Final Cut Pro X - Beginner To Advanced (FCP MASTERY 2025)

1. Course Introduction: Learning to video edit is just like magic. When the illusion is revealed, it all makes sense. Do you want to learn how to create professional looking video content that you can post just about anywhere? Then you are at the right place. Hi. My name is doctor Craig Blurt and I am an IT professor, and I've spent over 30 years developing the most effective ways to teach with technology. Working together with Joshua, who's been involved in videography for over ten years. We have developed some of the top rated, most popular final cut pro courses available. Our course caters for you. Wherever you are in your learning journey, beginner, intermediate, advanced, this course enables you to become an efficient and professional video editor with skills to work on just about any project. The difference between amateur video iting and professional video editing is normally pretty obvious. But why choose our course. There are many courses out there with world class content. Magic. The magic that happens when you combine world class content with a unique teaching approach. We've combined the best learning content with a proven teaching approach based on my research. This is the magic because it means you're guaranteed to learn what you set out to learn. Our unique teaching approach is not about simply watching videos, but active engaging learning, and that makes all the difference. Hroughout each stage, you'll have a main project that you'll work on that will keep you active and engaged. But in addition to this, we'll be giving you different mini challenges and these are sport projects that will test all the skills that we've taught you and challenge you even further. But all the while, we'll be there to guide you and show you how to develop real world skills. If this is your first time using final Cup, then this first section is certainly for you. This first section is short but important. And we'll be looking at the final C interface, how content is organized into libraries events and projects. And finally, how you should structure your projects. So, you know what they say? There's no time like the present. Let's get right into it. Welcome to the Final Cut Pro environment. To make sure you don't feel lonely, which online learning can sometimes be. I'm going to keep my happy smiling face in the corner for the first couple of lectures. However, as we progress and get into the real fine action parts where to learn the skills is really important, I'm going to vanish and let us really focus with our distractions on the content. But rest assured we are always here and ready to help you with any issues. So if this is your first time using Final Cut Pro, let's quickly familiarize you with the environment. Now, just before you do anything, if your program looks a bit different to this, what you can do is just quit Final Cut Pro. And then, while holding down command in option, at the same time, re open the program from your doc. And you'll see it prompts you to delete preferences. Don't worry. This isn't going to delete any of your projects that you may have. It'll give you a window like this, letting you know what's new, et cetera. This now restores the program back to its factory setting. So it'll look the same as what we're using. After opening the application, it should look something like this. There's not much to see, but don't worry, things will get pretty exciting soon. So don't go anywhere because in the next lesson, we'll explore this space and begin to see what Final Cut Pro has to offer. 2. The FCP Interface: It's time for action and learning. So, if you haven't done so already, open final CP pro. Okay. Yeah, we are inside of the program. Now, if this is your first time opening final Cp, it should look something like this, not that much to see yet, but soon, you're going to see some really amazing things. Now, before we do anything, let us first get you comfortable with this space. And don't worry if some things don't immediately make sense because as we work through the course, you'll gain a complete understanding. So right in the middle, you will see your preview window, and this is where you'll see your media while you're editing it. And this is where most of the action is going to happen. Then right to the left of you'll see two rectangular gray boxes. This is where your library events, projects media will be found. It's basically where you'll find your footage. And if you're too sure what libraries and events and projects, I don't worry because we will also be covering that in more detail in a future lecture. Then just above this, you'll see a few buttons. Now, these are for importing different types of media like sound effects or music. And finally, the third button is for adding text objects and much more as you're going as soon discover. Now, to the exciting area, looking down at the bottom, you'll see a large rectangular area, and this is your timeline, and this is where most of the editing is going to happen. Then quickly looking at the right hand side, and specifically these last two buttons. Here's where you access different effects that you can apply to your footage like 50s TV or aged film and lots more. Now, the last button on the far right is for transitions. Now, there's a really powerful effect, which we'll use to make cuts between scenes look like really super smooth. And finally, the top right corner has the inspector. And as the name implies, this is where you can find out more about your media, as well as adjust different effects and titles, et cetera. Now, your final cut pro work space is very customizable. And you can hide the timeline or the inspector simply by kicking one of these buttons up here and it gives you a much more focused view. Now, also, if you move your mouse between the areas, you can adjust the size of the spaces. Right. It's all about making it right just for you. So that's the final cut pro environment. It's pretty simple and you'll soon be really comfortable with it. But just take a couple of minutes just to play around with it so you can get comfortable in the space as we move forward. 3. Libraries, Events, and Projects: Before we leap into the fun stuff, there is one more thing we need to cover libraries. But we're going to keep a children sweet. In Final Cut Pro, libraries store our projects, events, and media. And knowing how to organize your final cut pro, content can save you a lot of time in the long run. So lean in and focus for a moment while we imagine your final cut pro library in terms of an actual library. Now, just like a real library that has shelves that organize books into different categories, so Final Cut Pro has events that organize projects and media into different categories. Now, depending on how big your project is, we'll determine what you store in your event. So, for example, let's say you have a YouTube channel with five minute videos, In this situation, for each video you create, you will store all your media and your project under that single event, and this is what you'll do most of the time. However, if you're working on a big project like a movie or a documentary, you would use your events to store media of a specific type, such as music media or B role media, which would make it easier to find. But enough talking, let's see this in action. Here you look at a running course that we created in Final CA project so you can get an idea. You can see there are multiple events in the course with names like 1.1, 1.2, 1.3, 2.1, et cetera. And these names correspond with the section and lesson numbers, much like this course as sections and lessons. In an event, we'll have a single project, which is a lesson and all the media that is associated with that project, such as the main footage, B role, external audio, stock footage, and all that sort of thing. Now, this means we don't need to search around for these clips when it's time to edit. When we finished filming the course, we added and organized all the media into their corresponding events, and so had quick access to all the footage when we need it. Right? That's a brief overview of final Caps, libraries, and events and projects. As you use it more, you'll get more and more familiar with it. Now, one thing really important if you stay organized, future you will really think current. So be organized from the beginning. 4. Recap and Do: During the course we're going to keep your actin. This is how learning is most effective. We don't want you to just be sitting there watching these lessons. We want you doing. So at the end of each section, as well as during lessons, we're going to ask you to do things. Just pause the video of doing lesson, whatever it is, try the activities. This is going to make your learning both rewarding and fun. So what did we covered so far? Well, we've looked at opening Final Cut Pro and familiarizing ourselves with the interface of different areas like the timeline, the inspector in the preview window and the media, et cetera. We looked at how you can adjust the interface to really make it suit your needs. And lastly, we looked at Libraries, events and projects, and how they are structured and interrelated, as well as the importance of keeping yourself organized to save time in the long run. So at the moment is not a lot for you to do. Your starting easier, starting gently. You only task at the moment. Open Final Cut Pro, play around with the interface, get yourself comfortable with the different areas. And then the next section, we'll start creating projects. 5. Section Overview: Well, before we get going, Let's quickly have a look at what we'll be covering in this section and what skills you're gonna be learning. This section is focused in getting you properly set up a final Capra by teaching you some of the key concepts and skills that will help you become professional and efficient. To introduce these concepts, we will be creating two projects, MTB and road trip. Now we're going to provide you with all the media so that you can just follow along as we cover the key concepts, such as the basic process you should follow when creating the new projects. Also, we'll be looking at some of Final Cut Pro is primary tools, and we'll be learning what they can do for us too. Lastly, we'll be looking at some of the most important buttons and options. So you are really fully familiar with the Final Cut Pro interface. Now this section will provide you with fundamental knowledge that's really understand you in good stead for the rest of the course. So let's take a look at what we're gonna do in this section. 6. Creating our library, event, and project: It's time to get going with our first project and put some of the knowledge that we've learned in the previous section into practice. Let's it, as we discussed in the lecture on libraries, Ginny, when you are working on a new project, you want to create a new library. As this will minimize the usage of system resources as Final Cut Pro won't need to load each particular Final Cut Pro project every time you open the library. But paradoxically, for these two projects we are working on, we will work in a one library. This is because both the projects are all very small than when containing match media. Social media will be housed in one event instead of and multiple events. We can finally create our new library. And quite simply, if you can remember from the previous lessons, all you need to do is go to the top where it says File, go to New. And then library will simply call this library projects as this is where we will store all our smaller projects, but you can call it whatever you like. If you do have an external hard drive is suggestion is that you plug it in and store your library there is. It'll take a lot of pressure of your mac storage later, as we've mentioned in a previous lesson. Next thing we will do is create a new folder. And we'll call this FCPA course projects, as we will house all the media in this folder. Now simply hit Save and your new library should be credited. Now at the moment, there isn't much to see the sides that generated event, which is just named after the current date. For our two projects that we're gonna be doing, a road trip and MTB. We can rename the generated event to road trip event. For the final Cut Pro project. We'll call it road trip. Next we can create a new event. This time we can call it MTB event. Now, by right-clicking on the event, we can create a new Final Cut Pro project. And this time we'll call it MDB. I know her very creative. Sometimes it's just best to just go with what simple because then you can figure out where everything is stored. And that's all he has to do for now. Quite simply, we have created a library which we stored in its own folder on the hard drive, and then recreated to events and two corresponding projects. But now basically we are ready. We essentially have the capsule, all the housing, which is going to be ready for all the media that we're going to place in. The next lesson, we'll look at downloading and importing the media so that you can follow along then join in the exciting process as we begin editing our project. 7. Importing our media: In this lesson, we downloading and importing our media to the events. And we'll also look at the various ways in which you can import media. As we say in this course, we believe the best way to learn is by being an active learner. So to help you follow along, we're going to be providing you with the resources which you can download. Now, if you want to use your own footage, you certainly can do that too. It just might be a little bit more difficult to follow along at a time. And if you really are the sort of passive person and you don't really want to do the activity. That's fine too. But we still highly suggest that you do follow along and participate for at least one or two of our main projects. So let's get started by downloading the relevant media. Now that we have our source videos downloaded, the first thing we wanna do is move them over to our final Cut Pro project file. This way we can have all of the media in the same place. Opening Final Cut Pro, we can now look at the different ways in which we can import this media into their corresponding events. Firstly, if you look at the top left corner, you'll see an arrow pointing down. If you click this arrow, it will open a new window, which is essentially a file selector. And here you can find your media from different locations, such as an external hard drive or your computer. This import window is useful if you change specific media settings for a particular project. If you looked at the side, you will see there are a bunch of things that you can do when importing media, like adding it to a new event. And we're changing its keyword, which is the same. The more the name it has when it's important. You can also analyze and adjust the imported videos, video and audio settings, or even create proximity. We'll look at some of these more complex topics in the advanced section of this course. One thing we will discuss in this first section is where it says copy to library or, or copy too hard drive, depending on if the events library is stored on an external hard drive or not. If we select Copy to library or hydride, this means that the final Cut Pro will create a copy of the media and stored either in the library or as a folder, a new external hard drive. Now, generally, this is not the way we like doing things that instead of letting Final Cut Pro create a copy of the file, leave the files in place that this means that they won't be a duplicate of every fall. However, if you are nervous that you might lose the original files, then yes, well, by all means, let Final Cut Pro create a copy, but realize you're going to have lots of extra file is being stored. So I'll instead leave the files where they are as they are with the library and I nowhere news or delete them. Okay, so now we can see we have our files imported. And Final Cut Pro has even created keyword collections, which is just the name of the folder. But we'll also look at keyword collections in the future. For now, you shouldn't be able to find your imported media by clicking here or by clicking on the event. Now we can import our media for our other project. For this project, we'll import the media in a different way, faster way. And this is simply by dragging and dropping from finder. And this is generating the way you will find that we use on most occasions. So going to our finder, we can quite simply drag the folder over to the MTB event. Here you'll notice a small plus icon over the media. This is because Final Cut Pro is trying to create a copy of the media. To stop this, you can simply hold down the option key. Now you should have the road trip media imported. And if you click on the event, you should see all the media you dragged over, as well as the road trip project. That's importing media. The two different ways you can go about doing it is actually very simple, but you should take these few extra steps that we've showed you as you want to try and control the amount of computer storage that you are using because you're going to thank us for that. In the long run. 8. Dragging the media onto the timeline: So at this point, we've been looking at a lot of basics of Final Cut Pro, and now we really do get to the really more interesting, exciting stuff. In the previous lesson, we imported all of the footage that we're gonna be working with into their respective events. At this point, we're ready to start getting really practice. But by bringing our media down to the timeline to begin the editing process. What we wanna do now is take some of our clubs and start working with them. To begin the heading due process, all you need to do is move over to the project you want to work on. So in our case, we're going to work on the road project. So click on the road trip, then double-click on the road trip project. And for the moment of truth. To bring the media to the timeline, all we need to do is to drag it over to the timeline and drop. As simple as that. We can grab another clip and bring it over the timeline by doing the same thing, drag and drop. And as you drop it, it will stop building your timeline. And in this timeline, this is where, where the editing happens. This is where your footage comes together and how you start creating your movie or your video. One thing we will quickly point out is that if we move over to the MTV project and import media into the timeline, you will see that some of these have audio waves at the bottom of the media thumbnail. And as for our other footage in the road trip project, there are no audio waves. And this is simply because the stock footage that we use doesn't have audio imbedded like our MountainBike clips do. Now you may also have noticed that you super observant when you click on one of your clubs. Final Cut Pro brings up a preview window. And if you move your mouse over this area, you can scrub through the selected video. This is really just a quick way that you can easily look at the footage to get the part that you want. And then if you only need a selected range from a clip, all you need to do is click and drag and then move the selected footage over to the timeline. Now that we have a few clips on the time now, all we need to do now is hit space. And there you have it. And extreme rough cut of your final video production. So really just simply moving the clips from the media section, the timeline. We really have started building our final movie. But obviously there's still a lot more to learn and a lot more exciting things to do before we get to the stage where we really have a movie that we suggest that you start getting to know this area and what we talked about yet. But by moving some of your clips over to the timeline era, even maybe create a small sequence of clips to familiarize yourself. Because there's lots more exciting stuff to do. So enjoy as we are getting one step closer to building movies in Final Cut Pro. 9. Tools and functions: Well, I hope you've created interesting sequence of clips because in this lesson, we're going to be looking at the tools you can use to edit these clubs. It's kind of like opening up a toolbox for the first time and see what each tool can be useful. So with that said, let's open up the toolbox and get started. Opening up Final Cut Pro. You can see I created a sequence of clips. This is the first few scenes of our final project. The intro, you might say, I suppose. But what is the final project about ask? Well, as you know, we've created two events, one called MTBE and one called road trip. For the road trip event, we'll be taking what is essentially just stock footage, unrelated vehicles. But we're going to combine them with some music with the right edits. You'll be absolutely surprised. What we can turn it into. For the second project, which is called MTB, will be taking footage which was acted directed in film by Joshua. And we'll be creating a short video of what is essentially just cycling down the driveway. But we'll use multiple editing techniques and music to make it much more exciting. However, to start with, we'll be working on the road trip project. I've seen clips here on the timeline. These clips are completely unedited and I'll fall there. So let's see what these tools can do to edit these clubs. Firstly, one of the quickest ways to trim down Eclipse is simply by moving our mouse to the end of the clip. Here you will see this pointer appearing. Next. Simply by dragging. You can shorten the clip from either side. This is very handy if you find a clippers taking too much time and your video, for example. In the same way, you can also extend Eclipse duration by dragging it in the opposite direction. But do note, this will only work already shortened clips. Now, moving all pointed to the left, you'll see an arrow looking pointer. If you click this, you can see that it opened up drop-down menu. Here you can select what is essentially a whole set of different tools. The first one is the select tool, which is the one we currently have selected. What is the select tool? You might ask? Well, the Select tool, what you'll be using most of the time. It's the general jack of all trades kind of tool. And you know what they say, jack of all trades, master of none, but often times better than a master of just one. However, if we want to perform some more specialized operations, we can look to some of these other tools which can often help us get a certain job done a lot quicker. So looking down at the first two, this is the trim tool, simply by clicking it or you can just click T. We can access this tool. You'll notice that your pointer now changes to the trim icon. So let's see what this tool can do. You know how we sorted this clip in the beginning by dragging the end of it. Now suppose we don't want to change the duration of the clip, but we want it to start and end in a different position. We can change the position of this clip by simply moving the trim tool over the clip and drag. Here you'll notice that the media inside the clip is changed, but the actual duration of the clip is staying the same at the trim tool is really handy when changing a clip that might mess with the other media in your timeline and we'll see how this can happen later. That's it with the trim tool. What you can also do is move it between two clips and easily change both clips duration while keeping the tool and the total duration the same. You can see when I drag the tool to the right, it shows more of this club and less of the other. And when I move it to the left, it does the opposite. That brings us to the next tool. And this tool is called position. But before we discuss what this tool does, we need to talk about Final Cut pros, magnetic timelines. I'll demonstrate what I mean when I say this. If I delete this clip from the timeline, you'll notice that the other clips automatically jump into fill the gap. Kinda like a, like a magnet. This effect can make editing a bit easier. But in some scenarios it can really be annoying. Especially if you don't want your whole timeline to change just because one of the clubs has been removed. So the tool for this job is the position tool. Let's have a quick look and see how it works. And don't forget command Z there. That's your friend. If you make a mistake, you can easily undo anything. Here. We can bring back the clip we just deleted. Now using the Select tool, if we try move this clip above the next one, you can see how the one next to it immediately jumped into its place. And this then subsequently affects the timeline as a whole. However, if we select the position tool, we can now do the same thing. Here. You'll notice that the magnet effect is not happening. Instead, there is this gap, which is essentially a blank clip that Final Cut Pro generates. But you also notice that the timeline as a whole is not affected. What we can also do with the position tool is moving clip inside another. And we'll simply displaced the area of the selected clip, as you can see here. And this is really useful when the timeline has sizable. With that, let's move to the next TO, which, as you can see here, is range selection, quite a hefty name. So what does it do? Well, essentially, in the other lesson, where we could easily select and move a range of media to the timeline by clicking and dragging. Well, if you want to do the same on the timeline, you'll notice that all that happens is the clip does moves. How do we select a portion of the clip that we want to cut or copy? Easy, use the range selection tool. And now if we click and drag, you'll see now that you can select a range, which you can then copy or cut. Also, you're able to select a range between multiple clips like this. Now that's really cool. And that brings us to the blade. Arguably one of the most important Final Cut Pro Tools. And you will certainly find yourself using this a lot. So let's see what will the excitement about? Well, that was a simple, yet elegant and as you can see, it cuts clips. Yes, just like a blade. And you'll notice a fresh cat is denoted by a dotted line and basically means you've made a cut, but you didn't do anything with it yet. So if I were to crop the clip a little bit where the cut is, you'll notice the dotted line disappears. The blade tool is a quick way to organize clips in the timeline and discard those unwanted extra bits of medium. For example, if I thought this clip was way too long, I could simply cut and delete the excess. Or