Edit in Final Cut Pro X: Quickly and Easily

1. Introduction: Well, hello, I'm Vinnie Van Wyk, and I have been a professional editor for over 11 years, and a very high percentage of that has been in Final Cut Pro X or 10, depending on who you talk to. Actually I started using the program the day that it came out. Now I'm using it to edit my client productions, content for my YouTube channel, as well as content that I place out in the marketplace, agencies take and then sell them to companies to use in their commercials. I want to provide this class as a very efficient guide to editing in Final Cut Pro, and specifically we're going to learn how to edit a video with someone talking in it. So that's going to be useful, when you're editing productions with interviews in them, YouTube videos, or instructional classes or courses like this one. Now, what's different about this class versus some other educational material regarding Final Cut Pro? Well, first and foremost, you'll notice that this class is brief, and that's by design. I want you to be able to take what you learn and then quickly put it into practice and then therefore see the results of what you've learned. Personally, I've taken other classes and courses that are hours and hours long, I never finished them, and therefore never really got to see the full benefit. But that also means is that I'm not going to teach you absolutely everything there is to know about Final Cut. I'm going to skip some unnecessary steps in a series of tools and we're just going to focus on precisely what you need to know to edit a video with someone talking in it. Just to be transparent, I don't know everything there is to know about Final Cut because frankly, I just haven't needed it. Now for you beginners out there who have never been in Final Cut, this class is for you, but it's also for you experienced editors, because I have some tools and tips for you as well, that will help expedite your editing and make it faster, as well as an overall smoother process. What will you learn in this class? Well, we're going to start off by learning how to sync multiple camera angles, including the audio, how to cut and to trim, how to add B-roll as well as add music, and then do a slight little color correction, and then add some graphics for titles, and then saving that to your computer and getting it online to YouTube or Vimeo. If any or all of that I've just said it sounds good to you, let's jump in and get started. 2. Class Assignment: The assignment for this class is going to be filming yourself or someone else talking for 60-90 seconds and I recommend perhaps you film talking about, let's say the things that you'd like to do because those things may be easy to film. If you like to listen to music or you like to drink coffee, or you like to read books. Those are things you could all film in your own house and that will come in really handy because we'll use that specific footage when we get to our lesson about adding B-roll. Again the duration on the final video in 60-90 seconds, or a minute should be just fine. Really, it just needs to be long enough for me to be able to see that you are able to apply all that you learned in the class. Then finally, what you want to do is you want to upload the final to the project in resources page so I can see it, and then other students can see it because you might really inspire someone else. I'm really looking forward to seeing what you upload. 3. Getting Started: The project that we're going to be editing for this class is actually the introduction to this class that you've just seen. I thought it'd be helpful to have a final product fresh in your mind so that you can connect the dots as we go through each lesson. It's like having a completed puzzle and then breaking it all apart, you can see how each individual piece will connect together a little bit better. Secondly, it has every component, and specifically every component that I wanted to teach in this class. Thirdly, I guess, I have to edit it anyway and I'm all about efficiency. So let's dive in. The first step that we need to do is create a new library. We go up to File, and we go to New Library. Then we're going to name that library. For me I'm going to call it the FCPX EDITING CLASS. I'll pick where I want to save that. That's good. I'll save it there. Now by default, Final Cut is going to create what's called an event that by default, it's going to be the date that you created your library. Now, you can keep that or for me, I'm going to change this because this is going to be me talking. Then I'm also going to create another event. By going up actually I can do a keyboard shortcut or I go File and I can go New Event. Then I'm going to put here my B-Roll footage when I get that. Then lastly, I'll go up and I'll go File, New Event and then I'll put MUSIC here. You can think of events as folders that are going to keep your media organized, different types of media. Now what we need to do is import. We need to get the media into Final Cut. I'm going to go back up to me talking because I'm going to import the footage of me talking from introduction. I'm going to click here "Import Media". Now there are two ways that you can do this. If you have an SD card, let's say from your camera that you've recorded, or from your phone or whatever device you're using and you copy it over to your computer, to your drive first, well, this is how you'd want to get your footage into Final Cut. If I go to Desktop, I have a folder here that I have all of my media. I'm going to go and I find that and I'm going to click on this folder which is has my media inside of it. Now it gives you two options here, and I want to explain the difference there and why you may want to choose one over the other. First and foremost, just to clarify, there's no wrong way of doing this. I'm going to choose "Leave files in place" because I've already done a copy onto my computer drive. What I would do here if I clicked "Copy To Library" is it would take the footage and it would copy it from the drive in to the library, so making basically two copies. Now, what's nice about having the media inside the library is especially all in one nice container, but also makes that file larger. If you plan on moving around your libraries a lot, the different hard drives, the different computers, then I would say you could just leave files in place or it's also useful if you plan on referencing those files, say it's some B-Roll you've shot, you want to use a multiple videos, it might be good just to have them referenced. This is where Final Cut's more like a database. Hope that makes sense. I hope that's okay. But I'm going to just click "Import Selected". Then what it's going to do, that's going to bring the footage in to the event here. This is called the browser. Actually, I'll interrupt myself here because you're going to hear me talk about sinking audio or sinking multiple cameras, more than one camera together. I wanted that to be in this class. I want to teach that skill because it's something that I use constantly in my client productions and my YouTube channel as well as content like this. I thought it'd be useful for you to learn. However, if you've just recorded your own content with one camera or just your phone, and maybe not even a separate audio device, which I'm going to talk about here in a few minutes, don't fret. It just means that we're going to talk about here in the next few minutes about syncing audio and also something later on in another lesson with color matching won't apply to you, but everything else in the lessons will. It'd be technical. This is the browser, this is the viewer. What we have here, and I'm going to zoom out by doing "Command Minus" or "Command Dash". That's going to show me the four clips that I have imported. Let me give you one of my biggest tips when it comes to editing interviews, when you're doing productions with interviews in them or any video with someone talking. The last take is going to be the best take. What I mean by that? Well, as an example here I have these two clips. These are two different angles. Excuse me. I will explain that. This is the camera 1 and camera 2. Well, this is the same shot. I know that the one after it because I didn't do it again, is going to be the best one. I'm going to use that one and I'm going to use the final one, and this one. These two are going to go together. Now, so what I'm going to do is, I'm going to take these and select these and then hit "Delete". They're out. Now, I'm just showing you this is only four clips here. Now, if you had a series of 15 or 16 different takes, it becomes very useful to be able to go to the end. You're going o be editing backwards. That will save you a lot of time. There's your tip. Now that we have those out of the way, the next thing we need to do is we need to synchronize these two angles together. Now, if you were using a separate audio source and one camera, this would also be the same process. For those of you who need a little more clarification, on-board microphones and cameras don't really have the best audio quality. Typically I'm using this microphone here, you'll use a higher or more professionals device to record audio, which I recommend doing that. What you'll need to do is you'll need to sync that audio to recording a separate device with the camera. Or in this case, I'm doing that as well, but I've also have another camera that I've recorded that. This camera here has the audio coming straight from the on-board microphone. In this, I actually took this microphone and piped it right into the camera 1. With all that being explained, we're going to take that, we're going select these, we'll "Right-click" and go "Synchronize Clips". Now, that name is good for me. If you wanted to name it something to reference it later you could. You have an option here to use custom settings. I'm going to just use automatic settings. You'll see what it's doing here is it's using the audio for synchronization. I want to comment real quick because there are third party applications I know a lot of other editors have used. I personally have always been impressed by Final Cuts, the job that it does and being internal and it's as faster and more efficient to do it right here. I'm continuing to use it. I advise you to do the same. You click "Okay" [NOISE]. Again, it's matching it up by the audio. Now we have this one clip, so it's matched both the audio, signals, and also the video together. Now that the audio is synced, well, in my process I will create my project. I'm going to go down here and click "New Project". I'm going to say, this is intro. I just pause for a second and I want to explain perhaps to those of you who are trying to wrap your mind around the difference between a library, and event in a project. Here's an illustration for you. Think of the library as your refrigerator. Think of your event as the containers which has the food inside or the footage inside media, I should say. Then you have your project timeline. Think of that as like the chef line where things are literally cut up and prepared