Now, we might want to change this if we know that we're gonna project it from a computer screen to Progressive. Okay, so I was gonna go toe television that we want to leave it as intellects. That's a standard format for NTSC stand definition. But if we know that it's gonna be 7 20 by 4 80 on displayed on a computer screen that would leave it at progressive. We'll leave it as is for the moment. We can't change it later stage. So let's leave the audio set in the moment. That's not gonna affect anything that we're working on visually and click. OK, okay. If we come back to our footage, you can see that our footage now is letterbox. We have a black Lila is hoping the bomb of the clips. So there are a couple of options here once you've re scaled on at it in terms of how you want your first trip here, one is that it will have this letter box around it, on the other is that we re scared the footage to fill the screen is a nice, quick way of dealing with your clips as you do this on one of those is to use the copy function and then the paste, actually its function. Okay, so we wanna remove, for instance, the letterbox from all of these clips. Okay, We want to do it all in one Go. So we're gonna hide out one clip. We're gonna come to our transform tools up here, and we're gonna make sure we're using transform rather than corrupt. And then we'll re scale this footage so that it fills the screen. You can see it's snapping to the edge there, I can relocate it. So some footage you might need toe relocate so that the subject is framed. Sometimes when I'm doing this, allowed to drop down there, zoom so that I can see the edge of the cliff and just make sure that we're not leaving any black edges over the edge. now. OK, so we've risk out that one clip. And now we're gonna go to that clip on the timeline, go to edit copy. Oh, come on and see and then select all the other clips on our time. I just these two and then we're gonna go to just move the play head so we can see this happening. We're gonna go to edit and paste attributes. We're here. You can see we can paste all these attributes for the video. So we've got the option for transform position, rotation scale, etcetera. On when we hi stays, it's gonna reschedule those clips in the timeline. Okay, So whether we've got three clips or 50 clips, there's a really useful function when we re scaling at it. Okay, so that's one option for reschedule footage to a different resolution on this would work. If you are Mark scaling clips as well, you just need to bear in mind if you're just down a definition and and you may want to consider the quality of that footage as he scaled up, so will lose quality of your scaling. 7 20 by 4 80 TV footage to 1920 will lose some quality. Okay, so let's just click done here, okay? And now we're gonna come and create new project. So let's go to file new project. And here we're going to go into the custom setting. So we're gonna just call this project for three test leave it in the same Calvados event, and then we'll click years custom settings here. Okay? And you can see here we've got some options. So normally you want to set your video properties on your your first video clip. OK, That avoids any re scaling or rendering off the footage. Certainly, if you're working with fridge and you're editing it a different resolution, then final car accidents and work to actually change the scale of it. When it does, it's background rendering. So you may find that things slow down, particularly your scaling things up. Um, so we'll click custom here, select ntsc SD. If you're working in the UK Andi, then you might want to select power estate. That would be the standard definition format here on. Then we'll stick with 7 20 by 4 80 TV and for this instance will select 29.97 progressive. Now the frame right you can change it here, but it's best to stick with the frame rate your footage. Otherwise, you're making final cut through a little bit more work, and you will lose some quality on some flow in the fridge when you're actually editing it. Okay and we'll click. Use default setting for audio. Click OK, and you can see now that we have a project pops up here, we can highlights it and see that it set up in standard definition. So this will play back nicely. Understand definition television or a projector that you're playing stuff back on. Okay, that's a quick overview of how toe set up a 43 Reddick and final cut pro 10 but also how toe change of format from one scale to another, using the copy and paste attributes function to actually speed up that process. You have any questions about final cut pro? 10 of happy to answer them? Just send me an email design at household dot com or send me a tweet happen household. I'm happy to answer any questions that you have about setting up projects and final cut or anything and final cut pro 10 or final cooperate seven. Thanks a lot 17. Composite a FIFA Player Card PNG onto Game Footage: Okay, so here, we're gonna have a look at how to get a FIFA player card into final cut pro for working without a net it. Okay, so the first thing we'll need is to have ah, Claire card that hasn't transparency another a couple of different ways of doing this. First being that if you already have the player cars, you can create the transparency in something like further shop and then bring them into her final cup. Right? What we're gonna do here is actually look at one of the online generators that are available for creating the FIFA cart. So the first thing to do is to jump in here and change the settings that you need for your your FIFA card. Okay. So we can change everything here, such as the player name. We can link to an external image if we want to change the player picture as well. And we can also type in the different scores as well for the different parts of the player card. Okay, so we can type in numbers here and everything like that. So once we've edited the card as we want it to bay, we can then click on download image on this website, it will download an image that weaken their news. So if we jump to our downloads folder, just open this up. You'll notice that it just to say it's the image as an unknown file. It's actually downloading a PNG from this website. So we're gonna name this Messi doctor PNG. And it's important that you put the doc p angina so that different applications that open it will recognize it. And when you hit enter after typing in the name macro, sex is gonna ask if you want to add or not to add the farther and of course you want to add dot p and G on the end there. OK, now we can make sure we can see final cut on the desktop. So I'm using command and tab to move between my applications there so held down the command key. The tab key is just to the left of the Q key on the keyboard you can tap between different applications, so now I can grab my new player card and if you move this on, drag it down, going to the timeline, Okay, I've already got a bit of footage in the background here. Essentially. Now we have our our play card over the top of that footage. Okay, Now, once we got the player card on there, we can move it. We can reposition it if we use the transform till here. So if we turn on the transform till we get the options up to actually transform that and then reposition it on top here so eventually, If you're laying out a number of different images or play cards on your timeline here, then you might end up with something looking like this. I'm just gonna hold down the old key to duplicate a few of these, and you can see that what we end up with here is a number of different layers in final cup and then a different player cards come has laid out in that way. Okay, so that's how to get a player card onto the screen. We can also apply different transitions to these as well, if we want to fade them in onto the screen as well. So if you go to the transitions menu here, you can see we've got a number of different transitions that we can use. So we're just gonna select all here and then we'll pick was hyping why? And we'll just use one of the white transitions to bring this on because I'm just gonna drag why, across on two whole days and just showing up these transitions so that we can see roughly how this works. Okay, so now you can see we got a nice wife that brings those on straight. Okay, I'm making stagger these as well. So if we move the clip across, we can have thumb wipe on and wipe off at different times. Just lengthen out the white so we can see it more clearly, so you can see it now wiping on each of those different layers. Okay, so that's how to add the placards onto the the gameplay. And then also how toe use final cuts, transitions to actually head it. Those onto your timeline 18. Stabilize Your Video Footage: Okay, So here, in final cut pro today, we're gonna have a look at how we can stabilize piece of footage. So we have this rather bumpy piece of hand health age, and this is what gonna look at stabilizing. We'll look at some of the options that you have when you stabilize piece of footage. So make sure you got the clip highlighted in our time and so just highlighted yellow. And then we need to show the inspector. So if we can't a window show inspector or commander for they will see the inspector, which gives us our video options and also our audio options. Now, we don't need the sound for this one is going to turn it down so it doesn't interfere with what we're doing, and we'll jump back to the video. Okay, so we have some options in here. If you have a look at this before your effects will sharp here, any color adjustments that you've done well, sharp. Here on then we have things like transform for scale, rotation position on. If we keep going down, we have the stabilization options. Okay, so initially, this is turned off. But if we hit the blue button it will turn on. And then once you've done that, you can see over the top of our piece of footage here of final cut pro We're analyzing for dominant motion. So final cut is looking for the air is the image of moving. One thing you will find is that images that have a kind of clear edge to them. It's a nice contrast will stabilize much more easily than footage. That doesn't. So this is a good example. We've got a really nice clear image. Okay, so we saw how the footage waas before we'd added the stabilization. And now we can see as we kind of scrub through this, that it's nice and smooth. Okay, so this is using the automatic method, this moving, and you