if I found the section in the middle of the clip was not necessary, I can catch it in-between in the middle of my clip. Hendra move this middle piece just like this. Right? That's much better. With such an excellent tool. That now brings us to the last two tools, the most worthless. I don't know about that. They may be bottom of the barrel at maybe they're worth is going to depend on how much you need to use them. The laws to tools or the zoom and the hand. And these two tools can come in handy if you don't have a trackpad or a side-scrolling mouse, these tools are really handy. Let's quickly take a look at them. Moving to the Zoom. Here, we can zoom in or out of the timeline to get a closer look at your edits. Now if you've got a trackpad, you could just pinch it with the zoom tool. If you hold down Option, you can zoom out of the timeline or the Trackpad, you can pinch out. Now you certainly going to need to zoom in and out of your timeline a lot. So get used to doing this. The last and probably definitely is the hand tool. With this tool, we can move through our timeline and we will be needing to do this when the timeline gets long. But also alternatively again, if you've got a trackpad or a side scroll wheel, you can use this to move up and down and along the timeline. Wow, that's it. These are the main tools and we will see how each of them gets used in a practical sense. But for now, what I'd like you to do is just experiment a little with them, play with them, try and get a better understanding of them. We gotta be using them a lot as we continue through the course and on our journey, these are going to become your stock standard tools. So get a little bit comfortable with them. Try them out and remember if you make any mistakes, you can always Command Z and go back. 10. What do these buttons do?: It's time to look at the last few main buttons and tools that we haven't covered within the main interface of Final Cut Pro. And by that I'm talking about these buttons. You may or may not know what some of them do. But if you've experiment a little bit, you may know what they do and figure them out for yourselves, which we always encourage. But if you haven't, this lesson is definitely one. You want to have a look. Let's have a look. Moving over to the far right. Just before the effects and transitions, you'll see an icon shaped like a small clip from a film camera. If you click on this, it opens up a control menu. And this menu allows you to adjust a few other little things. Firstly, with the first slide, you can zoom in and out of the time. I'm just like we did before with the zoom tool or with your trackpad. If we look below that, there are a bunch of different buttons. Remember how we discussed how some video has audio embedded in some does not. Well with these clips yet, we can change how they are displayed with these options because these clips have no audio, it's a little bit pointless having a show that audio waveforms. So instead we could have a show, the video thumbnail bucket. Yeah. But for continuity sake, we're going to leave it as it is. Lastly, looking at this slide, if we move this, basically zooms out on the y-axis making the clips thinner. And you might need this if you've got multiple tracks sort of stacked on top of each other. They also options to show clip names and angles, and clip roles and lane headers. But for now this is really not too important. Bringing us to the next button which is appropriately called snapping. And if we enable it and drag our play head across the timeline, you'll notice, well, it snaps between the clips and that's what this tool does. It literally automatically snaps things to the break in a clip like the start or the end. But it does more than that. But let's go to the sound effects tab. If you remember that from the first lesson, to get to the sound effect, you simply click on this button at the top right, and then click sound effects. Final Cut Pro brides are a wide range of free sound effects that you can Using your project. But even so, you can always import your own sound effects that I think we should be fine to illustrate with what we've got here. Let's see. Let's say we want to get to the interior car club and we want some car noises to stop playing when we add that part of the club. Well, we could do this by searching. And here you will see auto compact interior drive. Drag this to the timeline, but below the clip. And here you'll notice that when you are dragging the audio below the clip, automatically snaps to the start of the clip. And if we turn Snapping off, it does not snap to the start of the club. And the same is true if we drag clips on top of one another with the snapping on, it automatically snaps to the start of the clip. One thing to note here is how fun Cut Pro. You can easily have an endless amount of media stacked on top of one another. This is known, this is going to make you hungry now as a pancake timeline, because basically that's what it is. You're adding layers of media on top of one another to make something that is interesting, kind of like a, a really super delicious tasty stat pancake. So we could go back the sound effects and add, for example, some winds down to our first clip simply by searching for it and then dragging it down. This time we can see there's a lot of excess clip we don't need here as they shouldn't be wind like this inside of our costs. So we can chop the excess off by using our blade to remember that. And notice that because we have snapping enabled, it automatically brings the blade to where the clips into set. So with that we can easily chop it off and deleted by clicking and pressing using backspace. Now we have two different sound effects and we can stack these two sound effects like a pancake by simply moving the one on top of another. Let's have a listen. Much better. Well, this pancake of a timeline is getting much more interesting indeed. Let's check this next option, which is shaped like little headphones. And if you click on it, you'll notice that all the clips except the one we're on gets grayed out. Now What's this about? Well, it's basically letting you listen to a single audio track at a time without needing to delete all the other audio tracks. So if we go to the first clip and select the audio track, interior drive, and click the headphones. Now if we play, notice you don't hear the sound anymore. We only hear the audio from this track. And this feature is really useful when you need to listen to and edit audio of only the single track that you're trying to work with that editing and distinct to the audio that's interfering from all the other tracks. Now that brings us to the last two buttons. The first one you'll notice is grayed out and we can't predict it because this option needs this option enabled to work. And so what does this button do them? Well, if we click it and move our mouse out to the timeline, you will see that the video moves to your pointers and that this is known as skimming. Just like imagine if you're skim reading, you're skimming. And in Final Cut Pro basically allows you to quickly skim through your footage and find the areas that you want to work on and generally advise that you keep this option on it as well as snapping option enabled just to make your life a little easier. So now that we have skimming on, you can see that we can now click on this last button. And what this button does is also skimming except for audio. So if we enable it, we can now ask him through the audio like this. Normally, you probably don't want to keep this option enabled unless you specifically editing audio because it can become a little bit irritating. And that's pretty much it. But there's still a few other buttons here and there and that we will discuss in future lessons. But as we say, the best way to learn is by doing so, play around what you covered in this lesson and try and figure it out and try and get comfortable. Because the more you get comfortable with these basic tools, with the interface, they're easier. It's going to be as we go forward on our journey. 11. Recap and Do: Well congratulations, you've officially reached the end of the second section of this course. And the section was really about getting to know Final Cut Pro and, and getting to know how to use some of the more important tools. And this is really an important section because the next sections we're gonna be using the skills that you develop to edit videos. And because this knowledge and being able to do it effectively is going to stand you in good stead for the rest of the course. Now, it's time to recap everything that we've learned in this section and you have a task to complete. Now remember that learning happens slowly through repetition and really importantly, really importantly through activity. So enjoy the refresher and then learn in doing. So, what did we cover in this section? We first created our projects library that we use to store our first two projects, MTB and roadshow. The library and all the associated media got stored on an external hard drive to ensure that we didn't follow up the computer file storage. After that, we imported our media into their respective events and we looked at the different ways you can import media. Then we dragged the media down to the timeline and started secreting a few clips to make what was really a very rough draft of a movie. After that, we looked at the different tools and how you can utilize them to become an efficient editor. And finally, we looked at what all these different buttons do. And now they can also help you become quicker and better as a Final Cut Pro editor. So that brings us to the DuPont. Now, for the DuPont, what we mainly want you to do is really familiarize yourself with the different tools, play around them and becomes somewhat of a, of a Final Cut Pro if you get a meaning. But the best way to do that is by actually having a total task. So thirsty, what you do is, is to start creating this road trip video. Have a look at the clips that you have and trying to assemble them into a sequence that plays back somewhat like the road trip final project we showed you in the beginning of this section. Now, you don't need to use all the clips and the video, but it doesn't need to be that long even. It just needs a start, a middle, and an end. And remember to use the editing techniques that we taught you, such as cutting and trimming to make the basic structure. And that you're going to end up starting to produce a very exciting short little video. 12. Section Overview: Welcome to the third section of this course. This is the last beginner section before we start getting to some real professional grade stuff, never will start ramping things up. Also in this section, this is a large and a really comprehensive section. And by the end of it, you will have completed an exported, your very first project. They will include a whole lot of special effects and efforts. In this section, we'll be adding multiple skills to your growing toolbox. So you're gonna be able to create an edit your own videos. Firstly, of degrading the draw for our road trip project. We'll be looking at how you can add transitions in-between some of the clips to make the scene changes happen in a smoother and much more interesting way. They will look at how we can speed up and slow down the clips with the use of return. After that, we'll see how you can re-size your media so that you can zoom in or out of your media or stack multiple clips on top of one another. We'll then look at adding keyframes to your fixed. Now, this will allow you to get really creative with your edits. As Final Cut Pro will create a smooth animation in-between the effects that you're using. We'll then look at adding music and audio GO clips, as well as some advanced audio edits to make them a whole lot more interesting. After this, we'll add titles and title of fixed. And finally, we'll export your completed project with all of the effects and save it as a file so that you can share it with a will. So that's the heads-up for the section. As you can see, there's lots that we want to do that we're gonna be covering. So if you haven't already done so, let's take a deep breath and get ready to dive in. And let's let the fun learning journey continue. 13. Transitions: I hope you managed to create some kind of a story of the clips that we provided you with, well, with your own clips. Now in this lesson, we'll look at how we can turn these maybe somewhat a little bit boring sequence of clips into something a lot more interesting. We will be exploring transitions which are really super important to make your clips, I suppose, and transition in a smooth and interesting way. Transitions are all about how one clip changes into another clip. And you will see this effect in almost every video that you watch. So let's begin by taking a look to see how we can start improving our video with transitions. Now, before we start, we will briefly go over how we created the rough draft for this project. However, just understand your version doesn't need to look the same as ours because we really are encouraging you to be creative and make it your own project. Looking at our sequence of clips, you can see the way it's ordered. It starts with the small sequence like we had in the previous section. This is our intro. And then it goes to two drone shots of a car driving from one end to another. And then we have all these clips, which is our middle. And then finally, our ending is made up of these different shots of the hot air balloons. So now that we have our drop, Let's see what transitions are and also how we can start using them to make a video. A whole lot more interesting. Now, as you know, are ready to access transitions, all you need to do is click this button here, which looks like a sideways hourglass. And when you click this, it will open or close this window. Now, in this window you'll find all of Final Cut Pro pre-installed transitions. And as you can see, there is a whole section of different transition categories such as 360 degrees, which works with 360 degree videos. So you won't need these just yet. There are also blurs, dissolve, lights, movements, et cetera. Instead of looking at the categories, we can just go to o to see all the different transformations that are available in Final Cut Pro. Looking at the transitions, if you move your mouse pointer across any of them, it will show you a preview of what the transition looks like. For example, we can see cross dissolve is a very simple transition going from one clip and dissolving to the next. Or 3D rectangle, which is a far more complicated transition. It turns the clip into multiple rectangles and fades out. But generally, with transitions, you wanted to try and keep it simple. As transitions aren't really meant to be, notice that they should be subtle and seamless. So do be careful not to overuse them between clips as this can result in really irritating your viewer. Even making some states are feeling a little bit dizzy and nausea from all the effects. Ideally, make use of transitions when cutting between different scenes. Of course, you can occasionally use them for something extra. But the guideline, we believe is less, is more when it comes to transitions, right? That being said, let's add some transitions to Eclipse and see what they can do. So looking at these two clubs, one over car and one of a kind of far as we can see, when we play it back, the scene sort of just jumps to the next scene. So let's try and add a transition between them to try and tie them together. All you need to do is drag the transition over. And you will see that this gray box automatically appears. And it shows a preview of where the transition is going to be placed. And then if we drop it, you will see there is now a gray box that shows us that we have a transition between these two clips. Let's play the video now. And while, that's a lot smoother than before, Let's try it again, this time with a different transition. Going back to the transitions and selecting lens flare this time, we can replace the current transition by simply dragging it on top and letting it go. Now if we play the video, we have the lens flare transition. It's as easy as that to just try different transitions and see which one works best in the scene change. So just be prepared to experiment a little bit and drag different transitions and just see which one feels right. Okay. Now that we know how to add transitions to the media, Let's see how you can edit these transitions to make them even better. Firstly, we can make transitions longer by simply dragging them just like we did to shorten or lengthen clips. We can do the executive same with transitions. So if we drag it like this, it makes it longer. Now when we play it back, you can see the actual transition happens a lot slower. And this is also something that requires playing around with until it just feels right for the scene that you build it. Many transitions have different ways you can adjust them to change how they're going to appear. Let's take, for example, the lens flare transition. If we click on the transition, you will see it presents you with additional options. These options will change depending on the transition. With this transition, I can adjust where the lens flare starts and where it ends by adjusting the x and y-coordinates. Doing this, you can see the transition matches up with the natural lens flare in this clip. Funny. One other thing to mention is this message where it says There is not enough extra media beyond clip edges to create the transition. You might rethink. What's this? Sometimes, when you add a transition to your clip, you may get this message. It means basically that there is no handle, which CNG means there's not enough extra media for Final Cut Pro to work with. And so in order for Final Cut Pro to create a transition, it needs extra unused media so that the clip can transition into each other. How do we fix this? Well, we can simply crop a bit of both clips to ensure that there's enough space. And now if we try and add a transition, it works. Alternatively, you can just let Final Cut Pro automatically fix it for you. Just simply drag the transition to the center of both gloves, drop it and hit okay. When it gives you the warning, you'll notice that Veronica pros automatically shorten the clip to get the extra mediate needed for the transition. That's all we covering regarding transitions for now and in future lessons we're going to look at how we can make these transitions even smoother because transitions can be extremely powerful. But for now, you know what you gotta do it over to you to experiment with the different transitions and the different settings and just have a little bit fun trying them and adjusting the settings of the transaction and playing with the transitions and see how you can start to learn about the power of transitions in Final Cut Pro. 14. Retiming Clips: It's time to change the amount of time that our clips play in the timeline with re-time. Okay. I think I said time a few too many times, but didn't have that. This lesson is all about timing. Because in this lesson, we will be discussing retirement, which is really super important feature in Final Cut Pro. Essentially, a yacht allows you to make a clip go at any speed or even in any direction. In a way it's actually, your tones do almost become like a time traveler. So let's see how this works. Firstly, let's find a clip in the timeline we want to return. Okay, so looking at this clip near the beginning, we can use real time to make it a little bit more interests, but Dean bar, by speeding up the last bit of the club. So firstly, we'll cut the clip to where we want the return. And now all we need to do is select the clip and hit Command R. And this opens some real-time options. And there are a couple of ways we can go about retiring. The easiest of which is dragging your mouse over to the end. And just above the clip you will see a little slider that you can drag. And when you drag this clip pores shrink down and essentially is now in fast motion. And as you can see, it's now 604 per cent. Speed it up. And now we can play it back. It gives you a fifth of the cost speeding up, which makes this a lot more interesting. Alternatively, you can also slowed down or moving. Start, slow it down and clip this. Try moving to a different color. Here we will use the hot air balloon. Now for this clip, if we again hit Command R, and this time if we drag the slider the other way, we can make the clipper players, oh, it's in slow motion. If you want to quickly slow down or speed up Eclipse, we can use these drop-down options and select faster or slower. But the problem with this is it's a little bit less customizable. Otherwise we can also click on Custom. And that brings up a whole new set of options. First, as you can see, we can change the direction of the cup to either the forward or reverse. Or if we want the clip to play for precisely ten seconds. We can also do that here. Before we look at more incredible things everytime can do, let's take a look at what these small dotted lines mean that appear above the clip whenever you make an edit. I'm hoping you've noticed these. As we've been doing different things, you'll occasionally see these dotted lines. Now, what do they mean? Basically, these lines indicate if something needs to be rendered. And Final Cut Pro is essentially trying to make sense of what you've just done. Whenever you make a change to a clip black, we've just done the timing or adding effects or transitions. Final Cut Pro has to make a lot of different calculations in order to display the final edited clip. So if we hit play without rendering, you might notice that it will lag and drop frames. And this is because It's not yet rendered. As soon as you stop editing. Final Cut Pro will stop working on the editor made. And when it's done, it'll play back the edit smoothly. It has been rendered. And this is just one thing to note because unless your computer's really, really super fast, Formula One fast. Whenever you want to see an edit that you've made with added lagging and especially an advanced edit, you need to wait for the dotted lines to disappear. Now this brings us back to returning. If we want even more customization, we can look at this button up here, which opens up a whole range of different options. Firstly, selecting the clip we want to return. Or even better, we can select a range we want to return. Let's do that. Now click the re-time button and let's slow it down to 25 per cent. Now you'll notice that just the portion we selected is slowed down to twenty-five percent. However, if we play the video back now, you will see that it's pretty sort of statuary. And this is because the video is only recorded in 24 frames per second. Does that mean we gotta live with it? Now we don't. There is a way we can make this video a lot smoother. Final Cut Pro has many, many powerful features. So firstly, let's select the whole clip and open up the menu. And as you'll see here, there are many options which you can choose from to add different effects. And we'll look at some of these in future lessons. But for now, I really encourage you to try and play around until you can also discover some of these features. But let's for now just focus on what we want to try and make our video smoother now that we've read timed it and the frame rate isn't good enough. In order to do this, we can go to an option that's found under video quality. Here we have two different options, frame blending and optical flow. But these can help make Avenue a lot smoother. For this case, we're going to just make yourself frame blending somebody selected and then wait for it to render. Remember what that means? Wait for the little dots to have all done their thing and gone away. And you'll now notice when we play back our super slow mo video, it's far smoother and you don't really notice any of that stuttering. So as you can see, right, timing is really versatile in Final Cut Pro. It's a very important effect. Now, it's your time to try and use a real-time try, try and create interesting effects on your projects. Whether you dramatically want to speed up certain clips or parts of Europe. So all dramatically slow them down. Try make your project more interesting with three time. It'll be worth your time. I couldn't resist the ending with that tuple jack, but it really will be worth your time. 15. Multi-layer tracks & Transform/Crop: It's time to discuss an edit, so simple, it's so important. And that's the transform tool. This tool basically let you reframe an image to however you like. So you could crop into a smaller section or you could flip the media upside down, vertically and even more. That's it. Let's see this tool in action. So going down to the timeline, Let's select a clip to try out this tool. Let's use this one. So firstly, I'm going to cut this clip so that we only apply the effect to just a few seconds. Now, move the playhead over the globe and then select it to access the Transform options. And all you need to do is click this button right here. You'll now notice that the video has a border over it with a bunch of different little blue circles around it. Basically, these circles are handles that you can use to re-size your video. Depending on what handled you selected a little change how the video is resolved. So for instance, if you want to stretch the video, you can use either of these handles and stretch it out. Alternatively to make it taller. We could use this handle and stretch it vertically. But normally, all you want to do is zoom into the clip. So for that, you just need to select one of these corner handles. And as you can see, you can zoom in. To position your clipper. All you need to do is select any way on your video and click and drag it to where you want it to be positioned. It's as simple as that. Now you can hit Done. So now let's play the video. We can see how this particular clip is now a zoomed in. Well, there's a lot more that the transform tool can also do. So let's just have a little look at some of the other options. Firstly, you may be wondering how you can change your video now as all the handles seem to like just appeared to get your handles back and view a couple of different ways we can do this. But firstly, if you look at the top, you will see a small dropdown with a percentage in it. And this basically what it's doing is it's telling you the size of your preview window. Now if you click this, what we