into final meals, which in this case will be our final video. Hopefully, that will help you. Now we're creating our project or timeline. Really quickly just look at the screen. The timeline down here, you have your viewer up here, your browser up here, and then you're going to have what's called the inspector. I'll show you that here in a second. What needs to happen is we need to get this footage from here down into the timeline. By the way, one of the things that I really need to bring up is the fact that this might be off by default on your machine. If you don't see the audio waveforms, you want to make sure and go up and turn that on. Because that's very helpful. It can help speed up your editing points. As an example, you see the beginning here. I know this was me rustling around by just looking at the audio because I can see I don't start talking until here, so I don't need any of this footage. I can just go right here, I can click, and then I'm going to press "I" on my a keyboard. Think for I for in. Then I'm going to scroll down and look where I ended and see this empty space here. I don't need that, so I'm going to click right here and click "O" for out. Think of I for in, O for out. I said click, excuse me, press, I'm going to press "E". I, O, E are almost doing all the vowels here. E you can think of as end. It puts anything that you select and push E to put an end of the timeline. This might be a good time to just pause and talk about keyboard commands. You may be intimidated as I talk about all these different commands, but two things. Number 1, I highly encourage you to learn them now, I'm speaking to mostly to beginners, for you, more experienced editors, you know how useful they are. The earlier that you learn them, the better off you're going to be. I guarantee you the work that you put in now to learn them, will pay you back many times over and throughout the years to come. Secondly, well, I'm going to provide you with a cheat sheet, a PDF with all of them on there so you can reference it and learn them. So no sweat. Now let's go back to our Edit. Now that we have the footage down into the timeline here, what we need to do is we need to take and break this all apart. Here's our keyboard command. It's going to be "Shift," "Command," "G". Now, this breaks it apart because it allows us to edit in each piece individually. We want to do that because as we remember, this camera angle was just using the on-board microphone, so it's not good audio. I'm going to take that and I'm going to slide that down. That does away with the audio. If you want to do it a different way, we're going to go up to our inspector. This is where we make all of our adjustments to our video, to our color, to our audio. You go to the Audio pane and then you can take this and you can just drag this out. That's how we can do away with that. It looks like I selected both and killed both audio channels on accident. Let me go up and get that back. I clicked on the bottom, put zero in up here, get that audio back. There we go. Now you know how to do that in case that happens to you. Now, what happens if when you break things apart, your main camera is not on the bottom. Let me show you what I mean. For here, for an example if you go down, here's what we like is that the second camera is on top, and then the main camera is on the bottom. However, if for some reason when you synced, it could be like this, where the cameras are switched around. The fact that the main camera is on the top with the audio that you want and the other camera is on the bottom, it is best because if you know your main camera, you're going to be using quite a bit and you want that to be shown mostly when you use the audio tape on the bottom. Here's how you do that. It's actually what I just did on screen here, but now I'll walk you through it. Now, you can take and you can right-click on "Your Bottom Clip". This is in case be camera 2. Then you can go "Lift from Storyline". That pops it up out of there. Then you can go up to your top camera in this case the camera 1 that you want on the bottom and then you can go Overwrite to Primary Storyline. That'll get you to where you have your second camera angle on top and then your main camera below with audio piped in. There you go. 4. Editing Media: Cutting : Now we get to start cutting. This is the fun stage. Before we go any further though, I'm going to give you my absolute favorite hack when it comes to editing for those who have Trackpads. I feel like this is worth it's weight in gold. To enable what's called a three finger drag, you're going to go into your System Preferences, you're going to click on Accessibility, you're going to go down to a Pointer Control, and then you're going to go into Trackpad Options, then you're going to click Enable dragging, three finger drag. Why is this such a big deal? Because now instead of holding down on your Trackpad, clicking and dragging, you actually can just have three fingers, slightly just drag, you don't even need to click and it's so much faster. Everywhere that I go I want to select something, I'm just dragging with my fingers and it'll completely changes the process. I just want to chime in here that as with keyboard commands, these little teen nuances, if it can make you a little faster it adds up over time, even over one project and especially over multiple projects over a period of months and years. Learning that, again, that being your natural way of editing, you're going to really appreciate that. Now speaking of speed, one of the absolute necessities in my book is to make sure that your skimming is turned on. As you've noticed, as I move around my pointer and you've seen this, it's skimming it's scrubbing through the footage. I don't have to require to stop and push play, and then push stop, that is taking a lot of time. I can go up and I can look at my footage and I can just move all around and see where things are moving and changing, so this needs to be turned on. You turn that on by having S on the keyboard or you can tell if it's on over here. Do you see this? This is actually where you turn it on. We're turning, now it's off. Just to show you again, if it's off, look, I'm moving around and it's not doing anything, I'd have to play. Make sure that's on. Well, I'll just tell you preference-wise, one of the most annoying things to me ever in editing is to have your audio skimming on, because then it sounds like this [NOISE]. Now that may be useful at times, perhaps when you have certain audio you're trying to pick up, you're trying to get there quickly, maybe you do that in the future, but for me I make sure that that is off. That is skimming. Again, make sure that is on, that will make you a faster editor. Let's get back into our edit. Now, the first thing is we're going to just go right here, we're going to drag this over because I want to start with this bottom this actually a camera one here. You saw how I did that, I just click and drag or with a three-finger drag, I can just drag here and that's one way of shortening a clip. Now when I play this, it's seeing they put's on the bottom. Now I'm going to do is I'm going to zoom in, so that's going to be Command Plus. I can see here that and I'm also listening to it, which means I need to put my headphones on at least one of them. Right there is where I want that to the other angle to start. There's a little edit that I need to make because this right here is me just breathing out, so I'm going to make a cut. Okay. So here's what we're going to learn how we cut. Think of when you want to cut something with a blade, so blade for B. So B is our blade tool. I'm just going to hold down B. Now, again, this is something that you advanced editors may not know, because I learned it later in career, You hold it down, and you click, and then click, and click over here. Now what happens is, is that I'm going to select this and select here. Now if I do, I can click and drag and select down. Or I can just three-finger drag and select however you want to do that, but you've selected both clips because this right here, as we've just seen, this is dead empty space and this is me breathing out weird so I don't need that. I need to cut this out of the edit. I'm do that by just doing ''Delete''. That's how we've cut something out of the edit. Now I can go right from here to this second camera angle. Now, one thing I get asked questions about is when we have two different cameras or even three or four, when to use. Let's just stay with the two. When to use one angle, when to use the other. There's no hard fast rule here, but I'll give you what's helped me. Generally, when you're editing and you have someone's saying to you or talking to the audience like I'm talking to you right now, and I'm saying that you should be doing this and this, it's best if you'd have an angle that's straight on. Perhaps when you or someone else's talking about something or telling a story, that's where you can be have this angle that's off camera. One thing I'd want to draw your attention to, do you see how this is turning yellow and it's getting sticky. It snaps to the beginning or end of clips. You want that, you want to make sure that that's happening. If it's not happening, just push in on your keyboard. That's how that will happen. Now, I just turn mine off. Now when you see that it's sensing the beginning, but it's not sticking to it. Now, I liked and so have that on, it's going to help you line things up perfectly. Now, I want to give you a really big tip especially when you're editing a project that you have not shot the B-roll for yet. I know I have client productions, where I'll go to the interview first and then I'll edit it and put it together. Or like in a YouTube video or a course or any kind where perhaps you've recorded the voice first and the voice or there's someone talking first and that's going to really dictate what B-roll that you need. I'm going to show you something you're going to be thankful for and to save you a lot time. We go down here and so when I listened to this, put my headphones back on here, Final Cut for client productions. This is telling me, this is where I want to have B-roll footage. Instead of going through and editing all of this and without and then going back and having to figure out where I need to place my B-roll, my footage on top. I'm going to do it as I go through. Again, we're trying to do this quickly and easily, we're trying to be very efficient. I'm going to go up to Titles, this is the titles pain. I'm going to go to type in Basic Title, then I'm going to go down here and I'm going to drag this in. This is just going to be for our reference. As you can see this is right in the middle of my eye, it doesn't matter what it looks like but what's important is that it's going to leave notes of what this is talking about. This is talking about my client productions, YouTube videos. Here's really cool part. I've also adjusted the length, see how I did that, to when I stop talking about that. Now you can also use these titles as notes, not only for what B-roll that you're going to