can see we have some other options. Okay. So smooth camp eggs a little bit longer for it to render out. And you can see here We've got translation smooth rotation, smooth. And as I drag, it's the right. Okay. It's trying to stabilize the footage mawr by adjusting these options. Okay, so if I drag to the left, I'll keep in some of the original motion, but as I do this, you can see that sometimes you get this sort of wobbly effect as it tries to transition from one piece of footage to another. Okay, so we'll just drive these back, OK? So we don't want that kind of wobbly, if that looks like a piece of glass being shuttered. So we need toe hold these down. So for something smooth cam will work pretty well for other things. We have toe kind of moderate. The amount of processing the final cut is doing to the footage. And even with this, a small amount of adjustment, you can see that we're getting some wobble in there. So we're gonna jump back to automatic, okay? When you can see now we get a nice car. We've also got tripod mode down here as well, which will try and lock the camera off. Now, the only issue with this is that when you're in a tripod mode, you will find that it has to cropped the edges of the footage. I tend not to use tripod mode. I'm happy for my footage to be smooth a little, and I can adjust that here rather than being totally locked off, so I can just keep that little bit of camera motion in here. Which is also good for editing as well. It's good to have a little bit of movement in your footage when you're editing as well. Okay, I hope has been useful. Introduction to how to stabilize your fridge in final Cut Pro 10. If you have any question about final cut pro 10 then please. That has texted me a tweet up and household. Andi I look forward to seeing on next tutorial. 19. Automatic & Manual Color Correction: Hi there. So we're gonna have a look here at how we balance car in final cut pro 10. We're gonna have a look at the automatic tools and then also look at the color board, which is where we can actually go and disarm or advanced color correction or color adjustment. So we've got a clip in here on our project or our timeline. Make sure we have it selected using the selection tool on Go to modify islands color. Now, what this does is it will apply a standard color balance of white islands to your clip, which we can now see across here on the right. Now, this is not analysed yet. So final cut pro will. Then go and analyze that footage. You can analyze the footage when you bring it into final cut pro 10 or you can analyze clips in your library here. So if we right click on a clip here, we can go to analyze and fix on. We can analyze for balance color. Okay, so if we do that, then we can analyze that clip. So we have our basic color adjustment added now and now, if you want to add any further car adjustment, such as de saturating or changing or shifting the colors within our clip. Then we need to come to the effects panel down here on the right. So it's the middle of your final cut pro window. Here, go to the effects panel on in here. We're looking at the color correction options. Okay, So for example, we have black and white color correction, which is gonna change our clipped A black and white. We have broadcast safe, which, if we drag that down, is going to bring our white levels down so they're safe for broadcast on. We can also adjust the amount which this is correct in that color. Or we can choose the video type NTSC or pal. Okay, so let's just delete that If you want to delete on effect here, we could just highlight it in our inspector. And if you don't see your inspector and just go to window show inspector on, it will come up. We can also do some color correction here as well. So if we drag this to our clip on the timeline, this is where we get into more detail in terms of adjusting color and correcting color. So if we show the correction here, you can see we've got a number of different options so we can adjust the color. We can adjust the saturation of liquor, just exposure for the color. We can adjust the global color. And here, if we go below the line, we're removing that color globally. Or if we go above the line and drag to the left and right, as you can see here, then we're adding color globally. So from the reds through to the greens, blues and purples, we can adjust the individual parts the clip. So first, we can take the blacks here and we can add more read into our blacks. Well, we can add more green into our mid tones. Okay, we've got full control here over the color adjustment that we're doing. So the first color balance will neutralize a clip on this, then allows you to change the color or grade your footage. Okay, so here we've really kind of got control over all the elements of our color. If we want toe, send our color adjustments back to the original, and we can click this little hooked arrow that will send it back to the original color adjustment. Just gonna leave this a little warmer. So now if we go to saturation, we can now be saturate different parts of our clip. Either globally, we can be saturated so we can make our clip black and whites. Okay. Just send that back or weaken de saturate the lighter parts, the image we're dragging down with the saturating. And if we're dragging up, we're saturating that part of the image. So the mid tones in this example. Okay, so I'm dropping the saturation, the white here, which is mostly this wall behind me and then increasing the saturation you can see of my my face it. Okay, so if we go to exposure, we can now do the same for exposure. So if we wanna make this background a lot lighter than we can push this up on that world, gonna blow out the background, and then we can pull it back down a little bit by adjusting those levels. Okay, so we got control over the different parts of the image. We can adjust until where? Kind of happy with the results. You can see I've made my T shirt they're completely black and then we can modify the background color as well. We have another a number of other adjustments that we can we can add in terms of color correction as well. Here we can also add different color corrections to our clip as well, so you can see here now I've got color correction one on color correction to after adding a correction on Basically, that allows me to layer color correction so I could have color corrections for different parts of the image. Okay, so that's a quick intro to how to balance your color and then also how to push and pull the colors around when you're working within final cooperator. OK, so thanks for watching this tutorial on color correction in Final Copper. A 10 on If you have any questions about color correction about backing up about working and editing in front of copper 10. And please don't hesitate to drop a comment below or send me a tweet up in household on by , look forward to seeing the next tutorial 20. Desaturate or Add a Tint to Your Video: Hi there. So today we're gonna have a look at how we d saturate a piece of footage, but then also how we had a tint to piece of footage as well. So this is a good way of getting like a C p A 10. Awesome. Like that onto your fridge. If you want a certain look or feel for your your video. So the first thing we'll do is having a look a b saturating offices. So we're gonna bring up festival our inspector. Okay, We're gonna jump straight into the color correction options here. I'm gonna purple color correction on. You can see in our inspector on the color adjustment options. Here we have our saturation. OK, so these are four options for Justin Saturation. One is the overall saturation of our click. Okay, One is a saturation of the highlights across here on the right. Okay, so you can see it's touch right in the background of the sky there, but keeping their the color in the foreground where it's darker and mid tones. Okay. And then we have the mid tones on the blacks that we conceptually as well. Okay, so we've got a few different options there for saturating or de saturating. How footage? Okay, if we have made some changes here, we want to send them back to the original sayings. Then we can click this little hook tower on the top right on that will reset, are setting. So just illustrate that, but more clearly so if we click this, then our settings jump back to the original settings that we also have some presets for our color adjustments here as well, which appear when you're in the color saturation or exposure options on you can see here. If we click on these, then we get some pretty fun, different kind of color adjustments where we're pushing a saturation, but also adjusting the color on exposure as well to get a particular look or feeling of his footage. Okay, let's jump these back to the original settings. And now we're gonna have a look at how to have a tent to a piece of fish, and we're not gonna do that in the color adjustments. We're gonna use an effect to do that. So we'll bring up our effects browser on. We're gonna in old video effects. Just talking a tent in the search searched a great way of fine effects. It's often hard to kind of run through all the different options that you have there, and you can see that. Now we've got a default tint of blue here. If we drive that across to our clip on the timeline, you can see we've got the option toe. Adjust our tent a certain amount here and then also to change the color. Okay, so we can change the tint, but kind of here. We don't have any skin tones in this shot, but this option will still protect tones that hard like skin tone. So you can see here is I'm increasing this. It's identifying these heirs of wood as skin tones, but you can also, if you're having a tent, a piece of footage, try and protect the the skin tones in a certain piece of footage. So we'll leave this on a kind of see Pia turns off look okay, kind of old school look, So I have been useful in this tutorial. Cover a couple of ways of adjusting color one to the saturate color one adding a 10 or a little bit of tent to a piece of footage, and they're both really useful tools when you're editing footage and trying to get certain results of your footage. If you have any questions about final cut pro or other software such as Adobe Photo Shop or Adobe in Design and please don't hesitate, send me a tweet and household and I look forward to seeing on the next tutorial. 