can do is manually zoom in or out of our preview window. So if we zoom out, let's say 225%. You can now see that our blue handles all back is now that the back. What else can we do? Well, let's quickly have a look at some of the other options. Firstly, we can flip our video simply by dragging a corner to the opposite end. If you look at the middle, another handle that you can grab it as this one. And this, this, you rotate your video in any direction. So perhaps this is useful. Sometimes maybe you'll videos a little bit slanted and so you can easily fix that. Now remember how we discussed Final Cut Pro users. I pancake timeline. If you don't remember, you can go back and review that. Well, let's see this in action. So moving over to our media window, Let's grab a small section of a clip and move it onto this clip. Just like this. You'll notice whatever clip is on top gets displayed. And this is the pancake effect. And this is one easy way really to create what's called a cutaway. For example, if you have a video of someone talking and you want to maybe give a bit of context, you can create a cutaway is one of the best ways to actually create the context of where the person has maybe speaking in or zooming into them. Now, just because the video is on top, it doesn't mean that this one is gone. It's still there. So let's see how we can make it appear. We can do this using Transform. And this time, we can make the video smaller, just like this. Now you can see that we can see both of the clips at the same time. This is useful in quite a few scenarios including cutaways, where sometimes you don't want a complete cutaway, you just want a small one in a section of the screen. And you'll see often, you see this on news broadcasts where you can see that the main action that's happening and the reporter and a small section of the screen. Now, lastly, if you click this drop-down menu, you will see two other options, which are crop and distort. Now, you probably won't find yourself using these options as much, but they also serve really important roles to visit if you click the Crop tool now and I'll be sure to have the Crop Tool selected here. What this tool is going to let you do is very similar to the transform tool. Just how we used it to re-frame a video. We could do the same here. Now this time, instead of pulling the handles out to zoom into our media. We instead move our handles into essentially reframed our shot. So if we do that, you'll see that the highlighted section is how the media will be re-framed. And once you click Done, you'll see how now zooms in to the area that you just cropped. If we want to zoom out or we need to do is click this button again. And we can easily do that. If you're simply just looking to re-frame a shot, this tool is what you want to use. But if you need to do something more advanced like read, rotator and re-frame, then then the transform tool is your best option. Now, moving to the trim tool, this tab, when you click it, you will have these dotted borders around the video. And if you drag one of these square handles, you can see that the video trims from, from each direction. And this is useful if you want to maybe show two videos side-by-side like this, or just to fit more media next to each other. The last option we have is what's called Ken Burns. Now, the Ken Burns effect is really clever effect and its an effect that's used to take a still image, a photo or something, and apply an illusion of motion to that image. So if you click on it, you'll see it brings up these two boxes, start and end with the big arrow pointing between them. Now are quite simply what this means is that the video will start displaying our media are still image at 1 and then pen smoothie to the second. So perhaps we want to start out our frame here and ended here. And now when we play back the video, we can see how the effect works. And finally we have the distort. And as the name implies, this lets you distort a video just like this. Now, this effect is really useful in some particular scenarios, such as overlaying a video into a real-world object. We can then use this tool to match the objects dimensions. And then the last thing to note is that all of these effects can easily be accessed in the video inspector. For instance, I could zoom into video using the transform tool in the inspector and sliding scale, or I can zoom in and out. Alternatively, I can trim a clip. Justing effects like this and this. It's a little bit slower, but it's actually a lot more accurate. Those are some of the tools transforming, trimming, distorting. And these tools are really versatile and you can do so much with them and as always, give them a try and play with them and see what really interesting effects that you can achieve with these tools. 16. Key-framing: In this lesson, we're going to be looking at key frames. And this might be a little bit more advanced, but you don't need a stress or worry about it because this is something as you start practicing with the tools that we're going to show you in this lesson. You'll pick it up in no time. So what exactly are key-frames? Well, let's look at it like this. Right now. For any effect we apply to a video that they fit happens essentially straightaway. So like with this clip, where we zoomed and using the transform tool, the zoom effect happens pretty much instantly. However, with keyframes, we can have it slowly zoom in. Kind of like how the Ken Burns effect works. Well, except a lot more advanced and it's a lot more customizable as we'll see. So keyframes essentially let you try incision or animate your effects. And interestingly enough, the word keyframes in Final Cut Pro derives from the old animation world, where only important key frames of the animation withdrawn. And then later, what would normally happen at a different artists withdrawal the frames in-between the keyframes. And that's why animation happens smoothie. And so it's the same in Final Cut Pro. Let's take a look at how we can keyframe effects. Returning back to our Transform effect, where we zoomed up on this clip. Instead of cutting them and zooming in, we can use keyframing. We can bring our clip back to normal using the trim tool. Now if we click the Transform button and at the top you will see there is a small diamond but with a plus icon inside it. And this button allows us to add a keyframe to our Transform effect. If we click this, you'll see that the icon changes. And this means that this frame is keyed. And just like how in the old animations, you'd have people that would draw the frames in between two keyframes. So it's the same as in also in Final Cut Pro. You need to have two keyframes in order to create an animated effect. We move along the VA. We put down another keyframe, as you can see, represented by this icon. Now that we have our two keyframes, what can we do with this? Well, this is where the animating essentially starts. If you look at the top here, you will see that they are two arrows next to the diamond button. And we can use these arrows to quickly jump between the keyframes we added to create a zooming effect like we talked about in the beginning, all you need to do is jump to our second key frame and scale and position our clip, just like we looked at in a previous lesson. And you'll see that now, as we do this, two arrows with a red line in between appear. And these errors are our keyframes. And the red line is the animation that's going to happen in between our two keyframes. Now if we play the video, you can see how it smoothies, zooms in. So just like the animators back in the day, we created the two keyframes, but Final Cut Pro created the animation between the two keyframes. It's really, really clever. You should also know that once you've added one keyframe to clip Final Cut Pro will automatically add another keyframe when you make changes to the effect. So because we added a keyframe to the Transform effect, if we move forward a few frames and change something like flipping the image, you'll notice that Final Cut Pro has automatically added another keyframe. If we play the video again, we get this. Now. It smoothly flips a video, although you may not want this to happen. And in a future lesson we'll look at ways that you can stop this. But right now, we've only just scratched the surface of what key-frames can actually do. And although this takes a little bit to fully understand and grasp this topic, the really, as you know, the best way is to practice it for yourself. So dive right in and just start playing around with keyframes and see what you can do to get the hang of it, then don't worry about it. Some parts you don't fully understand, you can't figure it out because we definitely coming back to look at some of the amazing things you can do with keyframes later on. Yet again. 17. Adding Audio: We've worked quite a bit with videos, so let's have a little look at starting to work with audio. In this lesson, we'll look at how we can bring our clips to live with audio. And we'll also look at how you can perform advanced audio in it. So let's just jump right in. You should already be quite familiar with audio because if you remember in our earlier lesson, we looked at adding some of the stocks sound effects to the beginning of our timeline. So now let's see what the final Cut Pro is capable of. And in terms of editing audio, what we have here is the wind sound effect and the interior core sound effect. And then after this clip ends, we have only the cause and effect. However, the way these sound effects suddenly cut out is a little bit jarring. But before we look at how we can fix that, Let's add some music into our timeline. At this stage, if you have managed to download some music from one of the places that we recommended, you can use that. And if you've got other music, that's also perfectly, but just remember, if you're planning on posting your video anywhere, you need music and tracks that are copyright free or that you have the license for. So let's add our music to our project and just like we did before, or you need to do is drag and drop it onto the timeline. Just like that. Now, you can see there are music expands and all our clips. One thing to note when creating a video or the star where it's basically the music is the primary audio. One good editing technique is making the video flow to the music. Let's see a quick example of this. As you can see, the effects such as r0 times and clip changes happen on the beat of the music. Generally for a video like this, you will first add your main music track and then edit your clips according to the music. So let's see how we can edit our audience. Very handy tool to have open pretty much all of the time. And especially when you're editing audio is the audio meter. And you can open the audio meter simply by clicking this little button here. Now, we can see our audio levels to ensure that it's not too soft or too loud. Generally speaking, your audio levels should be between minus 20 and about minus ten decibels. And that let us play this audio. You can see that it peaks at one decimal. We even get a warning that our audience is going into the red with the meter. How can we fix this? Well, to lower order, all you need to do is bring your mouse to the middle of the audio track and you will see these two arrows appear. Now, if you drag down or up, you can change the level of your entire audio track. Otherwise, you can also change your audio app and the inspector by simply moving the slider. And in fact, it's often quicker to make the edits here, but it's far more precise. And it also in the inspector. If we play back out what you can see that it's much quieter. Have a wind sound in our color, what he's just too loud. So let's bring these levels down to, let's see how we can do something a little bit more fancy. Remember how in the prior lesson, we looked at how we could use keyframes to make our Zoom in effect super smooth. Well, we can also use keyframes with audio tracks. To add a keyframe to an audio track, all you need to do is go down again. And two, you see these arrows. Then hold down the option key and click. You'll notice now that you have the small little diamond shape, which means you added a keyframe right here. Now, if you remember, you need two keyframes for anything interesting happens. So we add another keyframe. Now, we can do something interesting. All you need to do is drag down one of these keyframes. And you can see all the audio levels before this keyframe drop. And then it gradually increases. So the music starts playing loud when we shift to the Casie. Let's do the same for this track. You can see with adding audio and getting creative with some advanced editing techniques, we are able to create something that's really a lot more interesting. Now before we end this lesson, there's just one more thing we need to look at, and that is what's called audio fades. Now, it seems you can create audio fades also using keyframes, but if you only need to fade the start or the end, the other way is a lot quicker. So all you need to do is move to the edge of an audio clip. And when you see the sideways arrows, make sure you see these arrows. It must be these areas. Simply click and drag lift. Diseases that you'll notice is a curve. Now we have a nice audio fade-out effect. And if we plaque that, you will hear how the sound and audio slowly fades out. We can also fade in audio by doing the same thing at the start. So that's pretty much it for this lesson. We've covered a lot regarding audio editing, and these are advanced techniques. So this has given you one lesson. You should try it out for yourself. Remember, learning happens in the doing. So see if you can master this and get creative, which can really do some fun things with audio edits in your projects. 18. Titles & Text: Titles, all the next thing we're going to have a look at, then there are just so many uses for titles such as becoming an introducing a video or making points during, during a video as a teaching video or are providing context or displaying addition information. A lot of videos finished with the rolling credits and the list just goes on and on. So how do we add titles or, or text into our videos? Well, if you remember in the first section, we looked at how if you click on this button here, it opens up a titles and generators sidebar. And it's over here where we can access the different titles that we can use in our video. As you can see, Final Cut Pro provides you with many different text options such as 3D, 3D cinematic, building out credit. Lower thirds, that list just goes on. If you can't see these options, make sure to click this little triangle to open the drop-down. Now let's see how we can add some of these titles to our project as well as how we can edit them. The first thing we need to do is select a title to use for our project. We won't select the 3D titled just yet because they can be quite complicated. So let's start with a nice 2D title. Like this drifting title. Now we need to do is drag it on top of the clip where we want the title and drop it. If we play our video now, you can see that this title now appears on top of other deer. And as you can see, this title is drifting effect. Now one thing to know is some of Final Cut Pro, texts have movement effects like this one. But a lot of the titles are just playing like static. So for example, if we bring the basic title down to the timeline, you can see that it is completely static. And often you actually only need a static title. But I think for Avenue here to make it a little bit more interesting is because it's an intro to it. We'll stick with the drifting title. Now that brings us to editing titles. How can we actually change this title? So it doesn't just say title subtitle, and also how can we make it longer? So it plays maybe over the entire gland? Well, to make the title appear for longer, all you need to do is bring your pointer over to either edge of the title. And then you can just pull it until it reaches the length that you want. It's easy as that really. Now, how do we change the actual texts so that it is so nice I bought road drop. The easiest way is to just double-click the actual texts. And now we can change this first line to road. And if we double-click the lower text, we can change this to true. Now if we play our video, That's much better to actually saying road trip. Let's see how we can edit this text and change its effects. We can make all of these edits within the inspector. Looking at the expected, you'll see that there are multiple different tabs that allow us to perform different edits on this text. Looking at the first tab that shaped like a T, If we click on this one, it has all these different checkboxes and sliders. And then this one is we, you, you edit the actual effects. And because this text has a sliding effect, we can adjust that here. If we uncheck these boxes, you can see the way it slides in changes. Alternatively, if we look at a basic title, you can see that it has no parameters that we can adjust. And that's really because it doesn't have any special effects. Obviously. Moving back to our sliding title, Let's see what the other tabs to. The next tab over is where you can change how the actual text appears. And as you can see, there are a lot of different options. And a quick tip. To expand this window, you can just double-click it. And you can do the same thing to shrink it down. And it just remember Final Cut Pro is modular and the editing space can adapt to what you're working on. Now let's take a look at what can be done in this area. Firstly, we can change the actual font of attics. And as you can see, Final Cut Pro provides quite a large selection of different funds and you can use in your projects. So let's select a different one. Okay, let's use this one here called hopper script. That looks better. Now, if we look down, we can change the font size, vertical alignment, line spacing, and a whole bunch of other things. We can also change the text face. We can change its color, its opacity, blue, etc. Going further down, you can see the eye even more options such as adding an outline and glow drop shadow. There's many, many things that you can do to your texts. And I encourage you to, to add some text to your footage and then experiment with, with some of these options. Because that's obviously the best way for you to become familiar with them and to see what is available. Finally, the last two tabs, yeah, not take specific edits. If we click on this video tab, we can see that this is like a normal video inspected where you can transform or crop. But you can actually accomplish most of these two tabs. So you don't really need to worry about these tabs just yet. Well, that's a look at titles and your short-term use a lot in your videos. Get playing, and get learning. 19. Exporting projects: This is the moment you've been waiting for. It's finally time to export our project, which basically means saving it as a file. Now, if you've been following along, then this is your moment where you finished your editing your project and you want to export it to a file. This lesson, we're gonna be looking at the different ways that you can go about exporting a project. Let's dive right in. Here we have our final project with all the special effects and edits that we've applied in adolescence. You certainly have come a long way since room and you open up Final Cut Pro and hopefully by now you've got a fairly good fundamental understanding of this amazing program. Before we look at exporting our project, Let's talk about this preview window where we have been viewing all of our edits on a lot. What you might have noticed is that when you're playing back your footage, It's sometimes it can appear a little bit blurry or it may seem to lego started. And that's even if the rendering is complete, which we talked about in an earlier lesson, what this preview window shows is not exactly what the final export is going to look like. And that's why it's called pre view. Too clever, isn't it? But what can we do if you want to change it? If you actually want to preview in a higher-quality without having to export. Or moving the cursor over to the top next to where we change the size of our preview window, there's another drop-down menu. And if we click this one, you can see that it opens up a variety of options. The option we're interested in at the moment is where it says better quality, award, better performance. Now, these options change how the video in the preview window is displayed. So ideally, when you're editing, you actually want better performance selected because especially if you have a slightly slower or older computer as it's going to reduce the strain on your processor. However, if you have a faster computer or you just want to view your edit at the moment in a higher-quality, you can choose better quality. And you've probably noticed selecting this increases the preview quality quite a bit, but you will also notice that it's based slowdown and impact your performance. Now, let's export this project. Look into the fall, right? You can see we have an arrow that points up. This is where you look to export your project. So there is an input button on the far left and an Export button on the forearm. So clicking this button, you will see that it presents you with a bunch of different options. Firstly, we have your export file, which you can see is the default. This option will give you the highest quality export. So if you are exporting the project maybe for like a professional job, you definitely want to click this. Alternatively, if you're exporting a project for something where maximum quality is not necessary, options, such as for Apple devices or YouTube and Facebook will probably be better options as these are going to produce smaller file sizes. And you know, when it comes to large files, you need large storage and all of these become quite complex. So possibly use one of these until you really need the high-quality one. So it's these others that we're going to have a look at in this lesson. Instead of using this button to export, you can also simply accesses by pressing Command E. And you'll see it brings up this window. Firstly, you will see you have this image here. Now, if you move your mouse over it, you can get a quick preview of your whole project. Then if you look on the side, this is we can name your export file. Now by default it's going to be named after the project, so we're going to keep it at that. Then these last three options are basically a description of your project. You want to add that and who, the creators and tags, et cetera. At the moment, we're not going to add anything here. Then moving down to the bottom here you can see it gives us other information about the exports, such as the quality frames per second duration filed top, and it even shows you what device would be able to play on. Now let's move to the next tab. This is where you can change the actual quality. Firstly, you will see there is a format option. And then as I said, this is where you can decide if you want your video high-quality or low file size. So if you want your video to be a smaller file size, you should select Apple devices as this font up, takes up a lot less space. And also interestingly, even though it says Apple devices, this file type is supported by most devices. Moving down, the next option is your video codec. And this is essentially how the video is compressed. But if you're exporting for Apple devices format for now rather leave the codec on whatever it has auto selected. Finally, this next option is where you can select the actual resolution of the video. So if we click here, you can see the highest resolution we can snake is 1920 by 1080. And that's because all of the videos we've been using this project or ten ADP. If I ever, you want your video to be smallest tiles, you could select a low resolution and that will decrease your final file size. But I recommend you don't really go below 720 beat. Well, enough of that, let's export our project. I'll just export to Apple devices and leave all the settings exactly how they are. And then all you do is hit. Choose where you want your file to save and click Save. You'll notice at the top here, this little circle is slowly completing. And if you click it, you will see how much has completed as it is exporting your file. And finally, when it's done, it's in your notification. And you can just click Show. And that's it. You have officially made an completed your project. You can view it. You can share it with you. You're like, wait, every year like well done. You've created your first complete project and exported it to. 20. Recap and Do: Well done, great work on making it to the end of this section. Now we've got a really special end of session treat for you and you can stay seated for this. All you need to do is follow along. Now, what I want you to do is raise your right arm above your head. Your left arm, if you prefer. Kevin. Kevin. Yes. Portfolio long, this is gonna be it's gonna be for your own good. So you've got your arm up in the air. Great. Now, reach down as far as you can about to the middle of your back if possible. Holds there just for a couple of seconds. Not lift your hand slightly away from your back and tap firmly in the middle of your back a couple of times. Okay. You're done. If you did it, you've just besides getting a good stretch, given yourself a well-deserved pat on the back, we would have done it for you if we'd been there, but we're stuck inside of this computer. This is the next best thing. No, but seriously, well done on getting this far and you deserve that town on the bank. This was certainly an action-packed section which covered are vast range of topics. But by now, you should be well acquainted with Final Cut Pro and you are well on your way to being able to produce your own videos. Well, let's quickly recap what we have learned in this section. Firstly, we looked at transitions and how we can use them to make super smooth transitions in between eclipse. Next, we looked at how we can read Time eclipse and essentially make them playback at any speed, super smooth and even in reverse. Then we looked at all the different ways we can re-frame our shot using the transform, Crop and distort tools. We then discussed the power of keyframes in Final Cut Pro, and we looked at how you could use this to make your effects happen in a smooth and animated way. We looked at how you can add music to your timeline, as well as how you can use a keyframe with your audio to achieve really interesting effects. And then we looked at how you can add text to your video and how you could change the way it appears, as well as its effects. And finally, we looked at exporting your video so that you can now share it with the world. And that brings us to the end of the section. 