put, but perhaps what texts or on-screen graphics you might want to have, titles. Actually, what title are going to go there? Just notice to yourself as an example, I just put one here and then you can put this as a title here and then say whatever title that's going to be. Again, as you go through this then you can come back and you'll know. We're going go through titles here later on in this class, how to add them, where to get them so that you just drop those right in and you'll be good to go. Now, a suggestion is the fact that you may want to put all of these notes in the form of titles about whether or what. What kind of footage or what other texture graphics you're going to put on top before you go through and cut all of your angle changes. Because you might spend quite a bit of time cutting footage. Let's say as an example, if I were to have this right here and I know I'm going to have footage here. I'd go through and I'd spend time cutting the different angles and guess what, it's going to be covered up by the b-roll footage, or by text, or by graphics. That's something to take into consideration as you're going through and putting your notes in. Now let's say that when we're talking more about angles more in-depth, let's say I'm going along and I want to be able to look what's underneath to see if this is going to be a good angle change. There's actually two ways to do this. I'm going to teach you two different keyword commands. If you hold down B, you can actually get a quick preview, and that's actually a really fast way to do it, because I'll just look underneath and see like, okay, I'm getting a preview of both different angles and see where I want to make the cut. This will become especially helpful when you have different stacks of footage on top. But another way and it's something I want to teach you, is let's say we cut this clip here and then I want to use this angle down here below. I don't want to delete this but I'm just going to turn it off. It's actually enable or disable the clip. The command for that is V. I like to think of V for visibility it helps you to remember the command and so what that does is that it turns it off. Now I can cut again right here and I could turn that back on. What's nice about that is I haven't deleted anything. If I ever needed it again, I could go back to it and I could turn that back on with pushing V but I have [OVERLAPPING] the two angles and the changes. That's how that works going back and forth, I think can be very useful tool for you learning visibility. I also like to do when I am adding more footage on top, which we're going to get to but I also can test out which clips I want by keeping them all there and stacked on top of each other and then turning some off and by keeping some on and so again, without deleting anything. 5. Editing Media: Working With Transform and Fades: Another thing you may want to be doing as you're going through the, again, I call the interview or the footage of yourself or someone else talking, is you'd be wanting to be changing the size of the scale. Let me show you what I mean by that. One thing you'll see all the time in YouTube, you actually will see this in the final of this class is where you'll be slowly talking [OVERLAPPING] and then you can cut. You just cut right here. Let's say as an example here, I'm going to just zoom in and I'm going to cut this piece out just for demonstration. Then what happens is if I go from here to here without doing anything, 11 years and a very high percent, and there's a little bit of a, one thing you could do, if you only have one is you could change and you could zoom in. This is good for to know that if you want to use any clips, so your B-roll or anything in Final Cut. I'm just going to take this, I'm going to cut this here and select. I'm going to go over here to my inspector and I'm going to go under scale and I'm gong to take the scale and I'm going to put it up. That's zooming in. It's scaling up the footage and then we'll click down here for my Transform tool. This is right here, and then I can move it. I can move that. That's how you move clip's footage, anything else around in Final Cut. Now that I've done that, now watch what happens. Eleven years and a very high percentage of that has. It really doesn't feel as noticeable because the image changes. It's not the same image, same dimensions. It almost looks like an under camera angle. That's pretty cool and it's something you could use to your advantage when you're editing your videos. Now you'll see below the transform is what's called crop. What's the difference between crop and transform? Well crop actually cuts. If you have it under the type of trim, which is the default, then what will happen here is if I take the top, let's say the bottom, let's say I got tired of my microphone being in the shot and I take that out, so it's actually cutting that clip and then I could take that and hey, look what we're going to do. We're going to make this into a cinematic widescreen look and so we could do that. Now there's other ways to do that, but that is how you could do it as well. That's what cropping does. Lastly, something you might want to put in is a fade-in or a fade-out. What that looks like is if we right-click on the clip and we go "Show video animation", it's going to bring up this menu. I'm going to double-click on "Compositing: Opacity". I'm going to take this, I'm going to drag this over to where it says about 10:10. What does that look like? Well now what happens is it starts at black and it fades in. Opacity is how much you can see. If I had something underneath, it'd be see-through. We wouldn't see black. But now it's going to grow an opacity, so there's your fade-in from black. I would probably even take this and then go a little further so that, well, hello, I'm Vinnie. There's your nice fade-in. It just definitely adds a little production value to the clip instead of just coming in like that. Now that you have the clips the way that you want them, let's edit the audio. 6. Editing Audio: Dialogue: Now that you have your clips the way you want them, let's edit the audio. The first step, what I'm going to do is I'm going to take my audio. I'm going to select here, and I go all the way end, and then I'm going to shift, click. I use this constantly, so I wanted to share it with you. Basically, what you see, what happens if I Zoom out is that it selects all of them whenever in the row. Then I'm going to right-click and then I'm going to create new compound clip. What this does is it takes any of your footage or audio and it puts them altogether into one container. This I'm going to say is me talking audio and I click Okay. Now, why did I do that? It's because now whatever adjustments I make to this, I'm making the entire audio track all at one time, instead of having to do it on one and then copy them to the other, one by one. I'm going to put my headphones on now, it's time to listen to this audio. Now, there's a couple of things that you're probably going to want to always do to your audio. The first one we're going to talk about is noise removal, removing background noise, which usually comes in the form of a slight hiss or like some static, like a very low level and maybe it's a hum from a light or something in the background. We're just going to look at what Final Cut has to offer for these tools and so I'm going to go back over to my Effects tab right over here. I'm going to go down to audio. I'm going to type in down here in the search, noise, and so you can even see here that it's called the denoiser. If I put that on, just drag that onto more, I get these options up here. So I'll click this little icon and that brings up the settings. Now, I'm going to show you what this sounds like right out of the gate. Van Wyk and I've been a professional editor for over 11 years. It's like, uh, yeah, and that really is a product of having too much noise reduction, so that's what that sounds as robotic, it sounds metallic. What I'm going to do is, I'm going to go up here to some of the presets and I'm going to say reduce hiss. I'll click on that and then I'm going to play it. Van Wyk and I have been a professional editor for over 11 years and a very high percentage of that. Now, it's hard to see, I can hear it myself, there's a little bit of metallic going on so how to get rid of that is actually by increasing your smoothing time. I'm going to do that almost all the way and that's going to smooth out some of those metallic noises, and so, again, if you're getting too much noise reduction, you're truly trying to suppress the background noise and getting those sounds, the smoothing will definitely help. I'm editor for over 11 years and a very high percentage of that has been in Final Cut Pro X. You can hear even when I stopped talking, there's no noise. Let's just listen to it again without this on, so I'm going to turn this off. Final Cut Pro X. Can you hear that? It's again slight, I've tried to have a good recording setup, so it doesn't have obviously allowed, but you can definitely hear it there, there is some background noise. That's our first step is to reproduce that. The second step that we're going to want to do is, we're going to want to EQ. Because of the rooms, because of the microphone and different people's voices, almost and every time you're recording, there's going to be, we call them bad frequencies. This is a huge tip probably it's like one of the best tips I've ever been shared with from an audio engineer, and so you're getting it right within this class. What we're going to do is, we're going to go over to our effects. I'm going to go to the EQ. So this is we're wanting to the EQ. I'm going to go down to where it says linear phase EQ. I'm going to drag that on there. Then what I go do is I'm going to go up here. Now, for some of you, you may feel, well, this a lot, but you have to think about the fact that it's true when many will say that audio is more important, the video quality if you had to choose between the two because if you've ever sat there and tried to watch a video with really bad audio, you don't really think about how well it's filmed. You just can't get that sound of your mind, so that's why doing these couple of little steps, taking your audio from down here or just okay to up here, it will change the quality of your edits. So let's do this. Again, I've got my pen open here and what I'm going to do is, I'm going to go in and I know for that most voices, including mine and this microphone in this room, that they're right around this 2K range, there's going to be some problematic frequencies. The first thing I'm going to do is on the bottom, this little point six, and I'm going to drag, so you see what it's doing, it's actually decreasing the amount of frequencies that it's going to adjust, making them really skinny. So as I go back and I click and I listen, actually what I'm going to do is I'm just call a swathing. I'm going to boost this all the way up. So we're going to listen to this, see if we can find any bad frequencies. Well, hello, I'm Vinnie Van Wyk and I have been