Create & Edit Cinematic Video on Final Cut Pro X | Mos Chowdhury | Skillshare

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Create & Edit Cinematic Video on Final Cut Pro X

teacher avatar Mos Chowdhury, Final Cut Pro X | Salesforce

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      1. Introduction


    • 2.

      2. Slow Motion Requirement


    • 3.

      3. Handling & Movement


    • 4.

      4. Focus


    • 5.

      5. Speed Ramps


    • 6.

      6. Transitions


    • 7.

      7. Just Beat It.


    • 8.

      8. Less is More


    • 9.

      9. Coming Up In The Next Course


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About This Class

A very quick and snappy class highlighting the main factors to bear in mind when creating cinematic videos.

Some of the topics I will be covering include:


How should you be holding your camera in order to get the best stability whilst recording for cinematic video?


What? When? How? Why?


Why and how to create your own with £0 cost


How to relate your video to your audio to create a dramatic effect

Have a look at the cinematic video I created to get a taste of what you can create after going through this course.

Meet Your Teacher

Teacher Profile Image

Mos Chowdhury

Final Cut Pro X | Salesforce


Hi there! My name is Mos. By day I'm a Salesforce CRM Manager (12 years) grinding away 9-5. By night I'm a YouTuber and videographer.

My courses focus primarily on Final Cut Pro X tutorials including special effects as well as Salesforce tutorials. But I may touch on tutorials that venture outside of those two areas.

I've gained quite a few skills along the way which I hope you can learn something from.

A small portfolio of my work can be seen below in the examples of my work section below.

If you have any questions regarding any of my courses, please do not hesitate to contact me through any of my social networks.