21. Section Overview: Welcome to the intermediate section of this course. This is where we take everything that we've learned in the beginners exit and we ramp it up. Now, before we get into things, Let's first consider what we will cover in this section of the course. To start off with, we will have two different MTV projects. One of them uses relatively low res media and the other users high resolution raw medium. Now, if your computer is fast enough, we encourage you to try and work with both of the projects. Otherwise, you can just work with the low-risk projects. Or if you have your own media, you can also use that to follow along. In this section, we will import our media into our project as normal. However, this time we will look at how we can store our media in separate files for easy access. Then we'll look at a very important concept which is storylines. And we will discuss how they work. And often this will build up our project and you will encounter your first many challenge of the section where you try to achieve a specific effect without our help, will then go into the world of special effects. We'll look at how you can add these to your video and audio to achieve some really different and interesting effects. We will discuss another important concept called compound clips. And we'll see how you can use this in conjunction with special effects to achieve even more. And lastly, you'll get to work on one more mini challenge, and perhaps, maybe many years. The wrong word this time is this challenge is really going to test a lot of what you will have learned in this section and in previous sections, but of course, it'll be fun. And we know you will do well, right? That's a quick overview of what you can look forward to if you're ready. Let's get into it. 22. Importing media: You're officially in the intermediate section. This is where you will take your skills to the next level. So as we said at the end of the previous section, it's a really good idea to make sure that you're comfortable with all the beginner concepts that we've already covered. Really, the best way to do this is to try things yourself, create your own projects, dry out the activities that we suggested. If you feel you're comfortable with the basics of Final Cut Pro, then you absolutely are ready for this next exciting part. In this lesson, we will once again be importing more media and we'll be working on new and more technical projects. With all that, we can now import our footage. And to do this, just like before, all we need to do is move over to find and select the folder with what our footage. And then simply drag it across to our media window and drop. Now if you click this Drop-down, you can see Final Cut Pro has generated a whole bunch of keyword collections, which is essentially just a way to keep us more organized. And if you click on one of the keyword collections, you'll see it shows all the related what it, how is this possible? You might be asking, well, when we drag the folder over from finder, Final Cut Pro extracted all this information from find it. As you can see, the folders are the same. But if you like, you can create your own keyword collections simply by right-clicking the event and choosing new keyword collection. After creating our keyword collection, we can now easily drag media into the respective keywords. This is just one other way to keep more organized in Final Cut Pro, which is something that is going to become really important as you create more and more projects. 23. Storylines: Okay, so we're all set. Our library is organized. We have all the median is three, and we're ready to start editing. But before we do this, there is a very important topic that we need to discuss and that is storylines. Now what we've been working with them the whole time. But we need to take a closer look to see how they work. Looking down at your timeline, you'll notice a strip that is a darker color. And as you can see, all this media in this area, and essentially any media such as these clips in this area are part of the primary storyline. Now, the primary story-line is essentially where the main action happens. It's what drives your video forward. If you consider any movie or video game, there's always a primary story-line that drives the plot forward. And then the other side missions, in the case of video games, all the subplots in the case of movies. Now, all of this might enhance the main plot, but they don't intertwined with the main plot. And this is similar to what we have in Final Cut Pro. Medium in the main storyline drives the video for it. While the other media apart from the storyline, is more of a subplot, is it's used to enhance the story in the primary story-line. So let's see how this all works. But when we drag media down to the timeline for the first time, you can see it automatically goes into this primary story-line. As Final Cut Pro expects that you will first create your storyline. And then you're going to enhance the media with connected clips. Here you can see we've created a short sequence of clips within the primary storyline. Now if we add media above or below it. So we've got some stock footage we have you'll notice how there is a thin line that connects the stock footage to the clip in the primary storyline. Now, this line indicates that this media is a connected clip. And as connected clips or are not meant to be a different storyline, but rather than enhance the primary story-line, you'll notice that if we move this clip in the primary story on the connected clips will also move along with it. And the same is true if we delete the clip in the primary storyline, the connected clips will be deleted as well. Now you'll notice if we add another clip on top of this connected clip, this clip that we've added does not connect to the other connected clip, but instead it attaches to the primary storyline as well. Essentially, any media we add above or below is going to connect to the primary storyline. However, this can create an issue. Let's say we wanted to create a cutaway, but we also wanted that cutaway to have a transition. Now you'll notice that if we try and add a transition to these connected clips, it, it doesn't want us do that. So at this point, we've got two options. We can either right-click both of these connected clips and hit Overwrite two primary story-line. And you can see now we're able to add a transition to our clips. However, this might create confusion when we edit team because it disrupts the flow of our primary story-line. Instead of moving these clips into the primary story-line, we can right-click and hit Create storyline. Now essentially what we've done, these attached clips have become their own separate storyline. But as you can see, the whole storyline we created is still attached to the primary storyline. Now, if we try and add a transition, you can see we're able to do so. And also, if we drag the storyline, all the clips that move as one storylines in Final Cut Pro. And although it may seem a little bit confusing, if you use it correctly, you can ensure all your footage stays properly organized and it's going to help you a lot as you develop your main plot and your subplots in your video production. 24. Mini Challenge - MTB Projects: In this lesson, we are going to look at how to build up your project. And then in the next lesson we're going to look at how we can use video effects to improve your project. I don't remember how in a previous lesson we talked about if you're making a video that plays with music, It's a good idea to import it into the timeline first and then correlate the footage to the music. So that's what we'll do now. Simply drag your audio into the timeline. And now a music track is part of the primary story-line. So any clips that we add to the music will be connected clubs. So in this lesson, we will see how we can use connected clips and alternative storylines to build up our timeline. Now, instead of going through each of the edits we make, which are edits you already know how to do like retiring and transitioning, etc. We want you to create a project of your own. So let's jump right ahead to our first draft. Wow, that was fast. You can do with a bit of Final Cut Pro editing magic. Now, whether you decide to work on the advanced MTV project or the beginning of MTV project or your own project is it's up to you. But for now we're going to quickly show you a preview of both projects. Here it is. The moment the trail betrays you with it's slick roots and jagged rocks. You're doing stump jumpers design, ultimate, railway. Those are the two projects. As you can see, we used a bit more effects and the advanced MTB project habit. We do have some advanced effects in the beginning MTB project two. So let's quickly have a look. Firstly, looking at the beginning of MTV project. Notice how we use the music as the media for the primary storyline. Now of course, you don't have to do this. In fact, most times your music will be a connected clip within this project. Because the music is the primary driver of the project, we have put it in the primary storyline. Above the music, we attach our clips. But notice how some of these clips are in their own storyline. And this is so we can add transitions while keeping them attached to the primary storyline. Looking down at the music, as this audio is taken from a different video, that there's a long section that we can't use. This is where we can use our audio editing techniques to blend the audio and make it seamless. Have you can also see that because the audio below is now an attached clip, it's no longer part of the primary storyline. Now for now, we'll just use a gap to fill the space by simply clicking option w. And we'll look at a better way of resolving this in a future lesson. But for now, adding this gap will do the job. And finally, we created one more special effect, which is the parallax effect. This brings us Jeff, first of mini challenge. Now, these mini challenges are designed to do just like push you a little bit further. And they not only include making use of what we have already taught you, but the aimed at seeing if you can get a little bit more creative in and solve some sport problems. And you are, it's when we push ourselves that we really learn. But don't worry, if you don't figure it out. We will show you afterwards how to do it. Well, what's really, the most important is that you try because that's where the learning really happens. You're ready for your mini challenge, right? Look at this video here. We want you to try and achieve this effect on your own using the different techniques that you've already learned. Here's a quick tip. You will need to use the transform tool and keyframing and a whole lot of patients to get this right. So pause, listen now and try and see if you can achieve this effect. Did you manage to get it right? Well, if you did, well done, but if you didn't, that's okay. Don't worry. This is somewhat an advanced effects. So let's see how you can accomplish this effect. To achieve this, what you need to do is to use the transform tool with keyframes. As we said, it's a little bit tedious, but, but simply by selecting a clip right at the beginning, adding a keyframe and scaling it in appropriate amount, in this case to about 130%. And then move to the end of the clip and then scale out. Now, this goes again to about a 110 per cent. After this is the real tedious part comes in where you need to align the end of this clip, the start of the next. To make your life easy, you can simply drag the start of this clip to the end of this one and reduce the opacity to say about 30%. Now, add a keyframe and scale it. If you find that the bike and ride or too small, simply use the trim tool to select a part of the clip where the ride isn't the correct distance. After that lineup both clips and then move the clip back to where it was from, and then rinse and repeat. And after some time, you will have this. Now, it is like this, all very tedious, but they had a great effect to your videos. Lastly, looking at the Advanced Project and ironic, the edits here are actually far more simple. All we did was create a scene of a mountain bike coming down a hill. But we use the music is a queue for re timing and for the scene changes, just like we did in the road trip project. So if you haven't already tried this, this is your time to create your own project and give it a try. The next lesson we will look at how we can add different effects to this. 25. Video & Audio Effects: Well, this is the moment we are finally going to look at videos and audio effects. And as you know, we've looked at almost all the different options besides for this a fixed panel. And they suddenly a lot that you can do with this panel. So let's take a look. If you haven't already click this button here. And we'll open up the video effects panel. And as soon as you click this, you'll see that Final Cut Pro provide you with a whole lot of different special effects like transitions. If you move your mouse across the effect, it'll give you a preview of what the effect is like. For example, if we move over aged film, it appears just like you would expect. And old a film. Or if we hover over Bad TV, you can see how it makes it appear like it's a really old Bad TV. Now, if we want to apply this effect to our footage, or we need to do is click and drag it onto our footage. And that's it. If we now go to the Inspector, we can see that this effect gives us a whole lot of different options that we can also adjust, such as the amount of the static type, blend mode, role, etc. You'll also notice that different effects gives you different options that you can adjust. So while somebody might not have any adjustment options, other effects are only display if you change the adjustment parameters. So right now, we encourage you to try and explore these different effects as they really are amazing and look at how they can be used to make your videos a lot more interesting. As a demonstration, let's see how we can use this Bad TV effect. Now here we have an image of an old TV. Now, if we add a clip on top, you can see that the TV disappears. But you remember the pancake timeline. The media is still there. All we need to do is shrink it down with the use of the transform tool. How will you will notice that the size of the clip does not match very well to the TV image. But thanks to the fixed, we can fix that. By going down to the mask tab. We can add an S-shape mask onto this clip. You'll notice that now we have this almost oval shape over r cubed. Now if we drag these handles, we can match the clip to the TV. Just like that. To make this look even better, we can drag it another fixed and strike the, the fifties TV effect. You could drain as many effects onto your clip as you like to get the look that you really want. Now if we play back the video, you can see it looks pretty good. Of course this doesn't really make sense in the context of this video that we're doing. But it's just to show you what is possible with these effects. Well, those are just a few of the video fixed. There are many more very important video fixed it we will cover in upcoming lessons such as green screening, draw masks, color correction effects. For now, just experiment a little with some of these effects. Some are a bit more advanced and others, but really the more you use them, the better you become. That is it for the video effects. And this now brings us to the next spot, which is audio effects. And as you'll see, this is very similar, except it's with audio. Just like we saw with the video effects. There are many different categories of audio effects. We can also check what the effect will sound like. To do this, we first select the audio clip you want to check, and then drag it over the effect and hit Play. If you happy with the sound effect isn't one to apply it to the audio clip, then simply drag it over the audio clip in your timeline. Selecting an effect. We want to use like this one, group delay. We can drag it over our audio. And now when we play, you can hear there is a slight delay, which makes it, what do you see more dramatic? Here at the moment, the trail and Tracy, slick roots and jagged rocks. Also like with the video effects, we can adjust the parameters of this effect in the inspector. If we click this icon here, you can see it provides us with a whole range of adjustments. Again, we encourage you to go through these different audio. Fixed is to see what each one does. There's doing this will help you get an idea really of what He's available should you need to try and use them later. Also look at the different adjustments that you can make it as these can dramatically alter the effects do. In future lessons, we will look at some of the really useful audio effects. But for now, just play around with it yourself and discover which interesting effects you think could be used to improve your project. 26. Compound Clips: Okay, Now that we have looked at video and audio effects, we need to discuss something that compliments this in a really important one. Now, you may be wondering how you can apply a video effects across an entire range of clubs. For example, say we wanted to use this letterbox effect across the entire video. Now, does that mean we would have to apply the effect to each individual video? Well, hopefully by now you've realized that vodka per, always has ways that you can do things a lot quicker in save time. And we want to show you that. So how do we get around having to apply effects to each individual video clip? Well, this is where compound clips come in. And compound clips are really very simple but super powerful. Essentially a compound clip allows you to take a group of clips and combine them into a single clip. In fact, if you wanted, you could take your whole project and turn it into one compound clip. So let's have a look and see how this works. Here's our mountain bike project. And we want to use this letterbox effect to create a more sort of dramatic field. Hey, we want this effect to play throughout the whole video or even a large portion of the video without needing to apply the effect. Clip by clip. We're going to make, need to make use of a compound clips. Right-click and drag our mouse of all the clips that we want to combine. We then right-click on any of the videos and select new compound clip. Now Final Cut Pro will now ask us what we would like to call our compound. And as this is the whole project that we have selected in this particular example, we're just going to call it MTB project. Now, you'll notice that our whole project is condensed essentially into one single clip. This one effect the actual video at all. And instead, it allows us to make changes to all the video clips at once, almost as if we were only working with one single clip. So now if we grab the letterbox effect and drop it onto the compound clip, it will appear for the entire duration of Avenir. If we click the compound clip, you'll notice it behaves just like a regular clip. For example, if you go over to the video inspector, we can scale it in or out. We can crop it. We can distort it. And we can also change the parameters of this letterbox effects simply by dragging the border size slider. This brings us to an important point, returning to the topic of key framing. If there is any effect you apply to your clip, it's almost certain that this effect can be key framed, such as with this border size. Instead of having it just instantly appear, we can make it even more dramatic by, by making the effect happened smoothly, but keyframes. So let's go to the start of our clip and change the border size to 0 and add a keyframe. Then let's move about 1 second Ford and change the border size to ten. Notice that Final Cut Pro automatically adds additional keyframes wherever you make changes to an effect that we've keyed. So now if we play a clip, notice how the effect happens in a smoothing and dramatic way. As this is a little bit of an aside on some additional things we can do with King. Let's just take a moment to briefly consider a few other things that we can do with keying. Firstly, let's say we wanna get rid of this letterbox effect as soon as the beat drops. Well, there are a few ways we could do this, but the best way is moving to the area where you want to remove the event at a keyframe. Then move one frame forward just by clicking the arrow key. And then change the border size to 0. And this way it will instantly disappear. But even better, we can move a few frames forward and have the effect fade out like this. Now, if you recall from an earlier lesson, we talked about how Final Cut Pro automatically adds a keyframe when you change an effect. Now this can be a little bit wrong and knowing sometimes and getting almost like ruin your clip. Let's see how we can fix this by using compound clips. Firstly, let's create a basic Zoom and effect with transform and key frames. As you can see, it plays back nice and smoothly. But let's say all our footage is slightly skewed. We try and fix that by rotating it and zooming into minimize the black bars. You'll notice that this doesn't really work out as all the media before the Zoom in effect does not have the rotation correction. And all the media has the effect. But it happens slowly, which doesn't make sense. So instead of applying the transform effect to this clip, what we can do is select these clubs and create a new compound gland. Then we can rotate and zoom in without having trouble with keyframes. Now, we would need to move the litter box effects to this compound clip as it would now appear skewed. Now that we have our compound curves, how do we edit individual clips inside of it? Good question. It's easy to do this. All you do is double-click on the compound club. As we had two compound clips, we can double-click on this one as well. And then you go excess to all the media that is inside your compound. Now if we wanted to back out to our main timeline, we can simply click this arrow up until we reach MTBE, which is our project. And let's finally brings us to removing compound clips. We can do this simply by selecting our compound clip, moving to the top menu, select and clip and break apart items. We can do this again with this compound clip to now, none of our media is inside a compound clip. But note that any of the effects that we had applied to our compound clip will also be garden. You can see there's no longer any letterbox effect that sit for compound clips that they really, really are useful, not just for making your projects cleaner, but also make it so much easier for you to apply a fix to a group of gaps. So give compound clips are going and see how you can use them to become a lot more organized, which is really important as your projects get big. And also how you can use them to apply special effects across a range of media in your project. 