a professional editor for over 11 years, and a very high percentage of that has been in Final Cut Pro X or 10, depending on who you talk to. I actually started using. Okay, you heard that, so that I found the bad frequencies. So what I'm going to do is, I'm going to go and I'm going to take those out. I'm going to duck this down. Now, I could hear that, when I went back and forth here, there was more than just this, so I'm actually going to go back and widen that back out a little bit, so it does this. Then we'll go to the next one. I'm going to see is there any more. Let's go check this one out. I'll also do the same thing and then let's listen here, see if there's any bad frequencies. I've been a professional editor for over 11 years and a very high percentage of that has been in Final Cut Pro X or 10, depending on who you talk to. I actually started using the program. Right around 500, we've got some more bad frequencies, so I'm going to take those out, and I heard some more, over in this area, so again, I'll do the widening and probably even going to take that over and just take this out like this here.Then I'll take my next one, see what that sounds like. Again, I'm just taking the different levels and just swathing through. Either it came out, and now I'm using it to edit my client productions content for my YouTube channel. So you notice how there's not that same reaction, so those frequencies are okay here. One thing I might do is I'm going to go and I'm going to click this over here because really below 50 or even below here, we're just going to get mud in our voice. So I like to do is just take this and drag this over, and then what I'll do on the orange here is I will take that and I can just pull that down. Basically, it just tapers off on those lower frequencies. Now, one thing if you notice this microphone picks up pretty good around this 100 hertz range, but I'm going to go back and boost that for you just to show what I would do there if there was any lower end noises. Let's do that. I'm Vinnie Van Wyk and I've been a professional editor for over 11 years, and a very high percentage of that has been in Final Cut Pro X or 10, depending on who you talk to. There's a little bit of resonance there. So if I were to take a little bit of that out. Now, let's listen to the difference. I'm going to take this out, I'm going to get this back. You don't realize the fact that in audio oftentimes people will try to do is they'll try to increase the treble or the high frequencies, which by the way, I'm going to do that really quick. I'm going to pop this up just a little bit and then cut this off, so that's just going to bring up a little crispness. I realized I didn't explain, for those of you, this is the first time seeing something like this. Over here, this is the high frequencies and then you go down to low frequencies, the lower parts of your voice with a base, and then this is your mid-level here, and then your highs. So as a rule, most of the time if you pull out the midterms of the voices, you're going to get the clean up some of the bad frequencies and make it sound more neat. But you notice how I just didn't take everything out because it still want to leave some substance there for the voice. Now, let's listen to this. We weigh this now. Well, hello, I'm Vinnie Van Wyk and I have been a professional editor for over 11 years and a very high percentage of that has been in Final Cut Pro. Well, now let's have the contrast. Well, hello, I'm Vinnie Van Wyk and I have been a professional editor for over 11 years and a very high percentage of that. It's amazing every time when I'm editing audio, it's like when you listen to it with an EQ the first time, you don't notice, you don't think that there's that big of a difference but then when you go back and we listened to it, we could hear the middle of my voice there's some frequency that's not doing so good. It's come more of like almost a hollow sound. You can hear the reverb of the room, in not a good way. So let's listen to it one more time. Well, hello, I'm Vinnie Van Wyk and I've been a professional editor for over 11 years and a very high percentage of that has been in Final Cut Pro X or 10 depending on who you talk to. I actually started using the Pro. Now, you can hear that contrast back and forth. Now, you may be saying, well, but there's a little bit of duck in the volume after we've EQed it. Well, that's our next step, and that you're going to want to do when you're editing voices, is we're just going to call it a limiter. What we're going to do is, I'm going to click on All and I'm going to type in limit. Go to limiter here, and then drag that on, and then do the same thing. I'm going to go up and then get my pin and I'll pull that up. This is what a limit all does. So I'm on this gain here, it's going to boost my voice, boost the volume, but my output level, it's going to actually make sure that I never go beyond whatever I put here. Now, I like to go to negative 3. By the way, if you go to zero and almost the time, you're going to be a bad, it's going to be like a bu bu bu, a bad noise. So we don't want it to go all the way to zero. You really never want that because it can distort. That's a better way of saying that it's giving that sound effect, probably, it wasn't a very good sound effect. Distortion. We don't want distortion so my native 3, but I'm going to boost the gain up here and I'm actually going to go up to nine. You see what that did, that brought the volume up down here. Now, if I play this and see what it sounds like. Well, hello, I'm Vinnie Van Wyk and I've been a professional editor for over 11 years and a very high percentage of that has been in Final Cut Pro X or 10. Let's just do with it off. I'm going to turn it back on and off so you can hear the difference. I'm Vinnie Van Wyk and I have been a professional editor for over 11 years. A little bit weak, there's not enough presence there. And a very high percentage of that has been in Final Cut Pro X or 10, depending on who you talk to. I actually started using the program the day that it came out and now I'm using it to edit my client production. There you go. This is basically our three main pillars, what I call pillars of editing voices when you're doing your editing in Final Cut, using the tools within Final Cut. Again, I will say that there's many third-party applications. I myself actually use third-party applications to edit audio, but I want to show you the same for this class what's available in Final Cut. You can see that these tools specifically borrowed from logic do a pretty good job. Now that our audio is here, and we have our vocal track down and ready, it's time to add our music. 7. Editing Audio Part II: Music: The music for your project really is one of the most important pieces. Before starting my production company, I had done 100's of hours of research watching other films, other videos, I was on a quest to differentiate what we're going to be doing. I saw that spending time getting the right song, the right music for your project was so important, so vital. I really stress that to you emphasize it because one thing about it is it also takes probably the most time. Honestly, researching the song that I was going to use for this introduction, it took me hours. I highly recommend that you do take the time because as you'll see, I'm going to show you a couple of different examples, how much it can change, how you feel and what you're end conclusion is about someone saying the very same thing, but they'll feel completely different. Let's dive in here and I'll show you what I've done. I went ahead and I've grabbed numerous songs and people ask, what do you recommend? There's quite a few different services out there. Musicbed is great, Artlist, are the two that I went to to look for the songs for this Soundstripe, Audio, there's actually quite a few. Just in case you're brand new to the scene and you're wanting to know, can I go pick out something I've heard on the radio or on Spotify and use it, that's for me, for personal use and just for yourself but if you're going to use it for client projects or for anything else, including YouTube, you'd want to go through one of these services. Here I am at Wave, I went ahead and I have grabbed different songs and this is where I went and I put them into my music event to keep it organized. Now, what we see I've done is I've grabbed a bunch of songs, now what I did is I took them and I imported them into the music event that we made at the outset. What I like to do actually, at the very beginning, is I'll take this and then I'll right-click, I'll select them all, if I didn't show that already, "Select All" is something I use constantly, that's just an overall Mac command. I'll do the shift and click to select, or if you were just clicked in here and you could command A, that selects everything, then I'll right-click and I'll assign audio roles to music. Now, what does that do? Well, really just for our sake, it just changes the color to green so that when you drag things down here, as you see in the bottom, like this song here, this becomes music, then the blue up here is dialogues, for voices. It just helps you visually keep things separate. In fact, I'm going to do that on these right here, and now you'll notice that these are turned off, so this is probably one of the times I use V for visibility, or I call it visibility, or enabling or disabling clips as an audio because I can listen to something, turn it off, turn to listen to a different song. I'm going to change these to a music, so now everything is all the music. Here's a different song. Let's listen to a few and see your thoughts. I'm actually just going to turn my voice off for a second with V and then listen to the song and see what you think. [MUSIC] This was a song that I thought may work, but I'm going to show you the different varieties. If I go on, and I'm going to turn this down a little bit here because it's obviously going to be too loud to mix with my voice, if I play this later in the video, I have an idea of what I wanted, [MUSIC] but I'm saying, there's that, there's also this style of song. [MUSIC] Let's just jump right in here and then I want you to listen to this song and we're going to talk about again, the difference in how you feel when you listen to my voice with this song. I'll turn this one on, I've turned it down so that it mix with my voice, listen to this. [MUSIC] The poppy, high energetic feeling. Now, if I turn that off and I go down to another option that I was playing, so I'm going to turn that down about the same volume, and then just was play that. [MUSIC] Now, this class sounds more like a revival. [LAUGHTER] This shows you the power of music. There's all these different choices. What I've done is I've just layered them and then have the ability to listen to them all and figure out what is the best that matches with the field that I'm want. Now I've actually done that. It's actually this song that I'm going to be using for this here so I'll show you. I'm actually going to take these, I'm going to delete