21. Add an Animated GIF to Your Edit: Hi there. So today we're gonna have a look at how we get an animated GIF into final cut pro 10. Now, how it can work with it. Once we're editing the process that we're gonna follow is basically taking a screen capture off that animated GIFs. We're going to run through how we do that on then. Look at some of the options. We have the cropping that animated GIF once we actually get that animation into final cut pro on the timeline. So the first thing we need to do is bring up animated GIF and we're having a look on one of my favorite websites. Now your main dot com, we're gonna have a look at this animation. I've searched already the classic Nyan cat, and we're gonna look at how we capture this on. Then turn it into palm. Read it within final cut price. So we just scroll down here, okay? And what we're looking for is the animated GIF version of this, which should be playing back in the browser already. Not the quick time movie. Okay, So animated gifs always silent. There's no sound to them. So we're not really worried about that And once we're seeing this, we're going to right click on it. Okay? We're gonna copy image address. So we just wanna have the animated GIF itself within the browser, and then we're gonna go toe the location and just paste in address. Okay? So we're just gonna be looking about the gift, Okay? Now, it's a couple of different ways of doing this One is that you just capture this at the size that it's that or we can even zoom in a little bit to the animation. And I prefer to do it this way. It means that there's less re sizing or scaling up once we're in final cut pro. If we want toe, increase the size of our image. So the next step is to bring up a piece of software to actually capture this with Okay, we're going to use quick time plan. Okay, so you can see that here. A quick time play icon. Okay, we're gonna do ah, screen capture with this. We're gonna go to file new screen recording. Okay, now we have some options. Also began toe quick time player of turning on audio for this, but obviously, we don't need that we just need on the screen recording itself. And the nice thing about working with quick time players that we can reduce the size of our video by making a selection screen. So when we press record here, we're gonna be begin recording. We're just gonna drag out around the area of the screen. We want record. Okay? And now we can see from this little icon up here in our toolbar at the top that quick times recording on the loop here. Okay, Now let the looped playback as many times as you want to show it on screen. So for a longer duration rather than just capturing the, you know, one round of the loop because that means you have to do less editing with their final cut, pro copying and pasting of the loop. Okay. And also make sure your mouth is kept outside of the air. There, you're recording, so let's it stop now. We just go back here, okay? So now we have our Nyan Cat loop in quick time, we're gonna have a look at how we get this into final cut price. So we're gonna go to file size. Say this is a quick time movie when we just dropped the strands that let's stop here. Okay. And now, in front of cut pro, we're gonna make a new edit, and we're just gonna go to file new project for a new timeline. Okay, We'll keep the set up. A zits custom self here. So I got it Set up a 7 20 p running at 65 2nd Okay, we'll call this project. Okay, So now we can grab the recording that we made on the desktop, okay? And then just drop that straight until a final cut pro 10 timeline. So that's the basics of it. How to get the recording onto the time now, at the moment how recording is scaled down to fit and we also have this white border around here, so I'm going to jump in and go to crop. Okay, so I've got my timeline selected, and I'm using their the trim option under the crop. So just to pull in these corners here so that I don't see the edge with that video under this quite roughly, but we can go into our video options here and make the cropping a little more accurate. if you want to. So you can see we can actually all this up and down or type in a number if we want to get that crop perfectly on the edge. Okay, but for the purposes of this exercise, just turn it off. This will be okay. And now in orderto have lots of man casinos. We call this clip Nyan Cat. Max, we're going to duplicate this layer, so it's gonna reduce the clip fight here. Actually, just a sliver Seiken, drag some or copies of this nine cows. I'm gonna drag these holding down the okay and just drag these up. So I get multiple duplicates of that Nyan Cat. Anything? I jumped back up. I'm here and jumped the transform till, and I can now move days around so you can see we get a nice composite, many nine cats, and we can re scale them using the scale and transform. Still here. And you can see here have final cut. Allows the stock days like a deck of cars. I've done this pretty roughly. If you want to make sure that certain layers air in front of others, we can start toe, juggle these layers in the timeline on that will place one layer above the next okay, and increases size this one so that we've So we fill the whole screen with on our cats click done here and then we can play Pac and we've praise multiple nine cats. We can look this as many times we want exported out Re upload it on And I mean the mean Okay, so you have any questions about final cut pro about getting images or files into final? Comprise. And please don't has texted me. A tweet happened household I look forward to seeing in the next tutorial. 22. Create Scrolling Credits: Okay, So in today's tutorial, we're gonna have a look at how we create title credits or rolling credits within Final Cut Pro 10. Okay, so a few things to consider here one is how you actually organize your your titles, and we're gonna give a quick example of how to do that on then placing the titles on to read it and working with the speed that your titles run out, up and down the screen. So let's have a quick look at ah, how titles here that we're gonna work with. So we're working with some titles from Ah, Finnish Film by director AKI Kaurismaki area, and we're gonna use thes titles or these credits for our own. So it's just a short tow have titles, but it will throw up a few questions that we have about how we actually format titles within the the scrolling credits in Final Call for his head. So let's grab these first of all. Okay, we're just gonna make a copy of these credits. So the last thing about organizing credits in the spreadsheet is that it keeps a tab between the name of the actor and the name of the character which we need when we organizing our credits within final cut Pro 10 on getting the formatting right. So we'll jump now into the final cut Pro 10. We're gonna bring up our titles and where are type panel? So we're gonna come across here to our t to show our titles on. We're gonna use the search here to search for our scrolling scrolling title and wants you touching scroll. We should have that pop up and you can see here that are titles scroll through. Nice team. It's got some default text in there, so we'll drag us across. And if we press play now, we'll see our placeholder text scrolling up. And this is the text that we're gonna change. Okay, So in order to change this and we can it's one of two ways. One in the play back here. We could just double click and start to edit the individual items. Obviously, that's gonna be time consuming if you've got a long list title. So what? We want to look at how we can automate that by using some formatted text that we can then just copy and paste and drop in here so we will change. One thing here will jump in and change the title of our movie. Okay, and then we'll jump back down to the timeline. Select how titles. I just bring up the inspector. So it's within the inspector that we can edit our tech. So when you're working with your text, you may see initially the video showing, but we also have our text and our title options here as well. So it's the text options here that we want to be working within. And here we can change things such as the front, the font size, whether it's bold, how the battles are aligned on some other options. If we scroll down here so line spacing, tracking, turning. If you're familiar with typography, you'll recognize some of those terms. Okay, so what we gonna do now is jump in here and just paste in the text that we we copy So you can see here. We've got highlighted all of our text, and we've selected everything here and we're gonna do Come on. V had it paste on. What you can see is the former things not quite held together. So we'll explain why this is in a second. But basically everything is aligned now to the left and not nice and centered as it was before. Okay? And the reason for that is that in the formatting of the text, we have ah, tab before our name here on a tab between our name and description, which is what will align on those characters, names and the description nicely in our title. So we're gonna jump back to our spreadsheet here. We're just gonna do a little fix this. So we need to have a tab before these names on the left. So if we and you can do this in excel I'm doing in Google Docks. So we're gonna grab our names and our actors, and we're gonna do command and exit had it cut. And then we'll haste those columns back in here. And that means that we've got one column before our names on our actors names. Okay, so we're not grab days again in a copy Does. And you'll see now when I paste in tow. Final cup for a 10 into this area. Destroy all this down. OK, My name's a nicely airline. So I get those names aligned centrally, sometimes you might get these types of issues proper. Where you get a name that breaks away. We need to break it to a new line. So I'm just gonna double click in here. Okay? So I can add it. This text, I'm gonna delete the space and then center, okay? I just No need to tab until my textile lines properly. Okay, so it's taps that kind of create this nice alignment of the space. And another thing that I'm gonna do as well, because I'm just going to reduce the transparency, the capacity of my click behind. So the title stand out of it. Okay, so now we can see if we play this through. We have our titles playing, and they're running a little bit quickly, so we need to now look at how we can We can change that. Okay, so let's just zoom out a little, okay? And basically that the titles run for the duration that you're scrolling effect or title generator is on the timeline. So in orderto make it runs slower, we just need to make it run for a longer period of time. So if I drag this clip out, I'm using the selection tool here. I double the text duration. So now I'm gonna play that through. So it should play back half the speed as before, and you can see those titles are now moving by a lot more slowly. Okay, so that's a quick interest. How to break Chris and basic titles in Bangkok Pro 10. If you have any questions about Final Copper 10 then please don't hesitate Toe. Send me a tweet up in household or to comment on the video on Gluck. Four c on next tutorial. 