27. Mini Challenge - Jump & Roll: Welcome to the mini challenge. And as we said previously, many challenges are designed to push you a little bit further. But by seeing if you can do something just a little bit beyond what you've been taught. A key to learning is being prepared to try things for yourself and try things, even though we haven't covered the good news is that whether you get it right or not, we will show you how to do it. But first, we need to give you an opportunity to give them mini challenge at trial. Now, at this point, you know quite a lot about keyframes and Video Effects. Let's see how well you can work with both of these in this mini challenge. What we want you to do is recreate this effect. Now, if you'd like, film this shot yourself, just note the camera needs to be perfectly still. They can't be too much wind and ideally you need to film it in the shade where they are not too many shadows. I have this sounds like too much work. You can download and use our footage instead. Before we start this challenge will point out that this, the footage that we are using is certainly not perfect. There's a bit of wind noise and slight light change. But then if it weren't perfect, it would not be much of a challenge. Editing is all about overcoming challenges and fixing mistakes. And often that's the case with the footage that you end up having to use. Also note that your first attempt doesn't need to look perfect, as this is often a really, really difficult to achieve. So if you do manage to get it looking good, then you should really be Brad. And lastly, before you pause the lesson and tip the challenge, will just give you a few tips to follow to help you try and get this right. The first is to remember that Final Cut Pro has a pancake timeline. Second, you will need to use one of these mosque effects. And third, you will need to use a lot of keyframing. Remember how we said almost any effect can be framed. With those tips. Pause the video now and try and see if you can get this effect right. Well, how did you do that? You managed to get it right. If you did, then you deserve a double pat on the back. Went really well done. If you tried but failed miserably. And I quote you the words of John F Kennedy. Those who dare to fail miserably can achieve greatly so well done. Either way. We'll now go over some of the ways that you can achieve us opening a new project. We can drag down our footage into the timeline, just usual. And all of this. We need to find the start of both scenes. So for the first one, it starts truck before Josh are active Watson. So we can cut it about here. And then we can look for the start of the second scene, which also starts before he walks in. So we will cut it here. The next thing we want to do is look for the part where he jumps. And at that moment, we want to slow it down. Now, it's important to remember that this video is recorded and a half frames per second so we can slow it down without it's looking really statuary. If you remember our lesson on retiring, there are a few ways to slow down a clip. We could break apart the section we want to slow down and then retirement. But that doesn't allow the read time to happen so smoothly. So instead, we can simply select the range of the clip that we want to return. Then move our mouse up here and choose a custom speed of 14%. Notice how just this section is slowed and the effect happens steadily. Okay? Now as the point where we need to drag our first clip, either above or below our primary color. Let's try and drag it below because then we will only to track this jumping movement instead of this role. We want to drag it to the start, but we don't want them to overlap when he walks in. Now this is where we use the mask effect to make it all happen. We simply drag the effect onto our primary clip, then match it with the dimensions of our actor. You'll notice that all the background disappear. So we need to cut to the clip at the point where we attached clip joins. Now we can remove the Shape Mars from the first clip. And that's a bit better. You'll notice if you play the video, it doesn't quite work as Josh rolls under, he sort of disappears. So to fix this, we need to use key framing. He jumped to the start of the video and we go to the Shape mask parameters under transforms. Here we can add a keyframe to the position parameter. Now we need to do is move along the video and track the actor's position. Quickest way to do this is hold Shift, and then click the arrow to move along the timeline. Now we can accurately track his movement. Now all we need to do is move this mask up to the edge of his feet and ensure the two don't collide. Okay. Now that it's pretty tract, we can play it back. It looks pretty good. There are few points where his feet, so I would like disappear. And you can also notice that the line, now, things are gonna get a little tedious and has an editor. You always want to be as efficient as you can be, but while also getting a great result. However, sometimes quality simply just takes time. To make this effect much better. What we can use is the drawer mask effect. Importing it onto the video. You can see it says click to add a control point. If we click it, it adds a little dot. This is the fun part where we add lambda whole actor with lots of little dots. And when you connect the final dot removes all the background outside of the 0. And then you thought you were done. No, no, no, no, not so fast. Now retract. Moving to an specter. We can keep both the control points and position. Now some tips. If the actors form doesn't change, simply move the whole shape along. If it does change, then move the control points. Also, if you want to move multiple control points, you can drag and select Multiple. Now a quick fast forward, because this is quite an endless process. That really did take awhile. But if we skim through, we can see it tracks really nicely now. And to make it perfect, what we can do is drag up this feather slider. Let's just ensures that the isn't a harsh line. Instead the mosques fades into the background. And finally, sit back and appreciate our creation. So that's it. It's quite a challenge, but that's why it's called a mini challenge. But doing this is certainly the best way to help you increase your skills. This goes far beyond the jump enroll effect that we did here, is so much more you can do with what you have now learned. So for now, feel free to play around and transitions and make this effect even better. We know that you can. 28. Recap & Do: Well done on finishing this section. This was the first of our intermediate section. So be proud of how far you have gone. Let's quickly recap what we covered in this section. To start off, we, we looked at keyword collections and how they can be really handy, especially on bigger projects to keep things more organized. Then we discussed how storylines work in Final Cut Pro, such as primary storylines and connected clips, and how you can create your own separate storyline in a project to maintain continuity. Then we built up our MTB project and looked at some fairly advanced special effects that you can achieve with transform and King. After this, we went into special effects for both video and audio. And we looked at how these special effects could be stacked in order to achieve an even greater effect than if we were to use just a single effect. Next, we looked at content clubs and how these can keep you more organized and help you apply effects to your media. And finally, we looked at how you can use Final Cut Pro effects in combination with keyframing to achieve some really interesting results, right? That brings us to where we are now. And for the do part of this recap, we really want you to be comfortable with special effects. And the best way to do that is to do for yourself. Here's the do. Just like we created this old TV effect without footage. We want you to think of your own effect, maybe similar to the skin effect or the clone effect. What effect can you create? This is your chance to unleash your creative mind, to think of an interesting effect, and then show that you can do it with the skills that you now have. And that's a wrap for section four. We'll see you in 65. We will take some of these concepts to the next level. 29. S5L2: At this point, if you have been working with this more advanced MTB footage, you're asserting notice that a lot of the footage is overexposed and it's almost seems unusable. However, because this footage is shot in a raw HDR format, we can actually bring it back to life. This is where color correction comes in. Color correction is a very important effect in the world of video editing and can transform your footage and allow you to create a very specific style this summer to know about color correction. But most of that we will look at in the more advanced sections of this course. But for now, let's just consider how we can fix this footage to just make it more usable. If we click on any of these clips, we can see that they're all overexposed and the brighter parts are really blown out. If you have explored the effects you may have come across some of the color correction effects, such as the color board and color wheel. If we drag this color border effect over to our clip, you'll see that nothing changes. Now, this doesn't mean the effect has not been applied. As we mentioned in a previous lesson, some effects only appear when you change the parameters. For the color board. If we click this button here, you can see it presents you with a range of adjustment options. Now, right now, we aren't going to go into too much detail on how to adjust color. Instead, we can move over to the Exposure tab and look at the options that we have here. As you can see, there are four different sliders and each adjust the media in a different way. The first is global. It will bring up or down the exposure of everything. Then there is the shadow slider. This will only adjust the exposure of the shadows. And as you can see, if we bring this all the way to the bottom, the darkest areas go completely back. Then there is the mid tones, and this is the area between the shadow and the highlight. Adjusting this changes the exposure of what lies in-between shadows and highlights. And finally, there is the highlights. This adjusts the brightest part of the footage, and this is what we want to use to make our footage usable. Again. If we drag down the slide, you can see that we regain all the detail from the areas that we're overexposed. Now. That's great and all. But we don't want to have to do this for each individual clip. And as we know, we don't have to. How can we apply this to a whole lot of clips at the same time. You remember, we looked at something special in our previous section. Do you remember what it was? It's compound clips. We can put all of this media into a compound clip. Now instead of going to our fixed pain and adding a color board effector clip, what we can do is simply click this button here. And this allows us to edit the same options. So we can move over to our Exposure tab and then simply drag down the highlights. This will now apply to all of the clubs. And we could also adjust these sliders to compensate for our highlight correction. And finally, if there is a clip that appears to be just too dark or too light, we can go inside our compound clip and individually select the clip we need to adjust and then adjust it. Color correction is very much a trial and error process. You can keep adjusting until you get something that just looks right for now. We'll leave it at that. In a future lesson, we'll look at how you can do some really interesting things with color correcting. 30. Chroma Keying Introduction: Wow, Well, here's do but, but it goes back. What? Am I? Going? Crazy? World is going on. Pretty impressive. But interfere. Be done somewhere else. They traveled topic going. Yeah, well, maybe not that incredible. Going on. This is something we see all the time in Hollywood productions and its common name is green screening because actually I'm not standing in this amazing environment. Look behind me. There's a green screen. That's all it is. It's a cool technique to create this illusion that the person is standing in a different environment. It's actually called chroma Keying. It doesn't have to necessarily be a green screen, but it's a great effect that can be used essentially to remove the green screen or whatever color it is and replace it with another image or a video. And this is where we'd all these incredible special effects in these movies where there's volcanoes behind people in a while, or they standing at the top of a mountain, or there's a beautiful beach view behind them, whatever, maybe that's all chroma Keying. If you take a look around our little studio here, you will see we are not in any of these exciting environments. And what we wanna do is show you how you can use this very powerful technique in Final Cut Pro. Now there are two parts to it. The one part is obviously the studio setup. And that's actually relatively simple. We will come back to that because you don't necessarily have to have a green screen or a blue screen. You can actually use just a painted wall. You've just got to watch the colors that you're using because I'm white painted wall will mean that you end up losing your eyeballs and your teeth with those colors are removed. So you've got to watch the color that you do, but you can just use a basic painted wall and some lighting. But that's just part of the story. The other part of the story is in making this happen. There's magic happen in Final Cut Pro, and that's what we want to show you as well. We want to show you how to apply chroma Keying, how to use masking, etc, to actually create this effect inside Final Cut Pro. Now why would you want to do is maybe you're thinking, Well, I'm not going to make a Hollywood production. You never know, you may want to, but it's also great, even if you are not just trying to create special effects, but if you're trying to do online courses, online training courses, because what it does is it allows you to make your material more engaging. So consider a course that may be based around some PowerPoint slides. And so you've got the electro talking. So what are your options? You just put the slides on the screen and the students watch the slides as bullet point of the bullet point of the bullet point comes up. The other option is you can do which a lot of people do, is they place themselves in one of the bottom corners. There's a little shot of them talking sitting in front of the queue. But again, that's not as interesting. What isn't interesting is if you put yourself as a teacher inside the slide. So all of a sudden behind you, you're in the slide, just like you can see my slide here. Now, I'm in the slide. And so what do we want to cover in this course? Well, to shoot the shop, we wanted to go through falling objects. We wanted to look at amazing view. A couple of times. We wanted to talk about an intro to chroma Keying and how are we going to show you how you edit it and face in Final Cut Pro? And then we want to also talk about our studio setup. Now, this is more interesting because you're getting into the content and it makes it more engaging for your students. You may be trying to demo something, maybe you're trying to demo. We've got other courses, say like a running course. And I want to talk about the person's running style again, I could actually be. Yeah, You see how they're running there? Yeah. That's a great way of running. That's called gliding. It has the least impact. But now I'm almost yeah, with the people running. It allows you to put yourself inside the content. So it has a lot of potential. And we want to show you in this next couple of lessons how you can achieve this really easily. These amazing advanced features, whether you want to create special effects or rarely up your game when it comes to producing online course content. So let's take a look at how you do it. 31. Chroma Keying: We hope you enjoyed their children Domitian on chroma Keying, because now we're going to get right back into it and look how we can achieve the same effect ourselves. Moving our project. You can see we have the green screen footage from the previous list and down in our timeline. So how can we begin to achieve some of the effects seen in the previous lesson? But to start off with, we reading to remove everything outside the green screen. And to do this, we can simply drag down, I'll draw mosque and outline the green screen area. Okay, now that we've removed the unneeded footage, we can go ahead and add the chroma keying effect, which is under the keen tab, the effect is called KIA. Dragging this down into footage. You can see that it instantly removed the green background. You can see they all some problems such as all these gray splotches, which are areas of the green-screen that have not been removed. Now what, how do we fix this? You remember needing to tweak parameters in a previous lesson to make a fixed Worthy? Yes. Well, that's what we need to do here. Looking at the key HR effect, you can see it has a lot of different options that we can adjust. The most basic correction is choosing the sample color that this allows you to slit a wide range of colors that you want to remove from the media. Clicking this and dragging it over to the gray splotch, you can see it disappears. Nevertheless, if you look around the media, you'll see that there is this gray line that appears we are maskers. If we try and use the sample color tool to remove this, you'll notice that it completely messes up the footage. This brings us to a really important concept in Final Cut Pro the scene repeatedly. And that's hierarchy. Just how media that is on top takes priority of the media below. The same is true in the inspector. Effects placed at the higher level will be applied first. If we simply move this key effect above the mask effect, you can see that the gray lines disappear. This is because Final Cut Pro is first removing the background color from the clip. Then it is removing the area outside the box. This way, effects above are unaffected by effects below and a fixed below are effected by effects above. Okay, I know that that's a lots of effects in one sentence, but that's the effect we want it. Okay, let's move on. So now that we have selected our sample color were really 80 per cent of the way there. At this point, the rest of these effects help us achieve the extra 20% just to make it perfect. Let's look at some of the more important effects when working with King. To start with, we have this edges tool. This is similar to the sample color tool, but it allows you to more precisely select the edges of your subject in the green screen. Next up, we have the strength slider. This allows us to change how much string the effect has. Generally, you won't need to adjust this unless Final Cut Pro automatically selected the wrong color during the Qing process. In that case, you would need to move the strength to 0 per cent and then re-select the sample color. Now, let's look at these different buttons that we have under view. The first one which we have selected is composite. This allows you to see how the effect is being applied in real time. Then there is the mat option. This better allows you to visualize if the effect is being correctly applied. Ideally, you want your subject to be completely white and you want your background to be completely black. And as you can see, there is some gray area down by the feet. So we can remove this with the sample color tool. Lastly, there is the original option, which quite simply shows you the original media. Moving down. Another important tool is the fill holes. This allows us to fill in gaps that Final Cut Pro detected as part of the green screen color. For instance, if you look to the knee area of the subject, you can see that they are gray areas. And we can fix this simply by dragging up the fill holes slider. It's almost pretty perfect. Lastly, we have the edge distance and the split level. The edge distance works in conjunction with the fill holes parameter. So as it sets how close to the edge holes can be filled. If the edge distance is low, as you can see, many of the holes are filled. But this might add, adding wanted green screen. However, if increased, this might feel less holes closer to the edge, meaning that our subject might have transparency where it shouldn't. Finally, there is the split level. By default. Any green left, we'll turn to gray. Perhaps there's green on the subject after applying the effect, the green will just be gray. But to bring back the natural green, we can change the spill level parameter. Now if we bring this to 0%, any natural green from the subject now returns. And it has, I wasn't true really wearing green. There isn't a much green to return. Okay, So that's pretty much it for the primary effects to adjust with chroma key. At this point, we can see how this effect turned out. All we need to do is drag some of our other media below the clip, such as this one on top of the mountain, and there we have it. I have been transported. Of course. Right now, I'm still way too big. And we can fix this simply by using the transform tool and readjusting this clip until the position has cut. Like this. There are many different adjustments you can make with the chromic effect. However, before we finish this lesson, there are just two more really useful chroma Keying effects that will improve your footage even more. Firstly, you might have noticed that there is a slight green border around the subject. Now one of the handy effects we can use to fix this is found under the mat tools. What we can do is drag this, shrink, expand slider. And you'll notice that it shrinks, in which removing the green hue around the subject. Yeah, you do need to be careful with us, however, as sliding this to match rule distort the look of the subject. And finally, the last tool we'll look at is found under the light rep done here. Yeah. If we drag the amount slider, it caused the light from our background media into the edges of our subject. And this makes the green-screen effects appear more immersive and realistic. Well, that's it for an intro into chroma key. There still a lot of adjustments and options that can help you get really, really perfect effects. But for now, this is all you need to know to create some amazing effects with Final Cut Pro. 32. Advanced Audio: Welcome to this advanced audio lesson. In the previous lesson, we covered the main principles of chroma keying in Final Cut Pro. We still left our project in a sort of somewhat unfinished state. So in this lesson, we're going to look at a few of the effects we use to finish off this project. And we're also going to discuss an important tool for synchronizing audio in Final Cut Pro. If you want to try and record your own green screen footage, well, this is your moment. If you have a background preferably green or blue, such as a wall. And if you get the lighting right, you should get some quite good results. If you don't and you really want to get the shot. Well, you can even use the blue sky as a background. Nevermind the interesting angle that it's probably going to produce. But if you have an actual green or blue screen, that's gonna be even better. What's it for those of you who want to just keep working with this footage? Well, that's absolutely perfect. If you're a student, you may have noticed that the audio and this video is not quite understand it. It just doesn't sound great. When working on a big project, the chances are that there'll be a separate audio file for the video. And this means that you will need to somehow get rid of the audio from the camera and then replace it with the separate high-quality audio. If we go into our media window, you will see that we have this audio file named Zoom 48 TR LR. And this is audio that we need to switch without cameras, really low quality audio. We simply drag it down to our timeline and hit play. You'll notice two things. Firstly, this already has a lot more consistent audio ways while this one seems to have some distinct gaps. And this is due to the camera's audio picking up far more background sounds and echoes than this specialized Zoom Mic. The next thing you'll notice is that these two tracks are completely out of sync. One way we could fix this is by aligning the audio manually. And it's definitely important to know how to do this manually as sometimes, it just seems Final Cut Pro is automatic way just doesn't want to work. You'll notice that in the beginning, I kept my hands now and this is the equivalent of the clapper board you see the movie makers using. It helps create an audio spike, which can be used to align both the audio and the videos, audio clips, and zooming into both the backups, we can ensure that they are both aligned. Now, if we play back the clip, you can hear that it sounds like one audio clip was that we still have one more problem. And that is audio drifting where the timing of the two audio clips isn't actually not identical. Now, likely because this project is not too long. We don't need to worry about audio drifting too much. Hey, there, if you are working with longer audio clips that the drifting can become a real problem that you have to deal with in this project. If we move to the end of the clip, you'll notice that the audio is ever so slightly off. So let's take a look now to correct this, what we need to do is moved to the other spike of the audio near the end of the clip. Then we cut both. After this, we read time, either the videos audio or that the mikes audio, the audio waveforms match each other correctly. Then we bring back the cat clip. And finally, we can mute the video is over here and make it all into one compound clip. Now, I know that's a little bit convoluted a manual process, but it's well-worth knowing just in case the automatic way doesn't work as you'd hoped it would. That's stored in your brain. Let's have a look at the automatic way of doing exactly this. Okay, this time, all we need to do is select the video clip and the audio clip in the media window. Simply right-click and hit Synchronize Clips. You'll see it brings up a window asking for what you want to call it, and two checkboxes which asked whether we want to use the audio for synchronization, which we do, and whether we want to mute the audio from the video clip, which obviously we also wanted it. So we can leave these both as a selected and we can name our clip. We'll call it main synchronized clip and hit. Okay. Now we drag our newly created synchronized clip to the timeline. Drop it to the correct, then listen to it. Idea that the audio is perfectly synchronized or video, audio has been muted and the audio drifting has also been corrected. It Final Cut Pro is auto feature. This time has done it for us, which is great. But you also now know how to do it for yourself just in case Final Cut Pro doesn't quite get it right. Looking at our finalized project, you can see that we have are synchronized clip and all our effects we added afterwards, such as with the water effect. We use the keyframing and transform tool to make it animated. We use the mask effect to make it appear like my feet random order. And we of course use the keying effect to make it all work. I really encourage you to use these tools and the skills that you've learned from this lesson, finished building up your project and see how good you can get it. Gamma, got to go and apply. Because that's where the real learning happens. 