these out of here so I don't get them mixed up and then I'll turn on this song that I'm going to be using, and you can listen to that, so I'll turn that down. Again, I'm just using the navel, I actually can turn down over here and listen to it. That's the feel that I wanted for this class. [MUSIC] That's the feel that I wanted, notice the tempo. The tempo has so much to do with the feel, this is more of a driving up beat that you feel like, "Hey, this is cool. I'm excited about what's going on, but I'm also not ready to break into some dance and really get distracted by what I'm saying." Now let's talk about volume. There's two things actually you're going to want to think about with music other than what we just talked about of the music choice. The volume is the first one and it's probably one of the biggest most commonly made mistakes I should say, of beginning editors that haven't had any formal training, and that is the fact that the music usually is too loud. Now when I first started, also being a musician, I was all about the music and wanting the music to be loud and being pronounced, but over the years I've realized more and more how important it is for the music to be really, as it says, background music. It's just a bed, and I think of it as a bed in the background really, just add a little bit of emotion. But really, you want your voice, or whoever's talking to really be over the top and be pronounced. That being said as I play it right now, I've turned this down to minus 26. [MUSIC] It's okay, but honestly, I would go a little lower. Before I do that though, I want to show you something. We're probably going to have a little title here, we're going to get to that here in a little bit. I'm going to turn this back up to zero and it'll start at full volume, but then when it gets to my voice, I want to turn it down, so how do I do that? If I play it right like this. [MUSIC] That's an example of music being too loud and you can't hear my voice so what I want to do, is I'm going to click right before my voice here, then I'm going to go up and add what's called a keyframe. I'm going to click this up here and then I'm going to go back to about where this starts and then I'm going to click again. What this is going to allow me to do, is I'm going to take this, the first keyframe, and I'm going to drag that down. I'm going to drag it down to about negative 32. What happens is now is the volume, you see what I just did. [MUSIC] Well, hello. I'm Vinnie Van Wyk and I have been a professional editor. I would go back and then make more of adjustments. It's a little bit of abrupt sound I'll probably pull that down a little bit and maybe even bring this back and then bring it down a little bit more. Then I'll listen to how that works. You want to do that with your music. You want to fade it down so that the voice go over the top and then maybe bring it back up when needed. [MUSIC] Well, hello, I'm Vinnie Van Wyk and I have been a professional editor for over 11 years and a very high percentage of that has been. Now let me bring it back to where it was because I want you to listen to this. Again, I'm just stressing this big time. I want you to know this when you're playing, so this is negative 28.Editor for over 11 years and a very high percentage of that has been in. Again, negative 28, it's okay, but I'm going to suppress it even more to negative 32. Just to stress again that this is probably more where you'd want it. Now when I say negative 32, that is the volume and it probably will work for most songs, but it will depend on the song because of the frequencies within the song. There are songs that are going to compete more with the voice because if it's a male or female and so you want to think that. I know this is a little bit in-depth, but it's something that I think a lot of people don't ever even realize that they need to think about or that it would help them in their edit when they're adding music. You may want to bring it down a little bit more. In this case with this song, I'm going to bring it down those four more decibels because it allows my voice to come up over more of the top. When I play it, you can really hear my voice with this nice little subtle sound in the background adding some emotion. Editor for over 11 years and a very high percentage of that has been in Final Cut Pro X or 10, depending on. That's great. Now what about adding some sound effects and adding some dynamics with the audio and with the song. Notice here. Now what I'm going to do is I'm going to take this and I'm going to add a cut in here, so B, I'm going to cut that right here. I'm going to cut it right here. I'm actually going to disable. I can even delete, but I'm just going to disable this. What's going to happen is now I'm going to add a sound effect. I actually have it in my music here. I'm going to go up right-click. Make sure that I can discern that this is a sound effect. I'm going to cut here. Now what I'm going to do is I'm going to disable this, I could delete it, but I'm just going to disable it for now. I'm going to add a sound effect and I'm going to show you what this is going to look in. To add sound effects we're going to go up here. This is in the middle. This is where we can add and we'll click on Sound Effects. I'm going to type in, record, because what I want is this record player same place. [NOISE] Then I'm going to drag this down and I'm going to put that right about here. Now check this out, this is what happens. I'm going along. Been in Final Cut Pro [NOISE] X or 10, depending on who you talk to. I actually started using. There you go. That is a lot of dynamics and some interests, some fun. There you go. We've really added some fun to this now and some dynamics by adding that sound effect and actually killing the music and then bringing it back in. Which brings me to another thing that I'd like you to know when editing audio. Is learning how to bring sounds in and bring them out. That is actually going to be right here. We can make this shorter but just like when you're editing a clip. But if you go down a little bit more, you'll see how it changes into these two arrows where you can fade audio out. I'm going to do that. I'm going to actually going to fade this in and I'm going to fade this audio out. Just like we learned earlier about fading the opacities like going from blackening, it's softening as it comes in. It's going to do the same thing with the sound. It's just going to bring it in, bring it out. Which by the way I would say you could also do a lot of you at the beginnings of videos. I would bring it in, so it's not so abrupt and then I would probably fade it out at the end so that it's not so abrupt. Which also brings me to the fact that a lot of the time, this is a perfect example that I want to show you. This song had a piece in it that I didn't want. I actually cut it out and then I've taken it and I've put it here. This is the power of fade in and fade out. This is also something that you'll need to do when the song isn't long enough. Something I've had to do quite frequently is take the same song and cut it into different pieces, and then try to fit them so that they fade in and fade out, so it sounds like the song is continuous. This is how you do that. In this case, I'm just going to have you listen to it. All I've done is I've taken it, found the right spot that I wanted, I mashed up the end. Obviously, I can see the waveform here where I want it to stop. Then I've just done a fade, so I've just taken this right here and I've just dragged it over. I've taken this one and then just drag it over. Now here's what it sounds like. Been in Final Cut, this class is for you. But it's also for you experienced editors because I have some tools and tips for you as well that it will help expedite your editing and make it faster, as well as an overall smoother process. [NOISE] Been in Final Cut , overall smoother process. As well, that it will help expedite your editing and make it faster, as well as an overall smoother process. Some tools and tips for you as well that it'll help expedite your editing. Because I have some tools and tips for you as well that it'll help expedite your editing and make it faster as well as an overall smoother process. What will you learn. If you really listened to it, you can hear that it goes offbeat for a second and then obviously it goes back on. But if you're not paying attention to it's really nice because it fades in and fades out together. That's what this does. Now I want to show you one last thing that you can do to play with is, if you right-click on this right here, this gives you options of how you want it to fade. It can be a linear, it can just be a straight fade away. It can go from here up and then just really go down and stay towards the end. I encourage you if you want and someone you're trying to do this type of work in your edit then you can just mess with the different ones and see how they work together. The other reason I like to add the music at this stage is because it's giving the layer of the ground for exactly where our cuts are going to be in the B-roll, which we're going to get into in this next lesson, as well as learning some more keyword commands that will really step-up you're editing. Let's go. 8. Editing Media Part III: Broll: I don't know about you, but I'm ready to add the B-roll to this project. I've got my coffee, my exercise in, I refreshed, ready to go. On that note, I do recommend take breaks while you're editing work. When you get in the zone, definitely take advantage of that, but don't forget to stop and then come back to it. I've found that so many times that really can do a lot for you. It's almost like sometimes I'll wake up and go to the project again and it's like I've never seen it before. There's things you'll see and improvements that you'll make. Just wanted to interject about that. Let's add our B-roll and learn some new editing commands. Now we're going to revisit those titles that we put in here and now we get to see the true beauty of why we put them in there. My B-roll, I imported it just like before. That's Command I to bring up this window and I went and found it where my folder is. I selected it and then I brought it in and made sure it was underneath this event called B-roll. Now because I've marked it, here's how this process, like I said, you get to see the full extent how cool this is. I know right now that I start off talking about my client productions. I'm going to find that client production. I'm going to Zoom out by clicking in here and doing Command Minus. Then I go to find my client production, which is this one right here. I'm going to click on it. I'm going to drag it right here and then I'm going to go in. It talks about content for YouTube. I'm going to grab that B-roll and that's going to be right here. Now, one thing I'll point out, see when I'm zoomed out, it's not grabbing it very well. This is why I can zoom back in and grab that and drag that right here. Great. Kill the sound on that, I don't need the sound. Then I'm going to grab the stock footage that I need. That's