23. Export an Image as a JPEG or PNG: Hi there. So today we're gonna have a look at how we export a still image A J peg, a PNG file or a tiff from final cut Pro 10. So the first thing we need to do is actually set up final cut pro 10 so it can export out a still image from your sequence. Okay, so we're working at it here. We have a still image here that we want to bring into Photoshopped to work on. But this is also useful. If, for instance, you want to take a still image out, you're gonna upload as your thumbnail for a YouTube video. So the first thing we need to do is come across to this still arrow the export or share our on the right hand side here, Okay? And basically, this lists all the different share destinations that we have in final cut pro on by default , you won't see a share. Still image for export image option there. So we need to scroll down to this ad destination option. And then once we're in here, you can see we've got a Siris of additional options that we can add in to our list of current destinations across here on the left hand side menu. Okay, so the option we want to add is safe current frame. So just click on that and drag it across into our list. Okay, so now we have the safe current frame, and here we want to set up. So we say that as a tiff. File a PNG file photo shopped file, RJ pay etcetera. So we're going to say that out as a PNG file. Okay, that will keep up a pretty good compression on image quality for our image. So And also, we're gonna have it scale the image to preserve the aspect ratio. OK, so once you've got that turned on, there's nothing else to do here. We can close that on. Now, When we go to our share menu here, you can see we have the safe current frame option. Okay, we click that Onda, we can come to settings where we can change the image type here as well, with default being PNG. Okay. And then we can click next. Okay? And then we can rename our image on export it out. Pick size when we're done. So images ready now to bring into photo shop to upload to YouTube. I want to use another image editing application that you choose. Okay, I have a useful apparently questions about pharmacopoeia attend, then please, that has taken a shot happen Household on Twitter and I look forward to seeing on next tutorial. 24. Speed Up Editing & Save Disk Space with a Proxy Timeline: Hi there. So today I want to talk about working with proxy footage in Final Cut Pro 10. Now, this is really great way of reducing them out of this space you take up when you're rendering out your head it as you're working on it and also of speeding up your edit. If you're working on a laptop like myself for a lot of your editing, and this will really make that the editing process a lot quicker as your moving things around as you're adding new transitions, adding effects, working with proxy footage will improve the speed of all of that. A ZAY said. It will also reduce the amount of space that use up. So when we worked with proxy footage, Final Cut Pro renders out a proxy version of that in the Apple Progres 42 proxy format, which basically provides an offline version. Your file So you don't need to change this when you render out your final video, but it keeps the same size, the same frame rate of your original footage so you can edit really easily in final cut and then pull it back as you come to export things. So let's have a look at how we sound the proxy workflow. So we're gonna edit a clip down to the timeline. We're just grab the whole clip, Dragon, drop it onto our timeline, and then we'll just use shift in their toe. Bring it back. Essentially, this clip at the moment is not in proxy for that. And the way that we know that, as if we come up Teoh viewer here in the central final Cut pro. I just click on this little arrow in the top, right? We can see we can select the viewer display options. Okay. And we're working with the optimizer original format, former of the footage. So in order to switch to working and proxy footage, we This is where we need toe to make the first switch. Okay, Now, as soon as you do, that final cut is now telling us that we don't have ah proxy version of that footage rendered out. Okay, So what I would suggest is that before you work on a big head it that you do the trance coding of your footage to proxy format the night forcing like that. So set things going overnight on your foot you're Transco pretty quickly and then you can work on it so we can see. We can see the warning here and also in our other clips here. Now, this is the same that you need to flip back when you're rendering out as well. So make sure that before you render out your final edit that you switch back to the optimized original footage. Now you can switch between these two as well. Final cut will keep the rendering that it's done a zlotys. You don't delete that in both the optimize and the proxy format so you can switch between both if you have the disc place to do it or if you've rendered out some effects and you don't want to re render them because it's gonna take a lot of time, then you can keep the optimized rendering that you've done, as well as switching to the proxy format to speed up the editing process. Okay, so let's now, look how we transcribe this vision was three places that we can do this. The first is from the farm and you so we can go to file and transport media. Okay, We're just transcribing the clip that we've selected here and you can see, you know, backgrounds House here. Now we have the trans coding and analysis happening for that clip. So as soon as that's Transco, did you can see it's analyzing entrance coding things clip. Then it will show up in the timeline here as well. OK, so that is a short 25 2nd clip. When you consider to take to too long to transcoder it now, it will be easier when I'm scrubbing in the timeline to move around that footage with my laptop. And it will also be easier to kind of add effects or transitions as I'm flowing through my edit rather than with the original optimized versus what should take a little bit longer to render. Okay, so that playback is gonna be much better with proxy footage. So let's have a look at the other ways we can transcoder off it it. So if we grab another clip here, we can right click. Don't go to transcribe media here, so the contextual menu with control and click or right click allows us to create proxy media too, so we can click OK there and then also, if we select a clip and come to the clip information here. So I'm in the inspector here on the right hand side, you can see I've got the video options, the audio options and then the info. And here, Aiken, generate the proxy footage as well. So I can click here on that will begin the generation of the proxy footage. Okay, so those are the three ways of generating the proxy Patijn. Now, once we've done that moving around, the timeline will be much quicker. And also, as I said, Maddie, any effects will be quickly too. So generally, I tend to work with proxy footage if I'm working on a longer at it, so something that's over, you know, a few minutes long, I work with proxy for its just cause I know it's gonna be a lot quicker to actually work and flow around my head. It make quick changes, Then it will be with working with the original optimized media. But it really depends on your system. As I said, working a laptop, this will help a lot in improving the flow of working with your footage. Okay, If you have any questions about final cut, then that has take to send me a tweet happened household. I look forward to seeing on that she tutorial 25. Clear Space on Your Hard Drive by Deleting Render & Proxy Files: okay sanitary to I just want to cover a couple of things. The first is how to open and close libraries Now libraries. If you keep in small, they're a lot easier to manage to back up on DSO. What I tend to do is try and keep libraries for different projects that I'm working on me. It's much easier to move them from one hard drive to another and also to clean out any render files. And that's the second thing we're going to look at here, which is how to delete render files within final cut, but then also on your hard drive as well, by looking into the final cut Pro Library itself. So the first thing is, and when we have libraries open in final cut, we can open and close them. So if we go to file on open library, you can see I've got several libraries I have available to me here that I can open up on. Then I also have the option to open up other libraries. So if I've plugged an external hard drive and final cut, doesn't have that library recognized that Aiken go to open a library and search for it on Bring it up. So we're just open up one other library here, and you can see that when the library opened its actually opening up all the edits that are in there as well if you have a bigger libraries and that can take a a reasonable amount of time. So the library we've opened here, we can see has a number of different head. It's in it for this flip book to troll that I'm creating. Okay, if I right click on that library can do a few things, okay. What I wanna look at here is that we can reveal in the finder which will look at in a second for deleting render files from directly from the library. We can also close this libraries. Well, okay, so I'm gonna close this library up. Besides, I shot flippered library, and you can see now that have nothing selected because I don't have any library selected in my libraries photo across here on the left. So once a highlight, my phonic approach tutorials labor again. You can see it pops up once more. OK, so we can also delete render files from my libraries as well okay. And you can do this in one of two ways. One is to delete them within final cup. So here, with the library selected, we can go to file on. We're looking for this Delete generated library