33. Custom Generators: Right? So we've looked at almost every window and option in Final Cut Pro. However, there is still one we haven't actually properly covered yet. And there are a surprising amount of effects that you can achieve with us. And that is generators. Now by this stage, you may have checked out the generator window. And if you remember from one of our earlier lessons, you can find this window under the titles sidebar. Looking over the generators tab, you'll find that Final Cut Pro gives you a wide range of different effects that you could add to your video. For example, this beam effect, which you might have noticed from the first green-screen video. If you scroll down through these different options, you'll notice that some of the generators are static and some of them are animated. However, almost all of the generated clips can be adjusted. If we move glimmer down to our timeline. And then if we look at the inspector, you can see how we can adjust different options such as particle's speed, hue, et cetera. Most of these generators are especially useful when you need a simple background for your green-screen. So why don't just take a moment now and draw the different generated media and perhaps some of them to your project and see how they work. So gender is all lots of fun. But at this stage, you're a fairly skewed video editor. And a lot of the time, the generated media that Final Cut Pro offers just won't cut it. What do we do there? To understand how we can level up generators? We're going to go inside the project of one of our edited Final Cut Pro lessons. Firstly, take a look at the simple effect here. Small sequence like we have basically, there is a half's pill shape that expands the previous clip to highlight a portion of the cow intro. And then it goes to two drone shots of a car driving from one end to another. And then we have all these clips, which is our middle. And then finally, our ending is made up of these different shots of the hot air balloons. Nonetheless, how can you achieve this effect by yourself? Because if we go to generate this tab, you may think that we can use the shapes option to achieve this effect. However, if you bring this down to your timeline, you'll notice that the shape options you have are actually quite limited. So how can we unlock a virtually endless variety of shapes that can be animated? Well, it starts with not using the shapes generator, which seems rather counter-intuitive. Instead, we must use the custom generator. This is essentially a block of media that can be changed any color. For example, if we click this little color option, we can change this media to this color. Now we can make our shape. And to do this we can use the draw Mosque of thing. So simply dragging the effect over our media, we can now create any shape we want. Although this is a little bit tedious, shape options are absolutely endless and it gives us so many exciting customization opportunities. So now we can draw our precise shape. Firstly, we can create our draw a shape should look something like this. Then we can right-click on the shape and change the points to smooth to achieve a nice sort of half pill effect. Then finally, we can move over to the inspector and over to draw a mask and click down on the control points. Here, we can adjust our point so that they're all even. Now because we are using the draw mask effect. This means that we have a lot we can do with the animation aspect of the shapes. So if you want to achieve the same or similar animation, such as the one shown before, we can do that with keyframes. Remember how in the mini challenge we looked at how you're able to adjust control points of keyframes. In case you've forgotten here as a quick refresher. To make this effect, or we are going to do, is moved to the beginning of this clip. Jump about ten frames forward. Key the control points. Then jump back to the start of our clip and change all of the y values to whatever is the lowest value. Now, to fix this little bump we have here, we can right-click this control point and change it back to linear. Now if we plot, we can see the animation plays back nicely. It's a fixed like this that take just a little bit more time, but they really make your videos are a lot nicer. And the added benefit is that we can reuse it for different scenes. Okay? So we know how to create this nice animated shape, perfect. But we're not quite done yet because if you look at this clip, you'll see that the mouse and play head appear above the shape. Now keying is a really important tool, can be used in so many different ways besides that, the classic person in front of a green screen scenario. So let's see how we can use it to our benefit in listener. Now, you can imagine to achieve this effect, we essentially need three layers of clubs, which will be the original clip, our source clip, and finally just the mouse and the player. To get the missing mass and play hidden layer, we need to duplicate the original clip due this weekend. Just Range select a portion that matches our shape medial end, and then paste it on top. And instead of using Command V to paste, use Option V as this will paste as an attached cup instead of a primary storyline clip. Before we do any king, let's add a mass to the proportion of the clip we want to keep. Now we can add the key affect our footage. Simply using the sample color. We can ensure it is correct. Now, we basically 80 per cent there. You'll see if you zoom in that the cursor is a bit faded. To fix it, we can adjust some parameters. In this case, if we increase the shrink, expand slider, we can bring back our cursor. And with that, I'll pick this pretty much perfect. So there we have it. Let's listen really shows how, how editing can sometimes be. A little bit tedious. However, in all of your effort can produce something that you can really be proud of and that can be something that is really impressive. And it also goes to show how different effects can also have so many different uses. That would then encourage you to take this moment to build some of your own shapes and create your own animations is definitely a lot that you can do with a sudden be creative. 34. Mini Challenge - Spinning Bottle Advert: Welcome to your next mini challenge. In the previous section, we covered quite a lot regarding chroma keying in Final Cut Pro. We're going to put these skills a little bit to the test. Now for this mini challenge, we want you to produce the following effect. As you can see, this video is very short and, and essentially all it is is a canned spinning towards us with a logo. If you would like, you can try and recreate this for yourself. Quite simply, all you need to do is something like this. Rotate a drink. In that case, what we did is we used a bar stool and propped up the drink within, simply rotated the bar stool while recording the can. Of course, this is not exactly ideal as you will see, because it will come with some extra editing challenges. But that's great because we like challenges because that's where the learning happens and sometimes the footage you get is an absolutely perfect and we need to understand how to make it appear perfect. Nevertheless, this is going to be the footage we're going to use. And it's a great way for us to now learn and try the challenge. If you would like to use your own footage, then go for it there. We totally encourage you to do that. Now, before you start, a few quick tips regarding effects you will need to use for this particular project. Now, these include keying, masking, transforming, keyframing, compound clubs, and a few others. Those hints. Pause the video now and see what you can achieve. So how was it? Did you manage to achieve this effect without having the sneaky peek is what we're going to tell you next. Or maybe did you manage an even do a better well well done if you did an absolutely no worries if you didn't, because either way, we're going to show you how we achieved this effect. So first things first, let's drag our background footage onto our timeline. Now let's drag our spinning canned footage onto our timeline. So now that we have it on the time that we need to work out what part we need. And this is way too long because we want the can to be spinning in. We will start the footage at about this point and we can end it around here. Next. As you can see, this footage has a few issues, as we mentioned, such as being skewed and drifting from one side to the other. So how do we fix that? To make life easier? The first thing we can do is go up to View and down to overlays and enable the option called show horizons. Now with this, we can now fix the first problem of the skew footage simply by rotating the footage and using this line to ensure that the angle is correct. Next, if we skim along our footage, you'll notice that the can drifts as it's obviously not perfectly centered, right? To fix this, what we need to do is center the can along these lines. Next, click the Transform tool and add a keyframe. Now we want to keep the cans sentence so we can move along the footage a bit and see into the can each time. We keep following these steps until the end of our class. We play back our footage. You'll now see that the can stay is pretty well centered. So now we can remove the horizon lines. With this fixed up, we can move on to chroma Keying. Simply drag that onto this clip. Now, let's draw a mask around the can. And this is very simple. Just for the bottom section of a kid. When you click to add this control point, hold down and drag to make the line appear to match the cans curve. Now you can see that the cane appears a bit transparent. And if you remember, I'm sure you do. We can fix this by simply dragging the fill holes slider. We can lastly add a bit of light, wrap to it and make it a bit more immersive. Now that that's done, we can create the effect of the Ken spinning. You'll notice that we can't exactly transform the clip to achieve this as it will mess up our drifting corrections that we've made. So to overcome this, we can just right-click the clip and hit new compound clip. With that, we can now position our club and use keyframes to make it appear to spin in like this. We can now crop the clip and slow down the section. The last three things to do or have the can fade in, add our text, and then add our audio. Select the start of this clip and it Command T and adjust the length. Then we can add the text and using transform and keyframe, we can make it slide in from the left. And finally, we can add our audio by just going through the sound effects tab and searching for water, ocean to and drag that down. To finish things off. Cut all the extra media, and fade the ocean out. Alright, so that's how we did. How did it compare to how you did it? Several ways in which you can achieve things in Final Cut Pro. It's all about learning and doing, and there's not necessarily one absolutely best way or we encourage you to try and do these things yourself because that's really where you learn. And if you did it in another way, that's absolutely fantastic. So we'll see you in the next lesson. 35. Tracking Part 1: It's time to move to one of the last important tools that we haven't yet, Kevin, and that's tracking. Now, this is essentially an automated way to key frame a shot. So for example, we have this shot here where a person is walking down a road. Now, let's say we wanted to have some texts follow her movement. We could of course use keyframes and key the text to the person. But even easier. We can have Final Cut Pro do this automatically for us. Moving over the text window, we can drag this custom text over to our preview window. When you do this, you'll notice Final Cut Pro automatically tries to recognize objects such as this person dropping it. You'll see that Final Cut Pro creates this box around our subject. We can adjust the size and position of this box to get a better track. Now, just click the analyze button. And Final Cut Pro will do the magic and automatically track the subject position. If we expand the text over the entire clip and play. You'll notice that this text follows this person position. Now if you want to change the position of the text without messing with the tracking, you can simply drag this handle to the desired position. Otherwise, you could also move to the Transform tab and change the position using the transform option. Now one thing you might notice is how the track appears a little bit jittery and it loses a track for a few moments. So one way to get a better track is to rather select a smaller area. We can do this by shrinking the tracking box to around our subject's head. And again, click Analyze. Now this time, if we play back our footage, it is far smoother. But we can take this even further. By default when we track Final Cut Pro users and automatic method. However, sometimes that doesn't necessarily give us the best result. Some of the track you will probably notice bounces a bit and it's not entirely smooth. So this is where we can experiment with different tracking methods. If we click on the clip, we are tracking and move to the bottom. You can see the analysis method is currently automatic. We can change this to point cloud. We can expect tracking that is but less accurate, but much smoother. So again, moving to our tracker, we can re-analyze this clip. Well, and that track is pretty good right now. But we still have one issue. And that's the text rotating. But if you click the text, you'll notice that this box appears in the transform menu. Click this to choose to enable and disable different options. So if we uncheck the rotation option and play back the video, you'll now see that there's no longer any rotation, right? So that's it for an intro into tracking. In the next lesson, we're going to take a deeper dive in and look at some even more advanced things that you can do with tracking. 36. Tracking Part 2: Welcome to this more advanced lesson on tracking. Now firstly, you didn't present too many challenges. So let's look at a slightly more difficult tracking scenario. Here we have some footage of a person riding a horse. Final Cut Pro doesn't only allow you to track ticks. You can also track media effects, objects and more. So, moving to our media window, we can click on this maps pin image over here and drag it onto our subject, then hit Analyze. Again, we can move to the Transform tab and scale and position that image. Now we can play back, I'll click. You'll notice that along the clip, there are a few moments where a Git is. One way we can fix this is by moving downtown club, right-clicking and hitting show tracking editor. Now, if we move to a part of the clip where Judas, we can select it as a range and click Analyze. And with that, it's fixed. Now, this still does not work. There is what's called the brute force way to fix it. And that is by simply moving the trekkers position frame-by-frame to ensure it always is in the right position. However, the track becomes completely lost for the rest of the clip. Go to the frame where the track becomes lost, readjust the tracking position, and then click the analyze forward arrow. And this should fix these types of errors. Nevertheless, you'll still notice that the track isn't exactly smooth. So again, we can change the track method to point Cloud. Now before reanalyzing the clip, we need to make the Tracking Area a lot small as a point cloud teens to get lost when tracking large areas in this type of scenario. With this area selected, we can now track. As you know, we can fix the rotation issue by simply moving the object, clicking this button and unchecking rotation. Now if we play, you'll notice our track is bar smoother. However, one thing to note is how the object size doesn't track. You may think we can fix this simply by moving into the inspector and enabling scale. However, when we do this, you will see that the object completely distorts and the scale doesn't track well. This is because in this type of scenario, our tracking data isn't that great. So instead of trying to automatically adjust the scale and position of the image, we can do this manually through transform and keyframing. Moving over to our Transform tool, we can manually scale our image and make my trekking position corrections just like this. Finally, when we play back, the trick is smooth and complete. That's pretty much it for tracking. There are a few more things to know that we won't discuss them in this lesson. So for now, try it out yourself. Look at this tool and see what interesting, fascinating, exciting results you can achieve. 37. Importing Effects, Text & Transitions: Although Final Cut Pro provide you with a vast range of different tools and effects, you'll come to find that sometimes you just need more and more tools, more effects, more options. That's just the way it is. This is where plugins and motion templates come in. Using plugins you able to truly transform your Final Cut Pro work space and adding different templates enabled you'd have access to a far larger variety of transitions and effects and titles and more. Think of Final Cut Pro, sort of like a car. Right now. Your final Cut Pro has all the standard options. Have it, you can make all sorts of modes and upgrades to make your car really suit your personal needs. First, let's look at how we can add another transition to our collection. If we open our transient menu, you can see all the transitions we currently have installed. Sure, there's quite a lot, but sometimes we just need something that just as here. There are two ways that we could solve this problem. Either we could import our own custom trans, decisions from motion, which is a whole another story. Or you can download transitions or effects that have been made, but others. If you move over here to your browser, we can start looking for transitions. Now there are many places where you can find free templates and plugins have it. You often find your options are quite limited. Places like pixel film studio, emotion, VFX, and motion array are popular for having a vast set of different templates and plug-ins. However, most of the time you'll either need to pay for the template or you will need a subscription for their service. Nonetheless, the OLS, the places where you can find free plugins. And often most of the time these you can find simply by searching Google or YouTube for free FCPA x plug-in or templates. But as always, show, you know, be careful where you download your plugins from. Often. You'll find plugins that are available through Shopify stores like this. And I'm going to ask you if all sorts of information, emails, names, passwords, so just be careful of what you're sharing and where you're getting these from. These many of these larger sites that do offer some free templates and plug-ins as well. Look at this zoom backwards transition from mixed kit install, all you need to do is download to your computer. Open up the zip file, then open up a new finder window or tab. Then you need to find your movies folder, usually by clicking Command and the up arrow you until you see this particular folder. Then if you click here, you will find motion templates. Again. Click this and finding the transitions folder. Now we can move back to our downloads and simply drag this transition into this transitions folder. Now if we move back to Final Cut Pro, you should now see the new transition we added in the transitions drop-down. And if you don't see it yet, either search for the transition or restart, Final Cut Pro. And if all that doesn't work, the fall may just be corrupted or incorrect. We can check out a new transition by bringing it into a point between two clips and aggregate. And then you have it, how brand new transition as well, this one, it really doesn't give you too many options to adjust. But we got what we paid for. As for adding titles generated a fix or compositions, that the process is really very much the same. Instead of moving our downloaded folder to transitions, we move it to the respective folder of what you've now downloaded. Finally, when it comes to downloading plugins, this often requires installing separate applications. Let's check out this free plug-in called MQM rake. To install this, the process is pretty simple. You'll have to click here gigaton pay. Then we'll ask you to download there and store them. If you do not have a downloaded, you will need to create an account. After all that, you can install the plugin. You will need to restart Final Cut Pro. You will now see your newly installed plug-in under the titles menu right here, M cam rig. If we drag this over to our timeline, you'll see it provides many different options to create smooth zooming. In effect, you'll find that some plug-ins will provide more options and others, and some even come with their own menu system built-in. That'll said, this is your time to go out there and find some cool templates and plug-ins of you own. As always, be careful where you get your downloads, your time now to expand and customize your Final Cut Pro to suit your needs. 38. Effects Presets & Paste Attributes: Well, now that you know how to download and install templates and plugins, we can do something quite similar by creating our own templates. Let me show you what I mean. Let's say I have this clip here. As you can see, I have a whole bunch of different effects and a whole lot of different adjustments to the club to create a very specific look. Now, what if we want to use this sort of signature look that we have in a bunch of different projects or clubs. But instead of manually selecting all the effects and making all the adjustments each time, what we can do instead is to save our time, is simply save our effect as a preset. If you open the video inspector, you'll see this option called save effects preset. You can also find this option in the File menu. If we click this button, you will see it opens up a window that allows us choose the name of the effect, what category it saved under what you've been a new category, as well as what attributes we would like to keep in this effect. Finally, there is the option to choose to either maintain the keyframe timing or stretch the keyframes to fit the length of whatever clip we are adding it to. So in our case, we can name our affect, my custom effect one. We can keep it under the basic scatter. You should be fine. And we'll keep everything else just as it is. Osdi, we can save our preset. And now if we move over to our fixed window and then basics, we can find our Customer effect that we just added. Now, we can now simply add this effect to any clip we like. Doing this imports all the attributes of the effect to our clip, and it gives us the option to make all the same adjustments in the inspector menu. Now, this is definitely a good way to save time, especially if you are going to use a specific effect in multiple projects. But what have you don't need to use the same effect in multiple projects. What if it's just for a few clips or even a single clip? Now, we don't have to create a new preset each time we want to do this instead, what we can do is click on the clip, which has the desired effect. Click Command C. Move to the clip. You want to apply the attributes to weave into multiple clips by holding command and clicking and then press Command Shift V. You'll see it opens up a window to paste all the attributes from the copied clip to the other clubs. And this also has some options to choose what attributes you want to keep and whether you want to maintain the keyframe timing. And the shortcut can significantly speed up your editing and also help ensure that all your edits and g of x are consistent with one another. So at this point, I encourage you to try and create your own interesting and useful effects using effect presets to ensure you become an optimal editor. 39. Consolidate Media and Finalise Main Project: Well, this isn't a precise for our recap. And do, this is the last of the shoe lecture for the intermediate section. Wow, By now you've got a vast understanding of Final Cut Pro, the environment, and that's absolutely awesome. With all this, you now have your project that you've hopefully created and it's now time to wrap things up literally. In this lesson, I'm going to show you how to wrap up an entire library for long term storage. Let's see what we mean by that. Let's move over to one of our big projects. And in our case, let's look at the MTV project. Let's say you've finished the project and you just want to keep a backup. Or alternatively, you want to give the project to a different person so they can continue working on it. If we were just to give the person the library file or save that for long term. They are potentially a few issues with the related media, which is stored in different locations. If you can remember from the earlier section, we kept the media in a different folder and never imported it in order to essentially save storage. Now, if someone else were given your final Cut Pro project, they may find that they are missing media errors. Or even if you came back later to the project, you may have deleted the media from outside of the project. And that's going to result in the same era. Also, if you click on the Library, you'll notice that it takes a large amount of storage on our desk. Also, this number can quickly become exponentially larger as your project size increases. So how can we combat these issues? Well, first, we can have all our media wrapped up inside of the library simply by clicking on it. Moving up to File here. We'll choose to include the original media. And with that, you will just need to wait a while for or obviously the media to import. You may also notice that the library size becomes a bit larger. And this brings us to our second issue of storage and file size. So how can we shrink the file size of a labyrinth? Well, again, if you have the library selected, then go to File, delete generated library files. And here we can choose delete all the render files, optimized files, and proxy media. You don't need to worry. This isn't deleting your originally. It's mainly deleting the optimized files and the generated files that it creates. This just means that if you have to move back into this project, you may have to wait a bit for all of this to be re-rendered in order for it to edit more smoothly. But if we click here, you'll then notice that our Lowery file size has dramatically reduced. And this is great because now we can easily store our library long term and everything is included and we can easily transfer it to someone else if they need to work on it. And so that is our rep on this project. And I encourage you to do the same for yours. 