going to be right about here. I'm going to add that. I'm going to add this on top because I want two of those clips. What I'm going to do is I'm going to listen to make sure this is in the right place. [MUSIC] Now I'm using it to edit my client productions content for my YouTube channel as well. This is where you see where the production goes a little longer. Let's learn our first command, and that is Command T. What T is going to do for us, I'm just going to hold down T and you can see it brings us up where I go between two clips. What I'm going to do is, I'm going to say allow me to move where that edit is. I want to keep this timing of this, but I want to move this over, so I'm going hold down T, I'm going to move that over, and I'm going to come back and play. My client productions content from my youth. I move it just a little bit more. Then right here it starts saying content from my YouTube channel as well as, so here's where I would actually change. I got content from my YouTube channel. Here's something, I have my logo right here, but I'd actually rather see me talking as if I'm doing a YouTube video. Here's another thing that T can do for us. If we hold down T, so if we can do be it in-between clips or we can go to the middle of a clip. I'm going to take this and I'm going to drag it and slide it over. Then when I get to a place where maybe I want to come in., do you see this screen? Now I'm going to make the screen a little bit bigger. What happens is when we're holding down T, we're doing this. The first, this the screen on the left, is what it's going to come in and the screen on the right is where it's going to go out. I'm going to go to where I am, say, I'm doing stuff like right here. I'm going to just do, this is my intro, I'll just do my intro. I have shins, content from my YouTube channel, as well as content that I place out in the marketplace. Well, let me just make that adjustment. I think just for personal tastes, I'm going to just have me doing some scene right here signifies that, but you get the point of how I did that. Then where do we bring in this last clip? As well as content that I place out in the marketplace, agencies taking in, sell them to companies to use in their commercials. Great. Now let's learn how we've got these two clips stacked on top of each other. The first thing that I want to do is see how- this is where the eclipse needs to end. One of my favorite commands that I'm going to teach you when it comes to the blade is I actually want to blade all of this together. Let's say I want to cut all of this and have it end all at the same time. What I can do, I can click here. I can actually just three fingers drag, select it all the way down, and then I'm going to put my play head here, Shift Command B as in Blade. That cuts everything. Take that. Then I can delete that and I have it ending where I needed to end. Here is another way, and this is what I call advanced and one of my absolute favorite keyboard shortcuts, and this is for you, advanced editors. Select this here and then we're going to do Option, Right.Bracket. Now that is really speeds up your editing. I'm going to do that again. What does this command do? Whatever I select, it will end the clip. If I go Option, close bracket, it will end it there. If I did Option, Open Brackets. As an example, if I went over here, let's say I wanted these two clips to start right here, wherever I put my play head, so I don't even have to click, I just put right here. Let me just select these two and I just put it right here. I go Option, Open Bracket. This is what I'm talking about with keyboard shortcuts when I emphasized earlier in this class. This specific shortcut right here will continue to save you more time than you can ever imagine. Again, it seems like not much, but the fact that you don't have to go back and select and then delete, and then move stuff over, it's right there for you. That's amazing. Now let's go back to talk about with a T that we learned. Why is it important? Because here's something I want to teach you when you're doing with B-roll. These two clips, I shot with the idea of having them work together. What I'm going to do is I'm going to hold down B because that gives us a preview. This is where this really comes in. This is the stuff we were talking about earlier in earlier lessons. I could do it two ways. I can pick Push V and turn this off because I can look at it and I can say, I want to start? See I want to start right here. That's where I want my clips to start. Or I can turn this back, so I can turn this on, or I can hold down B and then I can do the same thing and have a preview. Why this is so key is I want to match. Here for something to do, is I'm going to get that clip here. How I'm going to do this, is I'm going to take this, delete, then move this over. Now that I have my clip there, what I want to do is have these clips come together almost seamlessly. I'm going to find a place. Do you see where his fingers are coming down right there? What I want to do is I'm going to mark that. I'm going to mark it by pushing M because that's the place I want this next clip to start, but I need to find where his fingers coming down. Let's just say we're going to use it right here. I'm going to cut right here or even better I'm going to click here an option, open bracket, it gives me that, and skew it right over to that marker. See how that worked? Now let's say that I wanted it. I'm like, well this is not exactly. Then we go back to T and we can slide and then find even a better spot, so maybe when his finger comes down right about there. Now again, I'm looking at on the left because that's where it starts. Let's look at this. I tell you, one thing now we can do is to make sure we really got it. Let's go full screen. That is right here. We click, and I'm going to go back a little bit so we can watch this full screen. Content from my YouTube channel, as well as content that I place out in the marketplace. Agencies taken in, sell them to companies to use in your commercials. That's really how you see. Now, I think they could be a little tighter, so I can keep working on this and just finding exactly where I wanted that to be. Let's try it right here. Watch that again full screen. In the marketplace, agencies taken in, sell them. That is what I would call a better cut as segue into the next clip. Now we can clean this up. I'll go to the end here, click here Option, Close Bracket". We've got that. Now what I could do is I can do the same thing here, and I can do Option, Close Bracket. Then you see how this falls right down and we've got our B-roll all in one line. The last command I'm going to show you in this section is P for Paul. What does that do? Well, if I hold it down, and I'm just going to use this example because we're working with final cuts magnetic timeline. Let me show you the contrast first. If I take this clip and I delete it, I click "Delete," it moves everything over. But what if I wanted to just take something? I don't want to move anything else, if I hold down P, what happens is look at that. It just moves it same place and nothing else. The timing of everything else is not affected. That's something I'll use quite a bit as well. That's holding down P and moving it over. That's what that does. Remember, you can always undo stuff when you want to. But that should help you position your clips. Let's say you're working on a little section like this. You're like, I love the timing of it. How can I just move this clip over, keep everything else neat and tidy so P can work? Now speaking of timing, I told you earlier that we put the music because I wanted that to dictate some of our cuts. Let's go back and see if we can refine these cuts a little bit by the music. Now I'm using it to edit my client productions content from my YouTube. Do you see there where I start talking about that? But you hear the beat? If I listen to the beat, it's not cutting right on the music. Let's see if we can refine that a little bit more. With my client productions content from my YouTube. I need to do is go right here, and I'll show you, it's just like being very tentacle. But if I hear it, if I listen to the beat, it cuts just right on this clip. A client productions content from my YouTube channel. We wanted to cut right in here. I'm still saying YouTube channel, but I'm just going to get that little teeny refinement. Productions content from my YouTube channel as well as content that I place- That's a little tiny bit off. I'm going to take that, this cut, and I'm going to move it a tiny bit over. Listen to the downbeat. As content that I place out in the marketplace, agencies taken in. This is where you can go and start really refining your cuts to make sure they're on the beat. That, my friends, adds so much to your videos. In fact, it will elevate you faster in other people's minds as an editor than anything else. If you just took a bunch of B-roll and edit it straight to the music, and this, by the way, in this lesson I'm going to encourage you to do as a practice and this is where you can gain extra credit. Besides this project, if you want, take your B-roll, take anything, go film a few clips, and then take it to your favorite song or get some music off online you could put on YouTube and just edit to the music. Make sure you're on the beat and play with those different tools, we just learned those different commands. If there's a way I could see it, connect to your Instagram or via the class and the project and resources place page, I'd love to see it. There you go. There's your extra credit opportunity. For the sake of time, I would just say we go through, we finish all of our B-Roll we wanted and then the next step now is we're going to add some text and titles. 