See full profile

Level: Beginner

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1. 1. Introduction: My name is most Chatree on the video before, and I also created a YouTube videos using final cut Pro X. So this course is all about cinematic videos, So if you're not sure what they are, they're essentially fast paced video that focuses on a subject before quickly moving on to another subject. For a while. More sequences make sense as a basically are connected together to create one large sequence, but beautifully and elegantly done at same time, being very fast. So in discourse, you're basically gonna learn how to shoot the extra yield. Using your camera on, I will go with cameras or lenses. You use shooting videos, but also how to edit them. Being perfect. Now one of the things are trying to deal with this course is condense everything I know into smaller bite sized lessons because you could essentially go on for some time to try and figure out exactly what you need to know in regards to shooting piece of video editing them. So I will try to simplify as much as possible. Luckily along the rooms that you need to learn in terms of shooting these videos, he's quite repetitive, so I wouldn't essentially keep going on and on about those. Just explain it once and then show you guys How you gonna pry it? Given scenarios, I actually just shot a cinematic video just recently that are provided on my profile on sculpture. So feel free to keep that visit. Check it out so you can see exactly work that I do. Basically, if it looks good to you and your into creating those types of videos, you're free to jump on board. 2. 2. Slow Motion Requirement: Okay, So the first thing you need to make sure is that your camera has a slow motion function or is able to record video at either 60 frames per second, but ideally ah, 120 frames per second. Now. The reason for this is because those frame rates will allow you to slow down the actual length of the video and, in effect, allow you to have more control when you're moving with the camera on, essentially allow you to do what we call speed ramps, so the frame rate should ideally be 120 frames per second on If not, then hopefully 60 frames per second should still do the job, but it may not be as slow as 120 friends for second. Now, in terms of the resolution, you definitely want a minimum off 10. 80 p, which is also known as full HD. If your camera is able to do it at four k even better, but yes, a minimum of 10 80 p on ideally 120 frames per second, if not, then 60 frames per second 3. 3. Handling & Movement: So next up we have handling and stability, so there are two ways we can break this down into. One is the actual handling, and the next is the actual movement. So the first thing is to make sure you hold your camera correctly. There's essentially two main ways you can do it. So the main thing here is to make sure the points of contact. Now, normally, when someone holds the camera, it's two points of contact. What do I mean by that? It basically means there's two points of your body holding on or leaning against the actual camera or just touching the camera. Now two points will probably be what your right hand on one side and your left hand on the other. That's good. That's not that's not bad. In fact, it's the just the norm. As we all know, however, the more points of contact you have with the camera, the more balance that you have in terms of keeping the camera steady. So what would a three point of contact be? So you will essentially be the two points of contact. It's over one hand, your right hand on the right hand side and your left hand on the left hand side, and the third point would be your eye. So when you put your eye toward the eyepiece off the camera, that's the third point of contact. Now you're essentially shoving the camera directly into your face when you are making that third point of contact with your eye, obviously gently. But it does keep that stability. It does keep it stable. Give it a shot. See what you think, Onda. That's probably the way I would say to go about it. Next is the movement. Now There are two ways you can do this one is completely wrong, and the other is is completely right. It's basically the solution, so it all depends on your movement and your steps. So the incorrect way is to walk at a normal pace. Do not walk at a normal pace unless you're using like a DJ, a DJ I. A Ronin s, which is a purpose built stabilizer, is essentially what is known as a gimbal, and you can put mirror less cameras and dealers DSLR cameras onto it. Andi, I am assuming no one's got that because it costs about £8000. If not probably more so. Three Alternative way to do it is first of all, do not walk out normal pace. Rather, the solution is to walk at a slow pace. Now there is a term unofficially known in the video go free world known as Ninja Steps, and you've probably heard of it before. So basically, you are lower to the ground. Your knees are bent. You're taking smaller steps, but you're also taking slower steps. So that also means that gap between one step and the next. There's almost no gap. It's almost heel, toe, heel to toe, heel to toe, but you off your each leg that goes in front, or each foot that goes in front is essentially touching the back of the the previous foot. Eso you're basically giving your almost moving, you almost gliding. If anything, you're trying to move in a way where on camera, it looks like you're on a you know you're on a gimbal, Your honor, Dolly, it looks like it's, you know, a A drone have just flying through the air stabilized, and that's what we're trying to do now. As weird as that sounds, this Ninja Steps technique may eliminate possibly up to 70% off the shake you would normally get when you're walking at a normal pace. So that's essentially the solution. Go for as many points of contact as you can when you're holding the camera. So that will hold the stability on the comfort with with your connection to the camera. That's so that your relationship with the camera you keeping their stadia as possible, that next is the movement and you're trying to take ninja steps. Andi, I know if you was to do this in public now, you might, you know, it might look a bit funny, but there are people who do it. And sometimes you know what? When you want to get the job done and when you want to get the job done well and you when you when you're trying to achieve a certain goal, you do whatever it takes. Andi, if that means, you know, for a short time you've gotta walk like a danger in the public, so be it. I mean, those people never see you again, right? 4. 4. Focus: next up. Focus two key points to bear in mind. Here. One is timing and the other is manual focus. You need to ensure you time the moment of focus correctly. So, for example, if you are recording a subject and you are walking up towards it, the goal you're trying to achieve here is to be out of focused the whole time until you get up close to the subject. This recording, coupled with a speed ramp which will talk about later, will create the dramatic effect we're looking for in order to achieve the results we want in cinematic video. We always want the camera or the lens to be switched to manual focus. This is because we want everything blurred until we get up close to the subject on autofocus will defeat the purpose as it will focus automatically on whatever object it confined. Quick tip. If you're recording a stationary object, simply reverse the process, record the subject in focus and then simply move away until you are in a position where everything is blurred. Then reverse the clip in final cut and voila! You've got the clip you've been looking for 5. 5. Speed Ramps: Okay, so we have now recorded our clip on. We've now imported it into final cut, so the first thing we want to do is make sure that the speed ramps or the speed of the clip is correct. So my clip is 120 frames per second in 10 80 on, I am going to import it into a project file, which is 25 frames per second Now. This will allow my clip to run its normal course in terms of its frame rate, allowing it to play at a slow speed. Now to establish the speed ramp, there is a speed round functionality that is already built into final cut. However, I prefer to use a manual way which I believe gives me a lot more control. So essentially I would just change certain portions off the clip to a certain speed, and then the rest just plays itself. So, as you can see, the clip is already fairly slow cause it's in slow motion. All I need to do is select a certain part of the clip, usually at some point in the middle where the camera is traveling towards my subject and I just speed that part of the clip up. That's all I have to do on one of the great things about recording in slow motion. In fact, one of the reasons why we do record in slow motion is so when we do walk towards our subject, we can walk slowly on because we're walking slowly. We're maintaining that stability. Remember, we're taking those ninja steps, but when you go to play it back at a faster speed, you can't tell. It looks like someone has just done, you know, an amazing bit of editing or someone has just walked very forced towards the subject without without any hiccups, without stumbling and keeping the camera perfectly straight. The effect looks great. So that's one of the reasons why we do slow motion. The second reason is because when we do get to our destination, so we're up close to our subject, we do want to show it in slow motion, and that's that's, you know, that's part off the cinematic effect. That's exactly what we want to do. So that's how I prefer to do a speed ramp. As you can see, it looks fairly good, Andi, In all honesty, there is no differentiation from this and the speed ramp that final cut gives. As I said, this version, I think, gives me a lot more controlled, and I find it a lot more easier. 