files. Okay, on this one, we can delete any render files that we have Any optimized media and any proxy media. Now, this is a great way of clearing up space on your hard drive. Because render files that provides medium lift, the proxy media will take up a lot of space. So if you're finishing up a project, you're not sure that you're gonna come back to an editor for a while, then these air definitely the first files to come to totally okay on the first ones I normally delete other render files himself because you can always re render So you're not losing anything by deleting render files. You can always re render your your files optimize media and proximity can take a long time to generate. So I tend to do their second if I have to, or when I'm kind of archiving a project, I'll delete those before right archive on an external drive. Okay. We're gonna delete anything here. Although we could We're gonna actually show how we can delete those from within the final cut pro lifer itself. Okay, so if we right click on here and go to reveal in Finder and final cut Pro Library will be highlighted in the finder. So now we're gonna do is actually go look in the library. Now, it looks like a file when you're when you first see this. But actually, this is ah, package. So we can actually look into this. Andi, basically, it's wrapped up so that you don't delete files by accident, but if we right click, I'm going to show package contents. Okay, then you can see I have a folder for each of my events, okay? And then I also have a folder for proxy footage. And if I go into the edit themselves, so there's beat box edit, for instance. Then you can see I have render files for that in particular file or project. Okay, so let's pick a project I've been working on recently. And you can see here under this folder we have the original media, the render files and then shared items as well. Okay, so if we click on render files, you can see we've got picked state of some nail media. We might also have a lot of other video render files in there as well. Okay, so let's just jump into another folder here. So if we have a look at the property footage folder you can see in the Render Files folder , then we have this high quality media folder here as well. And these are the files that could take up a lot of space when you're working within final cut pro. OK, but basically, it's a folder that final cut creates that contains frames that you've rendered out. Okay, so, essentially, we don't need render files. We can just drag it into the trash, or we can hold now command and hit backspace on weaken. Believe those render files. Okay, We don't wanna delete original media, Okay, But we can delete Transco did me. Okay, so this is proxy media that's been generated for this project. Okay, so basically a half resolution version off the original file in the Apple Progress 42 proxy format on weaken Believe that as well. All that we would need to do the next time is actually re render out that proxy footage if we wanted to edit in the proxy mode in Final Cut Pro. Okay, so essentially doing this isn't going to cause any problems when you actually come back into final cut pro weaken, delete those files. There's render fires. Those proxy files on your project will still work. You may have to go through the process of re rendering or re trans coding some of those files that you created that essentially your projects in intact. Okay, So, as I said, this is a great way of saving some space on your hard drive on particular with render files . If I'm in a hurry to get a project going, I'm running out of this space, then render files to be the first thing that I go to in older projects. That I'm not working on to actually delete goes on and can really helped to save this space on Stop that spinning ball, which is often the problem was, your hard drive gets the only five or 10 gigabytes free on it. You're really gonna struggle to work in final cut pro. I just want to show you how much space. We do save when we delete those files from the trash. So we just filled up on the trash with render files and transported media. Okay, on these amount about 1.5 gigabytes of space. So if we have a look at our hard drive here, we've got 44.26 gigabytes free on bearing in mind. This is a short headed only, like, 345 minutes. I think for this tutorial I created that we're deleting these files from. So once we hit empty, you can see that we grab back space. And actually, we will need toe jump out of final cut pro to delete holdouts far. So I'm just gonna quit out final cut pro here. Okay? And then once I've quit final cut pro, I just go back to the trash on empty out. These wonderful. So this is one nice thing as well. About the leading render fast in this way is that you don't need and you can see that we grab back a few more gigabytes. You don't need to have final cut pro open in order to manage that. This space, which is quite nicely, makes it a bit quicker next time you open final cut pro. There won't be any issues with files of projects if you deleting, Render files proxy files Final cut pro recognize You delete them and just want to recreate them. And, uh, also, if you're thinking about managing media you want might want to take a look at my tutorial that runs through how to back up a project in final Cut Pro 10 as well. It's a really useful tutorial, and it will definitely get you going in terms of backing up your projects and moving them onto external hard drive on duh. Look forward to seeing in the next tutorial. 26. Backing Up in Final Cut Pro X: Okay, We're here. Final cut pro. And we're gonna have a look at how we make a backup or a copier project. An external hard drive. So I'm working on a project here. It's great color tutorial on which the fighters up to tour like Red on. We're gonna move this project to external hard drives located locally on my drive at the moment. Okay, So the first thing we want to do is just make sure we've got an external hard drive plugged in, and we have this hard drive. The transporter plugged in. Okay, There's no final cut pro projects on here at the moment. So we're going to make a fresh library, which will make the folders that final cut needs to store the files in it. So in final cut price, that's a file New library. Okay. Onda who call this folk, huh? Projects. And it's like that. Just jump back to the drive to show you what's happened there. So now, in the drive that I've made, we just have this file final cut projects. Okay, Andi, It's basically the final cut pro project library that we can move files to know. OK, so in final cut. The next step is to find the project that we wanna move. We're gonna go back toe this. So have event corn. My hard drive. Okay. On into the tutorials folder, which is where this project we want to make it stores so high like this. Okay, come up to my new library. The final cut projects on. Just drag it in there. Okay? And you can see it's dragging it into the date here. Okay. So basically, we have a little message here. We want to copy these files. Andi, it's gonna move the optimized media and the proxy media. So if you wanna save some space, you might wanna uncheck that depending on if you want, avoid having Teoh fill up your hard drive. If you want to avoid rendering, then you want to move the optimized media on the proxy media. If you're using it, so we'll click. OK, here and now these files a moving across that's copying through three files from one location to another. Okay, so what? It's doing this? We just have a look at the final cut pro folder at the library just to show what's actually in there. So We're looking at the local drive now. They're normally by default. Your final cut pro libraries in the movies folder. Okay, so if you're searching for files or projects and you actually want to drag some of those original quick time movies out, even port its final cut, then this is where you you go. So normally by the thoughts called your hard drives name Macintosh HD is mine. His projects and events. Okay, so if I right click on here, Okay, I've got this option to show package contents, and you can do this for these kind of libraries, offer applications and stuff like that to see what files are inside it. Okay. It's kind of like a semi locked file, but actually, you can get inside it. Okay? So you can see in here. I've got my list off events. Okay. Andi, Falsone. Here I've got If I go into these events, then we just kind of stretch this out. All the different projects I'm working on. Okay, I've got folders in here, such as transported media on where if you're trance coding stuff, too high quality media or to proxy media, you'll have this, um, storage in here. Okay, on these the kind of folders that if you want to clear some space on your hard drive because things are filling up quickly, these the kind of things. As long as you've got the original file that you can delete without too too much trouble tested on a less important project first before you try that out. Also files that you can delete in here toe kind of clean things up with the render files until you can see we've got high quality media in here. And if we look at it, this render five and get quite big quite quickly as we work on different projects. So I know with confidence that if I delete those 70 gigabytes of projects, all I would have to do with Beeson re rendering father of the projects, I wouldn't actually lose the projects themselves. So getting into this folder can be quite useful if you're running out of hard drive space, which does happen from time to time. We've also got the original media. Now you can see here that I've got some different kinds of media here, So some of these are his files with a little hooked arrow on the bottom left. And that means that is a link to a file. So the files are actually located in this, uh, this folder. The fire we moved. The great college tutorial is it's actually embedded within the final cut pro Project library. But I do this this way on so that I don't duplicate my files were imported. Okay, so let's have a look. We've got on our external folder here. So in our new final cut projects library If we right click and show the package contents, you can see we've got the event. Today's date. We can change that if we want to. A final cup on, then we've got the gray color tutorial. Three events. So they edit that file the original files. Okay, so I've got a couple of voiceovers that I did t fixem sound problems