9. Color Correction: Color, it could become one of the most exciting parts of the process for many. I know for me, the more I learned about color, the more I've done it, the more I love it. In fact, now I find myself doing it on a regular basis. Which brings me this to tell you really quickly about another Skill share class that I'm going to be doing an intro to DaVinci Resolve and how to color correct, and how to color grade. If it's not up while you're watching this class, it will be shortly, so you can stay tuned for that update. That's in if you could go do that, take that after this lesson, you'll find yourself really liking color. First, we're going to do some color correction. Now, you smart, he's out there, probably already [LAUGHTER] picked up on the fact that the two different angles that I have, my camera angles were pretty different and look in color. This one, camera 2 is quite a bit warmer than camera 1. I did that on purpose intentionally for this lesson, because that's probably one of the most common things you'll run into when you're working with more than one camera, is you'll have the camera angles look differently. Now, for those of you unfamiliar with working with more than one camera, you may ask, why would that be? First and foremost, having different cameras where you're just going to get different colors altogether. But even having the same camera, you can, if you have different settings, which in the case, this is what I did here. Different color temperature settings, just different looks inside the camera, or you can even have everything the same and have different lenses that can have a slightly different tint or slightly different color to them. Those are the reasons that you'd want to go in and make these changes. Let me, first of all, show you what Final Cut offers as a tool. That's pretty cool, and you can click on here. I'm going to say that, you know what, I really like the color of this. I like how warm it is, it's nice. What I wanted to do is, I want to take this angle, and then I want to match it to the other color. What I'm going to do is I'm going to click on this clip, and then I'm going to go here, tap to this slot, I call it the magic wand, and then you click on Match Color. When I click on there, it's going to take me into here. But when I click on this, it's going to try to apply the match and change the colors. I'm going to click Apply Match. Now, you see what's happened is that it didn't change the background very much like the other shot. If you look, it's similar. But it also you can see where my face is pretty yellow. Now, I will tell you that because the settings in the camera that I made was so far off, this tool probably won't get you all the way there. However, I have used it when I have all the same camera settings and maybe different lenses and just give a slightly different look. This tool may get you almost all the way there in an instance, so it's great. I want you to know about that. But for the sake of this, I did it again unintentionally because I want to show you how to correct it further on your own, and therefore, getting an introduction to final cuts, color correction, color grading tools. Now, in order to do that, I'm going to introduce you to the color inspector. We talked about the inspector over here for video. Now, we have the color tab or the color pane. You're going to have different options. The file cut presents you with three different ways, main ways that you can adjust color. There are three different interfaces that basically can do a lot of the same thing. I personally like to use the Color Wheels because it's the closest to what professional colors use and, it's just a nice interface. How this works? Is that you have your global adjustment. This is saturation, is the amount of color in the shot on the left. Then this is the exposure, bright, brightness, and darkness. Then in this wheel moves towards the different colors, whatever color you're trying to insert or takeaway. This is also for shadows, highlights, and midtones individually. Then what we're going to be using when I love to use, why I like the color wheel so much is the temperature slider, which makes the shot cooler or warmer. For this sake, I'm actually going to go back to and take off that match color. Get it back to where we are here, near the shot, and show you what I could do just by itself if I didn't do the match shot. I can take it, I can increase that temperature. I tried to get it to match, so I'm going to say, let's go 8,500 for color and try to get it to match. I'm looking at these two. Now, what I'm seeing here is that if what I'm trying to look is I look at the orange, see the orange and the corner on the left, another orange here. Then I'll see also my skin. It's pretty yellow now with that temperature adjustment. Here's a little bit of an advanced color correction tool, but it's something I do use a lot when trying to match different things, and that's in hue and saturation curves. I won't give you a lot of technical information here to overwhelm you. Basically, I'm just going to focus on what I'm going to do and what you could do. What I use mostly as hue versus hue, and hue is going to change the range of colors to remap it towards one direction to the next. Let me show you what I mean. I'm going to click on this little dropper up here. I'm going to go to this yellow on my skin. Should say just my skin which is little yellow. Then I have an option to take this more towards pink or more towards green. Or I should say, all of the hues I can turn any color. That's how that works. I'm exaggerating it right now. What I'm going to do now is because I will look back, I see that this has a little more reddish pinkish to it. I want to take that, and I'm going to go up a tiny bit. You see how I've just subtly out of that. Now look at our orange in the background, look at orange, the background here. Just like that, now, my skin tone here in the color and the background are matching a lot closer. Now, but let's go up here, and I'm going to say, well, I still see probably a little extra, maybe there's some extra purple on this shot. Maybe I can try to take that out a little bit. Actually, going to get on a like a [LAUGHTER] someone, okay, expression of myself. Then I'll get back here, and I'll go back to the color. I have made any corrections here yet. I'm going to go up here, and I'm going to go to my color wheels. Then I'm just seeing again, there's, I think what I can see is a little bit too much purple in the shot. What I'm going to go is up to my global, and then I have purple over on the right. Actually, I want to take less of that away. I'm going to just drag it a tiny bit away from purple. I'm going to show you this exaggeration of [inaudible] a lot would go green. When you're doing color correction, subtle. Subtle is the word, tiny little changes will make a difference. If I drag that over that direction. Now, I want go back here, I'm definitely getting a little closer. Please keep in mind when you're matching different camera angles that there's not all of the same colors are in the shot, it's not going to your eye and may play tricks on you because of what you're not seeing. There's less, so like right in this shot, there's more blue behind me and down to the right. The monitors showing which completely can change the look of the shot here. But what I'm paying attention to is how my skin looks in the shot as well as the background orange color and the blue, which in my mind right now, they're definitely matching a lot closer. I would go through maybe tweak this even more, but I just want to show you, just in a quick few minutes, I've been able to match these two camera angles. Pretty cool. 10. Tip for Faster Edits: Copying Effects and Saving Presets: I wanted this to be its own section because really when we talk about ways to speed up your editing, this is one of my favorite commands and processes to use, and I think you're just absolutely going to love it. You remember how we went and we edited the color, we edited audio, we made certain adjustments to those clips individually. I did address doing audio where we made it into a compound clip. You remember how we did that. We were able to make the edit on the entire audio track instead of just little pieces. Well, is there a different way to be able to do that to speed up your editing as a review, if we go back to on the screen here. We go back to the place where I had made the color adjustments. Right here, this then also this angle. Two different angles. Now, just for this lesson again, I didn't purposely go back and correct these, because you may have been asking yourself, do I have to go back and do this every single thing I just did individually? There's a way to speed that up. There absolutely is one of my top favorite commands. The command that I use constantly, especially in editing projects like this. You're going to copy the attributes or copy the edits that you've made, the settings from one clip to another. Let's do that. Okay, so for this down here, for camera 1 or camera a, I'm going to do Command C. That's a Mac command for copy. That just allows you to copy your settings. Then I'm going to go click here. I'm going to go "Shift" click. Then I'm going to go Command Shift V. V is in Vinny. What does that do, well, it brings up, by the way, it actually is more like for paste. You know how you do Command V on a Mac that'll give you a paste command. Well, if you do Command Shift V, this will bring up this Paste Attributes window. What that allow me to do is I can actually go in and I can see where it affects. It detects what are effects were made on that clip that we copied, and then you can copy them over to any other clips. If I click "Paste", now when I go in right here, that clip is exactly the same as it was. If I just turn that back off, like this. That gives me the effects I was looking for. Now they're the same. They're going to be all the same all the way throughout the video. All the colors going to be the same. You can also do this with audio. If we had different audio clips, Let's say that we're broken up. If I had this clip here and I made an adjustment, I'm going to go here and I'm going to say, I'm going to make this a little louder. It's now, obviously too loud, but now it's at 4.7. Well, I'm going to copy and I'm going to go over here and I'm going to "Paste" and guess what? Now get it shows all of the effects that are on here including volume. I can deselect, say, well, I don't want to copy these effects over again because they're actually going. They will copy over so you have duplicate effects on top of each other of these ones. I'm going to take that off and then I'm just going to have it be volume because it's the only thing I want to copy and paste. I do that, boom, there it is. Now they're both at 4.7 and 4.7. Pretty awesome. Now let's take it even a step further. I have to admit to you that I spent a number of years editing and doing what I just showed you and thought that I was being pretty efficient. Yet little did I know I could have tremendously, and I mean tremendously sped up my process by being able to save my effects or be to create my own presets. We learned a little bit in this class that there's presets that Final Cut has and that if you want a keyboard command, it's Command five. That brings up all of our effects possible for both video and for audio. Now what you'll see if you might have noticed I have My Effects tab here for video and for audio. My presets. These are ones that I've created. For an example, I've actually went in and I'm editing this audio here. I want to tweak it just how I want it, and I know that I'm going to be using that for this one I'm recording in the same space. What I want to do is I'm going to take this and I have all these effects set just how I want over in the inspector. Now notice this thing down here where it says Save Effects Preset. If I click on this, I can take all of these settings, including volume or pan or wherever I want and I can save it. I'm going to do this and I'm going to say sample for class. If I click and I make sure it's in my presets, which you can add a new category if you don't have one already or you can put it in any other one of these. Then when I click "Save", boom. Over here is my effects preset, which has all of these different settings built-in. Let's make this really clear and translate this