40. Importing Proxy Media: Well, this is the advanced section of this course. And this is where things rarely pick them. Before we start looking into any advanced topics we need to ensure, you know, how to achieve certainty effects that we've taught you. If you remember from the overview lesson, we said we were going to work on this project. So basically, you will use all the footage to re-create the effects we showed you, plus a lot more. But as always, if you have your own footage, you can also use that instead of our footage. Now we know how to import media into Final Cut Pro. But before we do that, we need to talk about one thing. And that is proxy media approximately is really useful when you're working on a large project with lots of different edits and effects. And this project is just that. To dramatically increase your computers editing performance, we can convert our media into proxy media. If you're working with larger formats such as four, K, six K, etcetera, proxy media essentially shrinks your footage down to a smaller format. So if you're working with eight K footage, using proxy media will make it seem like ten ADP, $40, even 720 P footage. Align your computer to proceed much faster during the editing. However, when you do the final render, the original quality media will be used. Before creating any proximity. We will create a new library. Now, remember how he suggested that you should create a separate library when working on the bigger projects. We will do just that and we'll call our library advanced project as this is going to be for our final major project. You can choose to name it whatever you like and follow along. So how can we create proxy medium? We learned with importing media that they are two ways to import media and your library, dragging and dropping files into media or using the Import window. However, when it comes to proxy media, using the Import window method is probably the best. So click the Import button. And before importing the clips, if you click on this button here, under trans code, you will see it opens up these options of codecs and frame size. For maximum efficiency, leave the ProRes codecs selected for frame size. This is where you need to decide just how much extra performance you need. 50% will shrink your videos, do 50% of the size and 12% will shrink over the years, even smaller to 12 per cent of the original size. For this important, let's keep it at 50 per cent. To import and create your proxy files. Just select the files or folders that you wish to import and click import. You'll notice now that Final Cut Pro is busy transcoding your footage. And this may take a bit of time, so you can leave Final Cut Pro doing its little thing until it's finished in. Now's a good time to go and grab yourself a cup of coffee. Once it has finished processing all of your footage, all the media in this window will be proxy for, meaning. It will put a whole lot less strain on your computers processes. Quickly checking this, we can move one of the files over to the timeline. And if we click on the View drop-down menu and select proxy only, you'll notice that your video resolution dropped slightly. So now if we were to open a different project, which we did not create proximity or four, you can see it displays the message missing proxy. Alternatively, you can select proximity preferred, and then it will only display proxy media if you have created for your project. Finally, as you know, you can also import media simply by dragging it and dropping it into this window. So how can we have a generate proxy media using this method of input? Well, if we go over to Final Cut Pro Preferences either by clicking Command and camo or Final Cut Pro. And then if you move to the input tab, here we have a few options that we could use. Option we are interested in is transcode. Firstly, there is the create optimized media, which is by default already checked. Then they is create proximity. And just like with the other input window, we can change the video size and codec. If we select this option than any media that we drag over to import, will automatically be made into proximity. But really, unless you're working on a lot of big projects or your computer is too slow to handle your normal work that we suggest leaving this off, it's better to rather just create your proxy media when you need it in the way that we showed you earlier. 41. Mini Challenge - Advanced Project: Now that we have our footage imported and compressed into proxy media, we are ready to start working on our advanced project. Now we're going to dive right in and put your skills to the test. So to start things off, we have, of course, Meli challenge for you using the footage that you have. We want you to recreate the first bit of this project, what you've come this far. So let's see what you've got. In this advanced section, we're going to put all of the skills you've learned to the test. We rarely want to make sure that you remember how we achieve all the advanced effects that we've taught you? Because repetition, repetition works. So if you think you've got what it takes, this is your mini challenge time. Pause the video now and try and recreate those effects. Well, we hope that went well. Let's take a look at how we did. To start off with, we need to locate the footage we want to use. And in our case, we selected these clips. Now you may notice we have separate audio tracks for all these clips, as well as separate camera angles for some of them. So the first thing we need to do is synchronize the clips. And if you remember from the previous section, we can do this by simply selecting the media we want to synchronize and selecting synchronized clips. Thankfully, for us, these clips have beneath the organized into files, meaning we can find related media simply by going to the correct keyword collection. And just like that, we can move the Synchronize Clips to the timeline and cut it to the correct point. Because we are dealing with raw footage, you'll find there are many different retakes and mistakes, but these are normally just the challenges you face as a video editor. Once you've found the correct end usable footage, we can use this in our project. Our first effect is the speed through all of different projects that we worked on. To create this, the first thing we need to do is loud all the footage and order it however you would like it to be ordered. Then we can select all the media and hit new compound clip. Now, this is where things get a bit confusing because you may have noticed we use the subway shadows effect. However, if you try using it, you'll find that it has no real adjustments for scale. So this is where we can again utilize compound clubs. So what we'll do is scale out and position this clip a bit higher than speed up this clip. And finally, we will again hit new compound clip. Now we can add the effect to this compound clip and scaling. Finally, we can adjust the subway shadow. Because we use compound clips twice. We could both speed up and apply effects to all our clips, as well as giving extra adjustment options to our effect. Well, with that, let's move to the next effect, which you can see is this transition here. For this, we use the drawer mask with keyframes and we added in a sound effect. So the first thing we can do is synchronize this clip and bring it over to the timeline. We then need to cut both clips to the correct position so that it sounds like one sentence. If you remember from the jump and roll mini challenge, we can achieve a lot with masks. One of the things masks are really good for is creating custom transitions. So let's do just that. Firstly, we can go to mosques and bring draw masks into outlet. Then what we wanna do is move to embark the halfway point in our transitions. So where the tree is about here. Then we can change our preview window to 25 per cent. So we can add control points outside the visible window. And now we can add four points outside outlet. Up to this. We can align these two points with the angle of the tree. Then we can add a bit of a feather to make it more fluid. And finally, we can keep our control points. At this point, we have two options. We can either go for the time-saving or the precision. If you want precision for each frame you go forward, you need to readjust the key points so the lines with the tree. But if you want to save time, what you can do is move near to the last point in the clip and move the control point to this position. Then make the last corrections at the end. After this move to the first the tree appears, and move the control point to the correct position. Finally, correct for the first few frames. After this, you can run through the clip. And if they are points where it starts to go a little bit or if you can make corrections. Okay, so now that we have this mosque effect done, let's see how we can combine it with the other clip. To do this, we simply take the clip we need and place a blow this club with the effect. Then to create a more smooth effect, we have this clip keyframe in from the left side. Then we add a nice whoosh sound. Lower the volume, and there you have it. Our effect is complete. Finally, we have this last effect where we have a clone come in to say repetition works. Because we know you already know this effect. We'll just quickly run over it. So we first took this clip and zoomed in, as you will see, I don't entirely out of the frame. And next we find the section of the clip where I come in from the side and we cut and put it on top. Lastly, we had a simple mask with a little bit of feather to create this effect. And to finish it off, we added a transition between these two clips. So the scene change is not so noticeable. And you'll also see that there is an echo in the audio. And if you remember from previous lessons, we can simply add this by moving to our fixed window and searching for the desired effect. And this case it's echo delay. Then we can add this also to audio. So that's pretty much it for the primary fixed we used and that's it for our mini challenge. So see you in the next lesson, we will go over some of our more advanced topics. 42. MultiCam introduction: As you've seen from the first lesson, we have been using separate audio for all of our videos, but it doesn't stop there. Sometimes you will find yourself with multiple cameras and audio sources. And things will get very messy and confusing if you stack too many layers on your timeline. Thankfully, Final Cut Pro has a very easy way of dealing with this, and that is multi-camera. With multi-camera, you can quickly create a rough draft or your project. Then after you have your first draft, you can go in and create precision edits. It's especially useful for discussion panels, allow the veins or interviews, video courses, and certain types of shoots way you use more than one camera and microphone. So let's see what multi-camera is all about. Moving over to our collection that has multiple cameras and Mike inputs. We can select all these clubs. And instead of hitting synchronized clips, which we could do, we instead click new multi-camera clip. Doing this, you'll see it makes us fall with the full boxes indicating it's a multi-camera clip. If we drag this over to our timeline, you'll see that it appears as one clip, just like the synchronized kept it. But if you double-click it, you can see all the different layers can kinda like a compound gland. Here on the side you can see that it has a little monitor and sound icon. This to indicate where the video and audio is appearing from. However, this is not how we switch between the clips. Instead, what you do is you go out of the multi-camera clip, moved to view. And then where it says angles. Click that. And just like that, you'll notice that you can now see all of the available angles. Now, before we look at the angles, Let's first crop the clip to where the video actually starts. Moving back to the angles view. You will see that when you hover your mouse over it, it changes to a scissors. This basically implies that we are making a cut and we are choosing an angle. So if we click, you'll notice that it's suddenly changes angles. But your auteurs notice that while doing this, that all your changes as well. So how can we select our main mic input while switching between the video sources? Well, quite simply, all you need to do is change your selection tool. If you look to the top here, you'll see there are these three different buttons. And as you may guess, each changes what it has happened to the multi-camera clip. The first one select video and audio. The second one selects only video, and the third one selects only audio. Therefore, we could select our main audio with this tool. And clicking on this tool, we can seamlessly switch between both our video streams. Now that you have a basic understanding of this, you can go into your project and start making some cuts and some angle changes. As you will see down on the timeline each time you change the video already and put it reflects as a cut down on the timeline. So let's say we don't like the cameras selected here. Now, we can simply go to the start of the curtain and change the camera. And then just like that, it's switched. Okay, so that's the basic idea of multi-camera. We will see how we can take this to the next level when working on our very advanced projects later. 43. Index & Roles: An important part of editing big projects is keeping organized. Because when you are dealing with a lot of media, things can quickly get very chaotic. And when you get disorganized, it becomes nearly impossible to find the footage you need, and this can exponentially increase your editing tab. Now, in our previous lessons, we've looked at many different ways in which you can be a little bit more organized as an editor by properly storing your footage with relevant file names or by organizing your diary with keyword collections, as well as using multi-camera clubs. But there's something more we can do to ensure we stay better organized on the timeline. However, before we look at this, there's one last window we must look at, which we haven't really properly discussed yet. And that is the index window. If you look at the bottom-left corner, you will see that there is a button with the word index on it. If you click this button, it opens up a window that displays a bunch of different media. However, this video is not all the media that we've imported instead is immediate. We currently have down on our timeline. You will see that this first clippers, the first step we have on our timeline, and the last clip, as you might guess, is the last clip we have on our timeline. We named our media property. We can easily find it using the search tool at the top here. Otherwise, we can also go down to the bottom here and select audio, video or titles. And this way we can easily make adjustments to all our audio where our videos, if we need to touch as pasting effect presets on deck clips with Command Shift V. So you can see that the index is very useful for locating your medium, for applying a fixture media and a whole lot more here, but we're just getting started here as roles is where the real organization magic happens. So let's take a look at those. By default. Final Cut Pro will assign roles to your media as soon as you imported into your project. And you'll notice the different roles by the color of the clubs. For instance, basic footage from our camera will be assigned this dark blue color. And the same goes for audio like I'm Mike inputs. However, you will notice that effects such as this one have a light blue color and this means it's been assigned the effects for. Further, if you import music onto the timeline, you'll notice that it is allocated. There's green color. And this is nice and colorful and fun. But what if we want to use this to assign our own Ross? And we're glad that you were thinking that question. There it goes. It's pretty easy to do and really powerful. Moving to a club, such as audio clip, yeah, we can change it to effects or music simply by right-clicking. Assign audio roles than on a roll like effects or music. And you'll notice as soon as you do this, the color of the changes. That said, we still don't have that many options, especially when you look at assigning video roles. Because if you look, the only option we have here, our video and titles, which doesn't do much for helping us keep our project clean and organized. However, the real power comes in with custom roles. So instead, when you right-click this video, click Edit Roles. Now you'll see it opens up this window, which is where you can really take things to the next level. What we can do is click this plus icon where it says Add via roles. Then we can name the wrong. We will just call it inside take. As you can even choose the color of the role, we can do that. Now we can click Apply, and then we go back to assigning a video roll. And we can now select inside take. And with that, you will now see that our clippers turn this new color. And so having an eclipse color-coded is great and very efficient way of helping us harness the real power of indexing. This time, instead of having the Clips tab selected, we can choose roles. And with this, you'll notice that we now have the option to easily find different types based on roles within our project. Let's say for instance, I wanted to find all the clips that we're inside takes. I could simply click inside take and Final Cut Pro will highlight all the clubs that have been associated with that role. But this is even more useful when it comes to audio. You'll notice that inside this multi-camera clip, we have assigned both of these mikes different roles. One of them is Craig Mike, and the other is Denmark. However, these mic inputs are buried in the multi-camera clip, so it's really not that easy to find them if we wanted to make edits. But because these have been associated to the o roles, we can now just click the small button here. And suddenly the audio is exposed and we can now edit it. And then When we're done editing, we can make them hide back by clicking the button again. As you can start to see, Rolls has the ability to give us an incredible amount of organization and it allows us to keep our timelines nice and super clean. It also makes editing a lot faster and more efficient. At this stage, go into your project. It doesn't even have to be this one, but to start adding custom roles to both your video and your audio and see how organized you can get yourself. You'll be very thankful in the long run if you get used to using roles. What's stopping? You? Get rolling. 44. Project Snapshot: In games use sometimes have a checkpoint where you can save your game progress. You mess around knowing that if you die you can respond it at the checkpoint. Well, let's see how we can do much the same type of thing in Final Cut Pro without edits. Let's start with the simple one. How can we save the current state of our project so that we can always return to it if we feel things have gone a little bit off course and not like we planned. Or perhaps you just want to create an alternative version of the project. Grading the responding type checkpoint is think very, very simple. All we need to do is go over to the Media window, find out project. Right-click it and hit snapshot project. As soon as we do this, you will see that it creates a new project that has the name of our original project followed by snapshot and then the current date. You will now see that we can make as many different edits to our original project and our snapshot will stay the same. The project snapshot acts like a normal projects so you can edit just the same. But hold on. Not so quick. Because you'll notice that when you right-clicked our project, we also had the option to duplicate the projects. So what's the difference between creating a snapshot of the project or duplicating the project. Good thinking, good question. Well, when we snapshotted project, we will be creating a completely independent version of the project which is in no way affects or affected by the original project. However, this is not quite the same with a duplicated project. If you have worked with compound clips or logic, which at this stage we hope you have, because they're so versatile, you will quickly come to find out one thing which is both useful and a little bit annoying at the same time. And that inherited edits, which is another way of saying if you make changes in a compound clip, these changes will apply to all the instances that you have used the compound clip. But let's take a look at what this means. Say, we have this compound clip here. And as you can see, we use it in two places. If we go inside the compound clip and add an effect like this one here. If we move out, you'll notice that for each time we use the compound cup, the effect appears for each time we lose this compound clip in our project. Now, this is something very important to remember as you can easily mess up a large portion of your project thinking, you're editing one compound clip when reality you're making changes to every bit in your project where you use the same compound clip. Now, there's a way to avoid this by simply duplicating the compound clip using Command D. But what does this all have to do with duplicate projects anyways, ball, Let's have a look. Say I duplicate this project. Then if I go inside the compound clip and stop making changes, these changes will happen in our original project. As you can see. However, when we use snapshots, this does not happen as it is independent. Right now that you understand how to save your checkpoints in your projects. And you understand the responsibilities that come with compound groups go in and get wild with your projects. Because remember, you can always return to where you lost, save it. Long live responding. 45. Auditions: You know how to save your entire project with snapshots so that you can come back to it or create alternative versions. But what if you don't want to snapshot or duplicate your whole project? You just wanna do this for a single clip. Well, thankfully we can do that too. I don't know if you've ever watched those shows on TV like America's Got Talent or Britain's Got Talent or whatever country you're in has got talent. But it, but it just shows. You will see that they are auditions in the beginning and the best performers get to be in the shot. But we can do the exact same thing in Final Cut Pro. Let's take a look at auditions. Moving over to the timeline, you can see we have included the scene where we just say that this is the final answer, Bonds who redeems the Final Cut Pro magic used in professional development. We don't know if this take feels best in our video. So how can we use auditions to give the other clips a chance? To start off, let's find an alternative take of this line simply by going to the timeline and our media window and find a one. Let's give this outdoor take a try. If we select the correct range of blip, where I say the same line and move it on top of our clip we're seeking to replace. And then click Add to audition. You'll now see that there is the small spotlight on our clip indicating that there are multiple clips in the audition. Every click this, you'll see this window pop up. And this shows you all the clips that are up for the audition, as they obviously can be many of them. The good with the star on it is the one that is currently being selected. So simply by clicking on the other clip and hitting done, you'll see that it switches to our outdoor take. Of course this is the exact same position we need it so we can trim it and edit it however we like. And if we decided we don't like it, you can simply click this button again, moved our original and hit Done. And just like that, we're back where we started. But I think I prefer the second clip, so we will stick with that. You might have noticed that when we have this auditions window open, there is a duplicate button. And as you might guess, if we click this, it, yes, it duplicates the current gap. Now, this is very useful as we have multiple versions of the same clip. So we can make changes like adding effects are trims, and later we can pick which version works best. As we said, the ability to have multiple versions of the same clubs. Very useful. But how can we do this for a regular club that doesn't yet have auditions already on it. Because if we right-click, there is no way we can create an audition without adding a new clip on top of it. Thankfully, Final Cut Pro has a way for us to do this. We have to do is move up to the menu, click clip, then audition, and finally duplicate as audition. You'll see now that our clip has the addition symbol on it. And if you click it, you can see we have a duplicate of our original clip. Meaning we can create different versions of the script that involve different edits or even media like titles. And if we don't like it, we can return to our original. And finally, once we are certain, we are happy with the clipboard, the effect we are using, we can finalize it. And this is the equivalent in other auditions, getting the red buzzer, the one that we don't want, and the selected one getting maybe the golden buzzer and winning the prize. So to do this, all you need to do is go back up to the menu, moved to the club, then go to audition, and finally to finalize audition. And as you'll now notice, there is no longer an audition icon under our clip. And you can easily see which clips don't need to be finalized and which are complete. Just note, you don't have to finalize your additions if you would prefer to leave them as they are, the project will still render normally. So with that, it's your dime to start auditioning some clips and see what makes it through to the finals. Let's see. I've got talent. 