I had I've got the tutorial original movie file itself, and then the render files. OK, which is just the peaks data, which is like the the audio waveform gator. So that project now if I unplugged the hard drive moved to a different location. I know that I can actually continue to work on that project and in different locations. So that's how toe move a project. And if we just go back to final cut pro, we can see now everything's finished here. And if we jump into our new final cut projects library up here, we can select the edit. We can see the edit has got this kind of jagged black and white line at the top. We've got the same project in here. Okay, Onda, we can now make that two different computer and work on a different location. We could also, if we want to, uh, have more control over our backups, actually copy the files from the original final cut Pro Life brings so we can go into the Macintosh HD Predicted events Library copy. That's fast, but it's a little bit tricky. You need to know where the files are before you copy them. But certainly if you want to back up your whole library and you've got the space to do that , then if you take a full copy of this than it will give you a backup of your entire project library. Okay? Obviously, normally you would want to keep three copies this library so it's handy to be ableto do that actually dragons to a different drive and make a backup of all those projects. Okay, that's the end of this quick run through of how to kind of manage projects within final cut Pro. You have any questions about setting up projects and final cut, or about how to manage those projects than please don't hesitate to tell me a tweet at penthouses. 27. Create a Timed Image Presentation Video with a Voiceover : okay. And this quick tour, I just want to share a method off, setting up a timed slideshow presentation in front of copper attempt. And basically, what we're gonna do, we gonna bring in 20 slides that will run for 20 seconds each. This is the format that's used often for Petra coach talk. So for quick fire presentations. I mean, if you search for Petra future online and you'll find a lot of different talks that used this Former. Okay, so basically, we're gonna import 20 slides or images, create a new project and show you how to get the timing of those slides. Right? So first thing is, we'll go to the desktop on my computer here, and we've got 20 images that we're going to use a slides here, so we'll just quickly dragged these across its final cut pro. And then we'll go ahead and create a new project. OK, Now we're gonna create at 7 20 p 12 80 by 7 20 which is a nice size to work with. Not too big. It's not gonna cause you up like problems on. We'll just call this slideshow presentation. Okay, so let's go ahead and grab our 20 images now, the default duration for each of these images, when we place them all the time and it's gonna be 10 seconds and that's really the thing we want to change. So you can see here that we've got our slides running up to 10. 20 that seconds. OK, so we want to get the timing of those, right? So it's gonna use the shortcut shift and said to zoom to my whole timeline. Now, if I drag across and select all of these or use come on the night, I can use the duration function to change the duration of all of these in one go. This is also useful if you're doing something that could stop motion animation where you wanna set your frames particular duration as well, in this case, were sent into a long duration for a presentation. So if we go to modify, change, duration and you can see the shortcut for this is controlling day, then this Central time code viewer or turn blue okay on that indicates that we're now allowed toe type in here. So we want to type in 20 on, then a full stop period and then that will set the duration to 20 seconds for each of these slides. If we hit enter Now, you can say that everything got a little bit longer. And if I did shift inside to zoom whole Timeline, you can see that I'm running these slides. Exactly 20 seconds. Okay. Now, another thing with the slide as well is that the scale of them is meaning There is a black bar, the side of each of these frames. Okay, which I want to get rid off. So I'm gonna keep them selected on make a scale change to all these clips in one go. So I'm just gonna pull this up, okay? Andi will come up to about 100 20%. All these image of the same size, so it's relatively straightforward to do this on. Then all I would need to do with my slides. Once I've set, that is just go through a make sure things that frames right. So I can use a transform button here to go through my slides and just check that everything is framed, right? And I don't want to move anything around. Okay? If I do need to move something, then with this transform, but and turned on, I could just drag things around and reposition them. Reframing. Okay, so that's how to set the duration. 20 seconds on, then also, how to reposition Re scale your slides. Let's now have a look at how we had a transition to each the slice. So we're just gonna come to our video transitions here. If you don't see the transitions window and just click on this little button here on, we will use a movement transition. So I will use the push slider here, okay? And will drag this onto one at eight point. Okay. Now, if we select this okay, we can change the orientation of it's that it's moving left to right, top to bottom, right to left, etcetera. And then once we've got this, just how we want it, we can coffee it and again, we can use the the pace function. So I'm gonna select all of these on then do command the and it will pace that transition to all my element. So, really, what we're looking at here is ways that we can do mass changes on our timeline in final cut pro. Ok, so we've set the duration of each of these slides. We've added a transition to each the slides without having to go through every single headed point. The last thing I want to show you is the voice of it'll. So if we were doing this presentation, we might be doing it live in a Petra Cooter talk or a different presentation format. We could export out the video, which will look at in a second. But if we wanted to save our version, which had our recorded voice over, we can set up my presentation in final, cooperates in and then go to window and record voice over. And this will enable us to record a voiceover straight into final cut pro. So if we hit record now, it's gonna count us in. We can begin begin to record our voice over, and it's gonna play through the slides as we talk about them. So you can see this is a really quick way of getting a presentation ready with the voiceover on top. And obviously, because it's final cut, we have the ability to go in and edit that voiceover, make changes to it, or do a second take of the voiceover as well on then edit different versions of that voice over together. Okay, so we have a lot of flexibility here. I really like about credit presentation within Final Cut pro. OK, so would look at one last thing. I just stopped this voiceover for the moment. You can see it's recorded my voice. Here we can see the way form, so the next thing we'll have a look at is exporting. So if we just click on the share button across here on the right hand side, we'll share a master file and in the master far just jumped the settings and make sure you're exporting our H 264 That will be a format that will easily upload to YouTube or to Vigna or to another video platform online. Okay, so that's how quickly to set up a slide show. If you have any questions about this or other editing techniques in final cut pro, then please don't hesitate. Toe. Send me a tweet up in household. Look forward to seeing you next tutorial 28. Create Looping Videos for the Web or DVD: how that sound that you, Tory, we're gonna run through how to make a quick video loop in front of copper A 10. So basically, we're gonna make the kind of look that you would use in a web page background. Well, that you want to look in the background of video over a longer period of time. So the main point of this is to kind of make a seamless video clips. There are jumps as you move from the end of your video back through to the beginning. So the video we're gonna use this is shop of a wood stove. Okay, I'm gonna drag this straight down to our timeline here, okay? And then once you got in our timeline, we're just gonna go to view and zoom to fit so that we see the whole video that we're gonna be working with. Now we just increase the size of our timeline here and were using the hand tools. We can move around at timeline easily. We're gonna jump back to the selector on what I want to do is actually grab a chunk from the beginning. This video put it at the end so that we can then fade that back through to the beginning. OK, now this is a static tripod shot. These kind of phase work best when they're shot in this way. So we're going to come up and grab the range selection tour on what this allows us to do is to select a range of our video by clicking and dragging. So we're gonna click from a few seconds in back to the beginning, Okay? And this is a section that we're going to use for our fade at the end of the video. So we're gonna go to edit and cut. Okay, so we've taken that off the beginning of our video, and then we're gonna come to the end of our video and go to edit and paste is connected. Clip OK or option. And they okay, Now I need to jump back to the selection tool and just make sure got snapping turned on so that when we pull this clip ahead, we want it to be right the end of our short sequence here. Okay? It snaps right to the end. Okay, So basically, we've got the frame just before this frame at the beginning. Now, at the end of our clip, so that will be a seamless transition. Okay, so what we need to fix now is this transition from the end of this video through to this part of you is gonna look background to the beginning. And the way we're going to do that is just by working with the capacity So we need to bring up the inspector to do this. We're gonna go to the window, show inspector, okay? We'll scroll down on, comes to capacity. I guess you want to come to the last frame. Our video here on make a key frame for our compositing are nasty 100%. OK, so that's the end of our video. And then if we come back to the beginning of this clip, OK, we're gonna make a new key frame or just begin to drag the capacity and drop it down to