6. 6. Transitions: transitions. Now this is one of my favorite parts off editing on. I'm sure it is for a lot of you. And the good thing is final cut. Pro X has amazing transitions already built in, but probably even better ones that you can download as separate plug ins. So when it comes to the standard transitions that already built into final cuts, the main thing you want to bear in mind here is you want to look for one that's forced. That's the main main aim here. You want to look for a forced transition, ideally, one that will quickly zoom in on just, you know, switch away to the next scene. Why? Well, we're doing cinematic video here, so the pace off the video is very, very fast on. We want to give that effect where the viewer has just just digested the first scene or whatever seen on before. They fully digested it to realize, Hey, what what just happened there? They're already transported to the next scene, and they're trying to digest that, and that's and then you know, after that it goes into the next scene. That's the beauty off cinematic video you want to keep them or you want to keep your viewer entranced. You want to keep their attention the whole time on. Obviously, if they video short and snappy, you know they're gonna watch it again and again and again. There might even be points where they pause the video and say, Hey, what just happened there? But that's that's where the transitions come in. They play a huge, huge role. You don't want a nice, you know, slow, elegant transition that it doesn't work that way. At least not for cinematic video. You want something fast and snappy. There is another thing you can do what I call d i y transitions. So I've got one here where I am. Basically, I think I'm just looking at my subject going across on. Then I switch away now the way or we'll have not switch away. I twist away. I'm basically twisting the camera just away from the object, but I have to remember, I absolutely have to remember which way am I twisting the camera, The reason being if I am twisting it away towards the left than I should remember that when I am twisting it back for the next scene, it should correlate. So, ideally, if I'm twisting it away anti clockwise, it should come to a point where it's now coming back. Anti clockwise from, Let's Say, from six o'clock to 12 o'clock so it comes around full circle 3 64 circle, depending on whether I'm going anti clockwise or clockwise. Now, in the cinematic video that I've got posted on my profile, there is a scene where I do do that. It means that first food you don't have to go with the default. Sometimes going with the default option is that final cut has can get boring for certain people or for the people who are familiar with final cut. Second, you might be the case. You just don't want to purchase any plug ins. You want to do it on a budget or you are on a budget or you just don't wish to. You know you just don't wish to purchase anything at that time, too, before you know, for that video that you're creating, which is absolutely fine her I feel like that most of the time. Another benefit to doing it, d I. Y. Is the fact that there's probably multiple different ways. You could do it the way I do it, which is twisting away for me. That's great. It works really, really nice. But the truth is it gives you a bit more room to be a bit more creative. So as you do that more and more like most things, you get better and better. So I would highly suggest, you know, trying a few techniques give the twist away. So I called the one that I that I use Give that a try as a bow on. Do you see what you can come up with? 7. 7. Just Beat It.: beat it. I had to stick MJ in there somewhere. Don't know what I mean. My beater is if the audio track you're using in the background has a certain beat to it and you wish to match a surgeon point or certain points off the video to the beat, all you have to do is look at the audio tracks, wave forms. So those little spikes that go up and down Andi, look for the sport. Basically where the spike is fairly high on, then match this point of your video to the actual spike. So I have an example of that in my cinematic video that I posted on my profile, whereby right at the beginning, my wife is actually just flicking off the bottle cap off a milk carton on. I looked for the beat. Or basically, I look for the certain part off the order track where the beat basically changed slightly and you could see it, you know, like a tingle sound. And I just matched the way form natural spike off the audio track to the video and that was it. There was nothing really complex about that, Andi, that's all you have to really do. There were certain parts of the audio track that I used where the music was fairly quiet. So what I try to do there was match it to certain parts off the video where the movement was slow. Eso basically the music will go slow or musical. Go quiet. Sorry on the motion was slow and as soon as the music picked up, so did the speed of the video, so that basically helps with creating that dramatic effect. 8. 8. Less is More: I think the final take away point is to make sure that the clip itself isn't too long. Remember, with cinematic videos, less is more. You want the video to be dense on compact with a lot of action, but you want the video to be fairly short. So it's the short, punchy video that leaves it good effect on your viewer after they're finished watching it. So it's like a piece of chocolate. Once have had a small piece, they want to come back for more, so they watch it again and again. And as I mentioned before, it's one of those videos where you want them to come back and pause at certain moments to think. What do they do? They? How did they do that? Less is more. That's the aim when it comes to cinematic videos. In fact, the video that I made wouldn't have bean so long. It's about three minutes or so. It wouldn't have actually bean so long. It's only because I showed three different coffees. Otherwise it would have been probably a minute and 1/2 at Max, if not maybe even a minute 9. 9. Coming Up In The Next Course: so hopefully you enjoy this course, hopefully learned some valuable skills from these lessons. Feel free to give me a review. Let me know if there's anything I need to improve on. Let me know if there's anything off missed. Let me know if there's anything that you like to know that I probably just haven't covered . Or if there's anything that you would like to know if it's possible, I just added to I don't know where he is in school shows. You just added into the review section of the comments somewhere there. Anyway, as I mentioned earlier, I do have a cinematic video that I did create recently that somewhere skills your profile so you can have a look at it on. Duh. However, I do actually want to see what you guys come up with. I am actually very interested to see what you guys come up with. So feel free to take on board anything that you've learned from the lessons. Feel free to submit your projects. I am very curious to see what you can come up with. Be as creative as you want. Basic on anything you want. Andi. Um, yeah, that should be should be quite exciting. As for what follows, my next course will be on how to do special effects in final cut pro X Onda. The aim here is to try and do as many special effects possible whereby you don't need to purchase anything. However, what I might do is I might actually split into two, so I might actually have a section Where is where? You don't need to purchase anything. And then another section aware, Yes, you probably need to purchase an apple to in order to achieve that served in a special effect, but yeah, So if that sounds interesting to you, feel free to give me a follow on my profile. I am trying to get through these courses as much as possible. I am working full time at the same time. So I am trying to get these completed as fast as I can on get uploaded So you guys can known for May. So until then, take a and I'll see in the next one