46. Custom Luts: In the past lessons, we have talked about color correction and how we could use it to make a Sydney unusable shot usable. But there is so much more that we can achieve with color grading, I can really transform your shot. In fact, it can change the whole look of the film. But before diving into some hardcore color grading, there is a simpler way of doing things. And we always like simpler ways. That is, with LUTS. Well, is it an acronym for look up tables? These really templates for color grading. But pretty much everything you can achieve with lots. You can achieve with color grading, however, it's a faster way at achieving a certain look. So instead of spending hours basically calibrating, we can make use of lats. Let's take a look at how this works. Moving over to the next panel, we can move over to color. And if you scroll down a bit, you'll find this effect called custom LUT. A normal effect. We can drag this over to a clip in our timeline and get it to work. You'll notice that the clip hasn't changed at all. And this is because we still need to choose the latter we want to use. So if we click on our clip and then move up to video inspector, you'll see that we now have the custom LUT within our effects. Now at this stage, if you don't have any nuts important, you'll notice that the really isn't any options for you. However, just like we learned with importing customer effects and transition, really isn't that difficult as you are so many sites that offer free lots online. But as we said before, always be careful from where you download and make sure it's a legitimate website. But once you have downloaded your lats, you can easily import it simply by moving over to choose custom lot and then simply selecting the folder that has your downloaded custom lots. For instance, with this footage, if we select this light here, you can see it dramatically changes the color profile or the footage and it seems a little overpowering. But this is normal with blacks, is. All we need to do now is move to the option where it says mix and bring the slide at lower. Now you can see we have dramatically changed the look of our footage without doing very much work at all. Although lots to give us a bit less customization and tweaking abilities, a really efficient it's speeding up your workflow and are brilliant and also getting ideas of different color fields that go find yourself some labs for your own footage and see how different you can make your footage look and feel. 47. Adjustment Layers & Color Correction Automatic: Now it's about time we tackle a crucial edit, which has color correction. Now before we do anything, we need to disable our proxy media as you don't want to be color correcting or grading proxy footage is you won't be able to see the true results. So while we can simply do is change our view from Proxy to optimize the original. Now that that's done is just one more thing we need to do, which is add an adjustment layer. Basically, an adjustment layer enables you to quickly apply effects such as color corrections large so, or any effects to a portion of clips without needing to create a compound gland. It's a bit of a workaround, is currently Final Cut Pro doesn't give this as an option. Now that we have the adjustment layer imported, let's see, I'd works. Moving to our titles window, we can simply search adjustment and there it is, our adjustment layer. The way this works is very simple. All you need to do is move the effect over to your timeline. And we can then adjusted to the position of the clips we want to make the correction to just testing this out, we can grab an effect like aged film and move it over to our adjustment layer like this. Now you'll notice that any clip we have underneath the adjustment layer has aged film. Look. Now we can easily move the adjustment layer over any clip we want to achieve the same effect. And we can easily disable or enable the adjustment layer simply by clicking V. So that's the basic idea of adjustment layers. And as you can see, it makes life very easy for quickly applying effects, just selection of clubs. However, if you don't want to use an adjustment layer, the color grading process is exactly the same. Instead of having the adjustment layer selected, you will have your clip selected. And with that, let's now see how we can use color correction and color grading to properly transform our medium. Before we do anything, we need to understand the difference between color correction and color grading. In short, colored correcting is all about ensuring the colors of your clip look natural to the human arm. Where something might look tinted in a certain way, we can color corrected to make it appear more natural. Secondly, color grading is all about changing the field of the clappy. It gives the atmosphere the emotion that transform your videos star. And if you've ever watched the movies, likes the Matrix movies, you'll know that it's known for its classic green tint to it. And that's what color grading is about. To start things off. Let's select a portion of the clip we want to color, correct? Generally, you'll want to select the whole timeline when calibrating to ensure that your color grade is consistent throughout all your clips. However, when color correcting, we can still make minor adjustments on a clip by clip basis. Just like with the audio synchronization, we can start off with using the automatic method. Moving our mask just below the preview window, you should see a magic one looking button. If you click this, it'll give you a few options. We can balance color. Match color will show color. Inspector, let's start with balancing the color. Now, this is what we use to quickly color correct, to make the colors appear more natural. Picking this, you'll notice that the colors shifts ever so slightly. However, the change happens only when we have our adjustment layer moving over Tau video inspector, you can see that Final Cut Pro has the automatic method selected. If we click this, we can change it to white balance. And as you can see below in the footage series, we need to select something of the footage That should be pure white. Now, generally, if you are well-prepared, you can have something like a white piece of paper in your shot to ensure you can properly balanced your colors. In this shot. The closest we have to this is this white top. Clicking this, you will see the colors dramatically shift. Because what Final Cut Pro is trying to do is make the top appear closer to white. It makes it more warm, removing the blue hue that was originally there, because the top really isn't a perfect white. We don't get a perfect result using the white balance method. So for now we can just keep it as automatic. Next, let's take a look at color matching. This time, instead of ensuring colors are correct, color matching ensures that colors are consistent. For example, if you have a lot of warm sort of say sonship shots, then suddenly you have more cold midday shot. We can use color metric to make it appear more even as we did before, we can click the one icon, then match color. Now you'll see that opens up a second window. Right? Now you need to select the shoot that you want to use for the reference. Doing this will make the shot at P or more like whatever the shutter. So in our case, we will choose this frame where I am walking in the forest. And as you can see, this is more warm and appearance. So when we hit Apply match, you should notice that it now appears more like our reference shot, which is great. But that's it for the automatic method. In the next lesson, we'll look at how we can do this ourselves and get a lot more precise with it. 48. Color correction Manual: Now we've seen the automatic method, which is always nice to have. Let's look at the manual method which gives us a lot more control. Firstly, to help us better visualize what is happening, we can open up the videos scopes by simply clicking on view, then video scopes, or you can click Command seven. Here, there are lots of different tools that help us understand the color information in our shots. With this tool called RGB Parade, you can see each of the red, green, and blue channels. So if our clip is very blue, we'll see this channel and a higher level. Just to give us more space, we can hide our media window to see the color information more clearly. And with more space, we can have some more tools open by clicking view and a view with three windows. The tools we'd like to have open or RGB Parade, RGB overlay and vector scope. Also make sure with vector scope that you have the skin tone indicator enabled. Now one cool thing you can do now that we have another workspace is we can go up to the window, then workspaces, and then save workspaces as you can call it whatever you like, and we'll just call it color workspace. Now, whenever we want, we can quickly get this view just by moving up to Workspaces and choosing this workspace. Right? Now, we really have a lot of information, so let's see how we can work with it. The first thing we do is open up the color inspector as we have done before. However, instead of using this color board, we can click up here and open the color wheels. This gives us easier options. To ensure our colors are balanced. We want to ensure that all three of these peaks are relatively similar levels. And to do this, we can use the temperature and tint sliders. The temperature slider mostly changes the red and blue colors, while the tint slider is mainly impact your greens. With both these tools, we can ensure that the colors are at some levels. Of this. We need to correct the highlights and the shadows. To keep things organized. It's best to make our color correction in stages so we can move to the top and add a new color wheel. As for shadows and highlights, what we generally want to ensure they remain in-between 0. As anything outside of this range is a loss of information. How about this is just a rule of thumb, is in very dark scenes you can expect complete blacks, or when looking at the sun, you can expect blown out whites as well. Describing the adjustment layer. Then looking at our RGB values, you can see they exceed the 100 range, meaning some of the colors are blown out. Unfortunately because the footage shot raw format, where there is a flatline on our colors, is where we have lost some of the information. However, we can still do our best to get a more even shot. Moving back to our second color wheel, we can use the shadows and highlights slider to make sure these values don't pick above 100 or below 0. How about you should note that you can't simply rely on these values to integer colors. You need to look at the shot and see what looks unnatural. How about with that said, what we like to do is bring the peak of the highness just before they had 100 and the peak of the shadows to just before they hit 0. This way we don't lose any information and we get the most dynamic range. But this is again, just a rule of thumb and it can be a lot different on a clip to clip basis. And it just requires you getting a feel of what looks right. And as you can see in this shot, we have bright skies and dark shadows, so we can utilize the full dynamic range. However, if we were in a dark alleyway, it's unlikely. We want our highlights to reach anywhere near 100. So as we said, you need to look and see what feels right for your shots. You're adjusting the shadows and the highlights. You can move to the mid tones. You do need to be careful with the slider as you can, make your clip appear rather faded. Now, the last step in our color correction is adjusting the saturation of the colors. Just like before, we can add another color wheel. And with this one, we can change how saturated our colors are. Looking at the vector scope. It, it helps us visualize how saturated colors off, because based on our are spread apart there. For instance, if we raise the global color saturation and using this slider, notice how it spreads out. Again. This really requires a feel for how saturated you want your colors. But using this chart, we can ensure that all of our clips have relatively similar color saturations. Just like with the highlights that we can adjust saturation in different areas such as highlights and shadows or mid tones. However, we suggest using global for most instances as this gives a more even color saturation. And finally, one last thing to pay attention to is this skin tone, a line here. When you have people in your shot, you want to ensure their skin tones align with this line. Although we haven't looked at this effect yet, we can adjust the midterm Wilton sure that the skin tones spikes a line with a line. And this ensures that a natural skin tone is obvious in all of our subjects. If you want to show what these color wheels are all about, don't worry as we will look at them a little more in the next lesson. That's it. Those are the fundamentals of color corrections is a huge topic, but to be as efficient as possible, we can also paste this color adjustment layer to all our shots that are in similar, in our scenes and for completely different scenes, we can go in and make some minor adjustments again things right? So this is your moment to go into your project and start playing with correcting your colors. 49. Color Grading: Alright, now that you understand the fundamentals of color correction, the next step is color grading. And as we mentioned earlier, you always want to first ensure your footage color is correct before applying any color effects to it. Now that all our clips have been balanced, it's time to grade them, to get their style, their look and feel of everyone. Before we do anything. It's important to understand that when it comes to color grading, there obviously is no strict set of rules. It's all about style and art, and I'm really just experimenting until you've got that looking at fuel that you're looking for. Essentially you are the artist and these tools are your paint brushes. So that's it. Let's explain how these metaphorical paint brushes can be put to work. First things first, to ensure the color correction is even, we'll add an adjustment layer of all the clips in the Thailand. Now remember, we can always go in later and change the color grade. The first thing we can do is go in and add a new color wheel. So firstly, let's understand these four wheels. The first wheel at the top is global. And this is a wheel that mostly affects the overall image. So instead of specifically adjusting the shadows and the mid tones and the highlights, it changes at all. To better understand how colors are being adjusted, we will open up the RGB Overlay window. If you looked at the centre of this global circle, you will see that there is a dot. When you move this around, notice how the overall color of the image changes. And if we look at an RGB Overlay window, notice how each of the colored channels move depending on where we move this dot. If you wanted to move this circle back to the middle, simply double-click on it. Next, if you look to the left and right of the circle, you will see two sliders adjusting. The one on the left changes the color saturation. The right of the slide, it affects the brightness level of the image as seen in the RGB overlay, the entire waveform moves up and down. Now that we understand how the global slider works, restore all pretty straightforward. You can see how each of these sliders works by adjusting the brightness with the shadows. You can see this primarily affects the darkest points of the footage. The highlight affects the lightest points to the footage and the mid-tones effect, what is in between. Therefore, if we adjust something like the colors are saturation, these are primarily affect the points we are adjusting like that with the highlights changing, the color will mainly affect the colors of the lightest parts of the image. However, do not think just because we're adjusting highlights does not mean mid tones or shadows will be unaffected. If you look at the RGB overlay, these areas are also affected, although maybe not quite as much. Within the color wheel, there is an important tool that lets us choose what colors we want effect. If you move your mouse to the top, you will see this small little window. If you click it, you will see it gives you the option of adding a shape or mosques or a color mask. Firstly, looking at the shape mosque, you'll notice that it opens up this window, then asks us to select either inside or outside. Selecting the inside and making color adjustments. You can see that the color adjustments happen only to the media inside the mask. And as you would obviously expect, if we select the outside, this makes the color adjustments to the media outside of the mask. With this mask, we can move it anywhere in our footage, as well as having the ability to change the size, its dimensions, and even further. Next, if we look to the color mask, you will see that it prompts you to select a color with this color picker tool. So let's say for example, we just wanted to change this white part of the wall. Yeah, we can use select this color with the color picker. And then you'll notice our color adjustments only apply to the selected color. And just like before, we can choose to effect inside or outside of the color that we've picked. Right? So that's a basic understanding of how the color wheels affect the footage. And in our next lesson, we'll look at how we can use these to create a specific effect. But for now, play around with the color wheel and try and see if you can create an interesting look of your own. 50. Color Grading Recreating Effects: To better understand how calibrating works, we're going to create a very popular thing, which is an orange and teal. Look. If you remember that the color lots lesson, we mentioned that color lots are grateful both achieving an effect, but also for giving you an idea of how different effects styles my block. To get a reference for an orange and teal. Look, let's add in this custom Orange and Teal and then reduce the mix to what looks right. Now, let's see how we can achieve something similar using the tools provided without any lights. Moving over to our adjustment layer, we can start with our basic color wheel. Now, we know how each of these wheels affects the colors in different ways. So, how do we begin to achieve this orange teal looking effect? Well, your first thought may be to drag the global color slider to teal color to affect the entire profile of the image. And this would be partially correct. However, because we don't want our skin tones to appear with a sort of teal hue. Before dragging our global slider, we need to add in a color mask to select the skin tones. And doing this, we can select just the skin tone. So to ensure we have only the skin tone selected, we can click on this View Mask button. You'll notice that with our first selection, it only snakes half of the face. And even if we drag the other Harvard dyslexia law over the face. And to overcome this, what you can do is hold down Shift, then select. You'll notice that it adds this little plus icon onto the color picker. And with this, we can ensure all the skin tones that are required are selected. And what you'll also notice is how it snakes more than just the skin tones such as a bit of the back wall and painting and desk. We can also deselect these colors simply by holding Option and dragging the color picker over the affected areas. And you'll notice this time it has a minus icon. Using this weekend, have the color more specifically select just the skin area. However, in this instance, because we want orange juice to stand out, we won't try and minimize all the colors. We just want to reduce the wall. Well, now that we have our skin tone color selected, we can select the outside of the mask. And now we can drag our global slider to Dan over to the teal color. Not know about too much is the pointer of color grading is generally to be set up next to give it to him. Yet, but more of a deeper look. We can reduce the brightness just a bit. If we look back at our large effect, you will see that it is pretty similar. The main difference is in the whites such as the painting and the window. To bring back a more pure white. And these elements, we can add in another color wheel, and this time we can select just the pure whites. And as we want to only change these white colors, we can leave inside selected to bring a bit more white into these parts, we can reduce the color saturation on our global slider. We can also increase the brightness and our highlights slider. And then looking back at our custom LUT, you can see that we have created a look that appears very similar. If not, I would say even better. And we have the advantage of being able to make other very slight color adjustments do. Now because our footage is short and very different lighting, the color selection might be a bit off when it comes to skin tone. Such as looking at this outside clip. That the beauty of adjustment layers is we can simply crop out each section and re-select the skin color. We can even add in a bit more orange into the skin to make it appear more natural looking and to achieve a better orange teal effect. So now that you have an idea of how color grading works, go ahead and add some costume grades to your projects to get an interesting look. Just like an artist, the best way to learn is to experiment and remember, just like Bob Ross says, We don't make mistakes. Just happy little accidents. 51. Important Practices: The awesome spatial practices that you should know that will help you even more in the long run. And the first of these is markets. Now, they are really straightforward to use it. And if you move to your timeline and press M, you will see a small blue arrow that appears over your clip. And these are very useful for a variety of reasons. They can help you line up media. They can help you keep track of where things are. They can mark a point and your clip. If you have snapping enabled, you will notice that your play heads schema's steps to the market. You also see that if we drag footage the market, it will snap to the start and the market. And also if you have two markers, they will snap to each other's positions. Moving to our index window and then clicking on tags. You'll notice that we can see all the markers in our timeline. And if you double-click on a marker, you'll see it gives you the option to name it whatever you want. And this can really help us keep track of things, especially when we use the index window. Double-clicking the market gives us the ability to change it from a market to a to-do. Now, if we have this selected, you will see how it changes to an orange color. And when we click the completed checkbox, it changes to a green color. Finally, there is a chapter option. This gives us the ability to highlight are a range of clips which could be chapters in your movie, or it could also be different areas of a clip that might need more work until they are complete. So as you can see, markers are very useful in your timeline. However, before we end this lesson, there's something possibly more important we must look at, and this is the video animations. Looking at this clip, you'll notice that we have a couple of effects such as transformation, having a zoom in, move to the left, a letterbox effect as well as the opacity changing. Of course, we can go into the video inspector to change these fixed. However, doing so, it makes it very hard to visualize. All are fixed and keyframes. So instead, we can click on our club and simply click Control V. You'll see it then opens up this window that shows all effects and keyframes. Moving this transform keyframes, you'll notice how the point at which the video transforms moves. We can do the same with the litter box, decreasing the amount of time the animation happens simply by moving these keyframes closer together. But moving around keyframes is not the only thing you can do. If you right-click on the keyframes, you will notice that you can also delete them. But even more than this, we can also add additional keyframes simply by holding down option and then clicking. If we move down to the opacity effect and click this box, you'll see that it gives us more specific adjustments. Holding down option here, we can add a new keyframe. If we move this keyframe down, we can reduce the opacity again and then add another and increase the opacity. This effects window is a very useful tool. Need to adjust, edits and affects. It takes a bit of time to get used to how it works. But the more you use it, the more you realize how much more effective and it makes you go into your footage, adding some effects, It's keyframes, and see how you can make precise adjustments. 52. FCPX Preferences: By now you have check this out. We're pretty sure, but in case you haven't, knits, have a quick look at Final Cut pros preferences. We won't go over all of them, but let's quickly go over what are some of the options that you probably should try and adjust simply by clicking Command and coma. You will see this window appear next to quickly go over the adjustments and what changes you may want to make yourself. The first option is to change how your timeline time is displayed. Now, right now, we have it on the default setting, but we can change it to show frames. And this means instead of time that you're at in the window is going to show you the frame that we normally find a better to work in time rather than frame, but that's up to you. The next thing to look at is color correction. By default, this has color board selected. We suggest changing this to color wheel as then it will then open up the color wheel instead of the board. When you open up the color tool. Moving to the next tab, which is editing, you see it gives you the option to adjust default values such as duration and image is displayed when we imported onto the timeline. Or we can adjust the default time of transitions or audio fades. So say for example, you always find yourself reducing the transition length. You could change the default value here. Next, under Playback, you will see this option rendering. Now here you can change how long until rendering starts. Now. This is after what amount of time since you stop moving the mouse around in Final Cut Pro, it should start rendering your footage. Now, we're going to give you a tip on how to save mass amounts of storage. However, this will only work if your computer is very fast and the project is not too large. If you have this abled background rendering, this will stop Final Cut Pro creating massive libraries. So if storage is an issue, this is something you can do. However, you might notice a performance drop, but this is a great way to save space, especially on a smaller projects. Next, looking at the player background, right now we have the default which is black. We could change this to a checkerboard for example. And in this way, we can maybe get a better look at the borders of our preview vendors. Moving over to import settings, we can do things like automatically balanced colors or, or find people. We can also have Final Cut Pro, try and fix all the problems. We suggest not having this on as default, as you can always do this off to your footage is important. Lastly, we have destinations. This area is useful if used programs like compressor, we, you add custom export options. Well, that is an overview of some of the preferences and some of the things that you might want to adjust this to make your life a little bit easier. 53. Course Outro v2: Well done, You've done it, you've reached the end of the course. Fantastic. That's an incredible achievement. We really hope that you've enjoyed your learning journey with us. This is not the end of your learning because as you know, learning carries on and on and on. Learning is really an ongoing adventure. But what a great stock equipped with what you know now, you're ready to do amazing things with Final Cut Pro would really appreciate if you just take a moment and drop us a review in the course and really helps us and gets us to more great students like you. And if there's anything missing or something we didn't make clear, please just don't hesitate to send us a message. We want this course to be the most engaging, fun, and impactful course available. And they're really only happens with your input. You now have the knowledge and skills to work on pretty much any type of project you want from small to big, from YouTube, home movies do professional video. In. The next step in your learning journey is to challenge yourself with the project. It doesn't matter what it is, whether you want to create an online course or, or video material for a business. Or even if you just want to create videos for yourself. Setting a goal and working on your next project is how you progress. As a Final Cut Pro video editor, you've got the tools. You've now got the skills. Take your camera, grab some good footage, and get into Final Cut Pro and start editing and creating is so much that you can do. And if at any point you get stuck, we're always here to help you. So feel free to reach out to us with any questions or issues that you may have. We really hope that you've enjoyed this learning journey as, as much as we enjoyed sharing with you. Thanks so much for choosing to be part of this course. We wish you all the best in truly becoming Final Cut Pro.