zero. So basically, what's gonna happen is that through this few seconds at the end, we're gonna fade in other clip, OK? And it should fade pretty seamlessly. So we just hang on a sec for that surrender out, okay? And then we'll go to view and play that and make sure Luke play back is turned on. Okay, so you can see now it's checked. So when we play here, it's gonna look right back to the beginning. OK, so this is the fate that's coming in. I mean, it's coming back in nicely to the beginning of the clip, OK? We'll just play that through one more time. Yes, we have a pretty subtle fate in, and then it looks seamlessly to the beginning of the clip. Now, the one thing that we just show you here is what it looked like before we actually made the face. So if we just highlight this clip in tap V that will turn off that clip, okay? And then we'll just play that through. So you can see now when we get toe the end of the clip here we jump back to the beginning. There's a really clear jump between one clip on the other. Okay, so let's just turn that back on, okay? We're gonna drop the sound down for this part of the clip, okay? And then with this main part, the clip, we're just gonna go to the audio. Andi. Well, you analysis, We're just going to remove any background noise that there might have been. There we were recording that the fireplace. Okay, so now I've got a nice Luke have a little bit crackling in it, A fireplace atmosphere on. We could go on and do some color correction stuff like that. But this is essentially how toe make the looping video by using the range selection tool, the beginning, cutting that and then pasting it as a connected clip at the end and fading in using their plastic. No one additional thing that's worth thinking about here is where you're gonna look this. So if you're living this on a DVD or on the Web, then you may not just wanna have one section of your loop and then look that because wherever you play it back, there will be a tiny jump as you move from the end of this video back to the beginning. So one thing you want to think about the duration, you want us to loop over and then trying to loop it as many times as is possible before you upload it or burn it with DVD. Now with a lot of websites. If you're using a looping background, the file size limit maybe like 10 or 20 megabytes. So you need to consider that in terms of file size, it's really probably gives you somewhere for an HD video between 10 to 20 seconds, depending on the the video of the detail in the video. Okay, so we'll just gonna do one extra thing here, toe, make that loop happen. So we're gonna make sure you got the selection tool selected. We're gonna highlight both these clips and then go to file new and compound click. So basically, this is gonna ness those two clips that we've got together in one compound clip. OK, so we'll select that and we'll call this main blue. And now, once we have that, we have that seem this loop in one compound clip here, which makes easy toe and a copy and paste and duplicate. So just gonna zoom out a little here for the first couple of years ago. Do so I'm basically a select this and then do come on and see to copy and command of eat paste. And where the play head is being placed is at the end of this clip. So if I do Come on V a few times and it's always gonna paste it right? The end. Okay. And once I've got a few clips on my timeline there, I can select thermal copy them on. Then do Mondavi again faced a number of clips, all of mongo. Okay, so quite quickly, I'm getting to 10 seconds. I'm gonna leave it around 10 12 seconds for this particular loop, OK? And if we do shift and said that's gonna zoom to fit the whole timeline, it's the view zoomed to fit option that we have here. And if we play this through and we'll just jump toe one of the edit points here should see that we have a pretty nice, seamless Luke that's going to keep going on for as long as you want to keep copying and pasting it. Okay, you're working with a DVD format, really recommend that you have at least 10 to 20 minutes before that looked slow. So that's gonna bay about them out time that somebody would sit in front of it for the maximum duration. Metal mean they'll never see that junk When the DVD loops from the end back to the beginning of the DVD. You, conversely, loop it for longer if you need to. I have been useful. If you're trying to make looping clips. There are some tips and tricks that you need for a more complex loops but essentially taking part. The beginning of the clip moving It's the end and then compositing those things. Things together is one of the kind of Maine essential things that you'll need to learn. How have you found that useful? If you have any questions about final cut, pro 10 or other two tours would like to request in place that has Texoma tweet about household I look forward to seeing on next tutorial. 29. Export an Image Sequence of JPEGs, TIFFs or PNGs: Okay, So we're gonna have a look here. How we export on image sequence from final cut pro 10. So that we normally share files is by coming across to the share button across here on the right hand side or by going to file and share, and then we have a serious of options that we can share. Two. Okay, so we have master file YouTube video, etcetera, and we also have this option to add destination. So we don't see export in this sequence here at the moment, we can add other destinations, such as current frame or image sequence from this destinations panel. So if we grab the image sequence option here, we can just drag it across to the left hand side, here to the list. And that will now mean that when we export out our current project, we have the option to x y on image sequence. So we can close this destinations panel up here, and you can see you can also access that from the preferences panel here, too. Okay. Well, we change some other settings in final cut pro 10. So now we have our short time lapse video that we're gonna export out and we can go to the share button or file share, and we can select export image sequence. We have some settings here such as the file that we can export out on. We're going to keep it as, ah J pick here on. We can also scale image to preserve the aspect ratio. OK, so that means that basically, if you have footage that shot with a camera that uses a pixel aspect Rocha other than 1 to 1 which is square pixel, then it will adjust that so that you get an image size that matches the actual frame size that you're viewing. Okay, that's what next it will ask us. We want to save our images. I'm going to create a new folder here and call it a much export. And basically, this name here is gonna be the start name for images. So going to call this frame and then a hyphen click save. And then if we have a look at what's happening here friends sharing now. And if we have a look at the folder on our desktop, we can now see the images of export into the folder frame. We double click on that. We can see each of our individual images just really them by name here, so you can see it's labeled them from zero up to 244. The number of frames I have here and now we can go ahead work with those times in photo shop, or bring them back into final cut pro. Okay, I have been useful. If you have any questions about final cut pro 10 or other bits software such as Photoshopped or Debbie Illustrator, then please don't hesitate to get in touch. Look for to see in the next tutorial. 30. Image Resolution Tips for Final Cut Pro: Okay. Hi, guys. So we're gonna talk here about how we images from a photo shop into final cut pro tennis. Specifically, photographic images on as we go along will mention a few tips and tricks for getting images in on in particular, thinking about image size and how your images are gonna work within your final couple attended it. So the first thing to think about his resolution So we're gonna have a look at setting up a new project. And then as we look at our images, info Shop will think about the image size on what type of image size will work best when we're working within photo shop and then bring those images into final cut pro 10. So if you go to file and you I have a library set up here, so I'm just gonna create in your timeline or project on. I'm just gonna call this project image resolution. Okay, Andi, we're going to jump into the custom video properties here because that's what really interested in is the file size of working on. Now, when we're thinking about resolution here, I'm normally output into online format. So think about YouTube or Vimeo. or other online platforms. So but those formats you'll always be working with square pixels. If you not come across square pixels before basically, no, every pixel is equal on DSA. Um, pixels have a slightly more rectangular format, but whole screen based pixels for the Web or for working on your computer screen will be square. Normally in old broadcasting formats such as NTSC or power, you would have experienced the need to work with a pixel aspect ratio that was different to a square pixel aspect ratio. So let's just have a look at what we have here. So if we go, for instance to power SD okay, the resolution for these will be 7 20 by 576 But actually, when you bring that to broadcast, it would be 768 by 576 the pixels stretch when you put them on screen. OK, now we're normally talking when we're working for the Web about two main formats and that is 7 20 p. Okay, on 10. 80 p. Now, normally, there'll be no reason to use any other image formats. Okay, so we're gonna work with 7 20 p, which is a great HD format that's useful for broadcasting on the Web. It'll look nice and sharpness and crisp on. It will also give you a slightly lower file size. Now, the other thing to think about here as well when you sing a project is that 7 20 p compared to 10. 80 p. We'll have a lot shorter rendering times. Okay, so if you're working on the laptop in your trying to get your content out quickly but you're compositing a lot of images within Foca Pro 10 than 7 20 p may be the better option on when you're broadcasting stuff like software tutorials or video Blog's 7 20 p is perfect . Okay, so we'll stick with that. Okay, now, the resolution here is 12 80 by 7 20 on this is where things kind of get interesting. So we have 9 60 by 7 20 which is a different pixel aspect ratio for 7 20 p. Okay, we're always gonna stick with 12. 80 by 7 20 which is the square pixel. Former for 7 29 60 pixel wit will stretch to 12. 