to, let's say you're editing YouTube videos, that's why you're taking this class for it. You're trying to learn how to do for client projects. Well you're using, you're going to be recording the same space. You're going to be recording probably with the same microphone or device. Well, you can get all of your settings just right in your project. Then you can save your settings for the audio. Then you can also save all of your settings for the video. Let me not, let's skip over that with a color settings grading all the things that you wanted to do. Now when you have those presets, literally all you have to do. This is what's really amazing, is by the time you get your footage in and you cut it up and you add your notes and your B-roll. You can literally take those presets and then drag them right onto your audio, onto your video and boom, you are ready basically to save your file and x and upload it. Now for the next and final stage of this process that we have. I mean, we've done a lot. This is pretty awesome and I'm congratulations for sticking through and being here in this lesson. Hopefully you've learned a lot by the way, if you do like the class, feel free to leave a review. Let's Skillshare know that other students know how you've, what your experience has been. That'd be much appreciated for the final lesson before we learn how to save this file and get it out into online is to create text on screen and some graphics. Let's do that now. 11. Titles and Generators: Having on-screen text, titles, graphics can really up your project's production value. Let me jump in, and I'm going to show you how to add the title at the beginning of your project, as well as text on screen such as bullet points to really draw the audience's attention to what you're talking about. Let's go in here first, and I'm going to go back to the note that I had made myself and went in that in the process of making notes. Here I have this. It says text on screen. This is what I wanted to use. I'm going to go up to titles. Here actually, so what I want to do is, all I want is only add a black screen behind this. I'm going to go to generators, and then I'm going to go to solids and go to custom and drag that down underneath. Then I'm just going to make this the length that I wanted. Now I got this black screen. This is something that I did want to teach you because you can use this in so many different ways. Sometimes what I'll use this for is like if I went down between two cuts, I could make a black screen here. I can drag this down and have a black screen to put something over, have either a space. Generators, I use quite a bit and especially this one in black. But you can also change the color of the custom generator. You could go up, and you could change it to whatever color you wanted. That's basically a simple way of doing a generator. Let's say you just wanted this to be a shape on the screen. You could change the size. I can take this, and I can just make it so that now this is more of just a bar across the screen instead of covering the whole screen. Move them around. It's pretty cool what you can do with generators in a simple way. But now I'm going to go back, and I'm going to take that. I'm going to delete that text on screen. I'm going to go to the font that I use for my class, and so I'll have that. Now I have this title that comes here. Precisely what you need to know to edit if you knew it was someone talking in it. There's my title with text on screen. Now, you can do this, so this is where you might want to use. This is you can do for bullet points. Let's say that I have a bullet point that I wanted to add. You basically can just copy this over, and then I can take this. Let's say that I want the bottom here. I'm going to take this. I'm going to put this down. I'm going to change the alignment to go over to the left because I wanted the left side of the screen and not be centered. I'm going to do over here, and I'm going to say this is bullet point 1. I'll tell you why. Even a faster way be instead of making all these adjustments, we're all about speed here. I'm going to take this, I'm going to go option, and I'm going to click on this. I'm just going to drag it a little bit, and that's going to make a copy just like that. Then what I can do is I can click on this. When you're moving texts, you can just click on it, and then you can move this up here a little. I can click on it, and I can move it up. This is actually going to become bullet point 1. Now, I want this not to show up at the same time. I want bullet point 2 to come in a little bit later. You focus on precisely what you need to know to edit. There's my bullet points coming down as I'm talking. Another way, again, for a useful way to do on-screen texts. I'm just going to undo all this so that I get back what I wanted to be on the screen, so just did all that. Now I have what I really want on screen. But let's talk about doing your senior main titles. Now, you can't just do a simple title. You can see this blank space here, or I could put my generator down on top like we did before. Here I'm going to zoom in on this right here and bring this in. Now this is the beginning of the video. I could use the basic title that we used for our notes. I could take that and drag it down, and then I can resize it here. I said resize, excuse me. I meant cut it, so change the duration. Then I can type in. This is going to be intro to class, and then I'm going to make it bigger. Then I can add maybe some effects. Maybe I want to space this out a little bit, and then I want it to fade in. I'm going to add my fade there. I go to show video animation, have this fade in, here this fade out, and fade that. Yeah. That's what this would look like. [BACKGROUND] You can just do that manually if you want. You can also download, or you can use what Final Cut has. A lot of these are 3D titles. Now, if you don't want to make your own like that, you could also use a lot of the preset titles that Final Cut has to offer, or you can download some from different websites. Now this is what I have done. This is what I do quite frequently. Or you can actually download some from websites and lastly, you can make your own. Now I won't go too much into that. I'll just show you briefly what's pretty cool. It's another thing like color. The more that you get into it, the more you do it, the more fun it is. But here's some that I've created and adjusted. Actually, this is one I'm going to use for this class. I'll take that one, and I'll drag it down. I will shorten it so it fits here, and then change the text to be class introduction. Then change my text here. It's going to be final, so editing in Final Cut Pro. There we go. This is what this looks like. We've got some animation here that comes in. That's really cool to be able to add that. Now I did mention that you can download a lot of titles. Now for some of you may have been wondering, "Well, hey, you said you can download titles. Where from?" There's actually quite a few different websites that I use and that I would recommend. Perhaps you can just type it into Google, download Final Cut title templates, and then most of the time on those notes, it'll show you how to install them into Final Cut, and so you can have them here. I have a little thing where I've downloaded some different ones. Pretty cool stuff. It takes some of the hard work out of doing all the graphics yourself or having to learn like Apple Motion, which is the sister program to Final Cut where you can do all this cool stuff. Anyway, that could be a resource for you to really round out your project. I'm going to continue doing this. I'm going to keep adding my titles and my texts to write notes to myself. Then we're going to learn how to save this video and to get it on line next lesson. Here we go. 12. Exporting and Saving: Now here we are. This is the final step. Our video is complete. We've done a check by the way that you need to do that, go back through and double-check everything. Look at your texts, look at your edits, make sure there's no footage in there that shouldn't be and you're ready to save your video and then get it out online or share with friends or family or wherever you'd like to put it. Now, don't forget that your assignment was to do all that we've done up to this point. When you edit it and save it, you're actually going to upload this video to the Project and Resources page. Just double-checking, just making sure you remember what the assignment was. This is what's really cool about Final Cut and other editing programs too, but it's really easy to save your project with another, yes, I know you guessed it, a keyboard shortcut. The shortcut to just save your project very quickly is Command E and that's like for export. Command E is export. I bring that window up and I'm going to just really focus on our settings here because this is where I feel like a lot of people can get tripped up if they're not understand this. Typically, it's going to come up probably by most people's machine. Your machine is going to look like this, where it's going to say video and audio and Apple ProRes 422. What you'll notice is that's a pretty big file size, so for uploading things online that really doesn't need to be a ProRes 422 file. For those of you who are wondering what that is, that's just going to be a higher-quality codec. But I'll just tell you if in case you're worried about it. I've seen a lot of footage and a lot of times we can't even tell with your their eyes the difference. You can go down to something like an H.264. That will give you a.mov file. Speaking computer language here for those of you who don't know what that is, just let it go right over your head doesn't really matter that much. But it's just going to give you a lot smaller file size with still a good quality. Click "Next", figure out where I want to save it. I'll put it on my hard drive and I'll click "Save" and then boom, Final Cut will start rendering this out. You can see your progress by the way up here. If I click on this and I click down here, it'll show me that it's transcoding this. It's actually taking all the work that we've done and it's cooking it into this final meal, as we talked about in our illustration earlier and this will be saved. Then you can go on to your hard drive where you saved it so you can upload it to YouTube, Vimeo, Facebook wherever you want to upload it to. 13. Conclusion: Well, this is certainly been very fun. In fact, before I completely conclude, I want to thank you for taking this class. I'm really looking forward to what you produce from what you've learned. If you did enjoy it and you found it useful, please tell Skillshare that, please tell the other students that by leaving review. Once again, you can reach out to me, you can connect with me and I would love to just see you on your journey of learning Final Cut and learning editing. It's a really cool gig. If you want to take this into become your job, it's a great career. Or if you want to just do it for fun, you can do that too. But that's all for now, so Vinnie here signing off. Happy editing.