80 when you actually output it. Hope broadcast it. But 12 80 will be what most people will want to work with. And then we have the frame. Right, OK, so we're going to stick with 30 people. So basically, we want to create all our images so that they're bigger or the same size as our timeline set up. I guess that's what we wanna keep in mind when we jump into photo shop here. So we're going to skip across toe photo shop here, and I'm just using command and tab to jump from one application to another. Okay? And you can see here we've got some images that we're gonna look at. We're gonna talk about the way you can know whether they're suitable to bring into final cut Pro 10 or whether you're gonna lose a little bit image quality. So the first thing here is we just skip through these. We can see we've got some landscape images on. We've got one portrait image. Okay, If we just have a skim across the top here, we can see that the percentage resumed in is different for each of these, which indicates that these Airil a slightly different resolution. So let's have a look at our first landscape image here and I'm just gonna call this to the left, so we kind of got them in image size order. So this is one of the smallest sighs landscape images that I'm working with on if you go to image Andi image size. We can see that it's 18 40 by 12. 30. Okay, so this is great for importing to 12. 80 by 7 20 or 7 20 p. Project in final cut. Pro. But if you're wanting to import it into a 1920 project that higher HD resolution, then you're gonna lose it up Image quality, because you need to increase the size of it to fill your screen where you're gonna have to wrap it into a frame of some description. Okay, so this is smaller than our highest video resolution. Okay, Now, for your finest with older digital cameras or if you scan stuff in from a film, it may be a lower resolution than 1920 PTR working with. OK, so that's just click. OK, there. Let's have a look at the hot air balloon image that we've got him. And if we go to image size, okay, then we can see that it's 2855 by 1938. Okay, so it's way bigger than 1920 by 10. 80 which means that we'll be able to zoom into it, could zoom out of it. So if we're using something like the Ken Burns effect in final cut Pro 10 then we can use that, knowing that we're going to keep our image quality and we're not going to get any degradation of images, we increase or decrease the size of it. Okay, so let's go to our other knish here on the image size for this is 4 to 88 so ever twice as wide as 1920. Andi high enough so we can zoom in and out of it. We've got lots of scope to kind of play with them. Work with this image. Okay, so that's a quick intro to image size. And really, you want to get an understanding of moving between image size and photo shop on the image size in final cut pro when you're setting up a new project so that you know that your image is it gonna be the right size? Okay, I'm gonna go to file import a media and we're just gonna navigate to the desktop here so we'll come to our users fold up into the desktop, and we've got these four images. Okay, so we could bring these images in here. We'll just bring one in here, actually, import that selected image. And in these options, I tend to leave the files in place. You can copy them into the library. As long as you're organizing your files, you know you're not going to leave them. Then that's fine to do. It means you don't end up with duplicates of images or videos on. Then we can also create proxy media if you want to. Had also look for people in our photographs as well. Okay, so I will turn this on press import. Okay. Now, for the other images will just bring up our stock. One nice way of previewing images in the desktop on Mac OS 10 is to actually just highlight an image of impressive space. Mind you can do this with an image or a video, and it will pop up this nice big preview and you can actually navigate through different images and video on the desktop without opening any application. That's a real time saver sometimes. Okay, so now we're gonna drag these across in tow library here. We'll close this window. OK, so let's have a look in Funchal. Pretend where we see some of the information that we were seeing in photo shop. So if we go to window, we're going to show the inspector okay, inspectors really useful. It's definitely worth looking at this and understanding what goes on behind the scenes in final Cut Pro 10. Okay, so we've got our market image. We can see the resolution of it. Okay, We concede it's a J pick from this, and we could see the same information for those other images. We got some nice information here is gonna help us toe find out what kind of images were using. Okay, if we scroll down one of these images, okay, you can see it can also reveal that image in the final, which is really useful. So if you're working final cut pro tenure tryingto find out where your files are or find out which file to edit in photo shop. One of the great things about bringing images like this is that we can have a J pig in here . We can use it in our project. And then we can also bring it back into photo shop. Edit it on final cut Pro will keep that link. OK, so we can click reveal in finder here, and it will take a stretch. That image on the desktop That is something that I used a lot in different applications, but definitely final cut pro tend to, and you can also right click here and use reveal in finder. Okay, so we have our images here if we dragon image to the timeline. Okay? Basically, the image is gonna scale to fit the timeline. Now, this is good. It makes it nice and quick to get your image sitting within fun. Kaprow 10. But sometimes you don't wanna have that on. So if you go to the inspector with your image selected on the timeline, you can turn the spatial conform off. Okay, so you've got fit fill, which will fill the frame, which is another nice technique having the black letter boxing around the edge that you get when you're fitting an image doesn't work as well as having a frame filled, okay? And we can also tell it to none, which will give you the image at its actual size. Okay, so if we have an image selected here and then we select the transform tool, we can now click on this image on, move it around and reframe it. And then we can go on to do things like key framing that image, animating it, rotating it. If we have any corrections that we need to do on, you can see here that what we're looking at within final cut Pro 10 is a very small version off our image on info shop we were looking at are images are 100% to see what the actual pixel quality watts of those images when we were looking at them. And I would recommend doing that in final Cut Pro 10 2 or any image editing application is actually coming up to zoom option here. I'm just going to 100% and seeing how crisp your your images, okay, and you can see you get this little navigator here, which allows you to move around the canvas. And of course, we can close other windows up like the browser in order that we can fit more of that preview onto our screen. Okay, let's bring back there the browser. We need to see that for this. Okay. So worth zooming in and zooming out. And you'll see if we come to this market image, for instance, that when we first dropped out the timeline reviewing it fit. It looks great. It even looks great if we increase the size of it. Okay. But we're only looking at this at 37%. Okay, so we're not seeing a riel example of how that's gonna look when we've got it. 12 80 by 7 20 on screen. It looks great in that smaller format, but if we go to 100% then we'll see that the images started to break down a bit more. Okay, so the scale that we change there you can see across here. And, Inspector, we've changed it to 263%. So really, what you've got in terms of working with image size is somewhere around 20%. So if you increase your image size by around 20% from an original, then you can get away with it. Okay, so that's Ah, good thing to bear in mind if you're working with images that 100% value. Okay, so there are a few tips for working with images and find cover 10 for paying attention to the resolution, which is all important if you want. Nice, crisp quality. Most DSLR images Nowadays, most cell phone images nowadays that you take will be bigger than 1920 by 10 80 so you shouldn't have any problems with image resolution. But nevertheless, it's worth keeping that in mind. One other place that you can source images from the Internet is one location where you might find photographic images that are smaller. And if you jump into a site like Google images, which will have a look at now, then you can see I've just done a quick search for for cats on images dot google dot com. Okay, and you can see that we've got a nice array of cat images that we could use Important thing to pay attention to. Here is the little resolution that pops up at the bottom here. Okay, so 1000 by 781 is slightly smaller than 12 80 so it's a smaller size image. Onda. We can even find images that are 6 25 by 500 which, if you actually pundit up to 12. 80 by 7 20 it's gonna look pretty pixelated. Okay, So if you're wondering why images that you've downloaded from the web are pixelated, then that could be one of those reasons. Okay, So if you want to make sure that you're getting images from the weather from Google, wherever you're searching, then you can use the search tools here in Google and manage the size that you're searching for. So, for instance, if we go down, we can choose large, medium or larger than okay on. If we pick larger than 10 24 by 768 most of those images are gonna be larger than 12 8 by 7 20 which would be the size that you want. So you can see it's a 1920 by 10 80 image. And that's the size that we would want to be using. Okay, if you want to download images from Google, then just click on the image, okay? And then once you've got it up here, just go to view image, and it will normally link you to the image on its own, and you can just go to file safe or right click on saving. It should download or save image as, and you can then import that image into Final Cut Pro 10. Okay, so that's a quick mention of images on the Web and at that point will wrap it up. If you have any questions about images are about working with images in Final Cut Pro 10 then please, that has Taito to send me a tweet happen household, and I look forward to seeing on that tutorial.