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

1. 1.1 Welcome to the Course: Welcome to the final cut Pro Chorus. My name is Philip Burner, and if this is the first course you've taken from video school online, I want to welcome you to the video school online community. Hi, I'm Greg Kong, the lead instructor for this course. I've been using Final Cut Pro X for over seven years and use it practically every day for my production company. Shoot Four Yards Productions. I'm based out of Thailand and Canada most of the year and always traveling for corporate work on producing amazing video footage from around the world. Thanks, Greg. Before you dive in, it's probably a good idea to just check out the outline of the entire course structure. The first sections are all about getting started, getting comfortable navigating the final cut pro workspace, getting started with basic editing tools and rules and things that you will do as an editor . Once you've learned off the basics of editing, you'll learn how to make your videos even better with audio editing to make your sound sound amazing, adding and editing titles and graphics on your videos, color correction and color grading to make sure the colors look bright and also to give your film or your video a style through color grading, you'll learn how to apply visual effects, including working with green screen footage. And then you'll learn some of the newest features of final cut pro, including how to edit 360 degree VR footage. We've even included some sample VR footage that you can follow along with. At this point, you'll have learned how to make your videos look and sound amazing, and it's time to share them with world, so you'll learn the best ways to export and savior projects for any type of use. We don't just stop there, though. We have advanced tutorials to help you become a more efficient professional editor. If you ever get stuck, just post the questions of the course or Sami a message, we'll respond as fast as we can help you out. I'm excited to teach you final cut pro X, so let's get going 2. New features in FCPX 10: his video, We're gonna cover some off the new features in final Cut Pro X 10.4. This course was recorded in this version. This is a major update and, of course, final complex is going to continue to update and release new features. But there are a lot of features that will not change and that are part of the core function now. The final cut Pro X So let's get started. 3 60 VR editing. It is 2018 and 3 60 Cameras are starting become more mainstream. We have cameras like the Samsung Gear 2017. GoPro has just released a new 3 60 camera called the Gold Profusion and Final Cut. Pro Acts now supports 3 60 VR video footage. We have the ability to import and edit a wide range off 3 60 videos, different resolutions and frame rates without injecting the video footage. Before, we would need a separate application to inject our video with meta data. Before we can actually use 3 60 video on a platform like YouTube or Facebook. We don't need to do that anymore. There's also built in 3 60 viewer to final cut Pro X. If you wanna actually look at your 3 60 video clip in real time. We have the ability to add 3 60 effects and titles, and we have an entire 3 60 VR section where we can give this new feature very good coverage . Final cut Pro 10.4 has another major enhancement. That's advanced color grading before final cut Pro X tempering fours, color grating enhancement and probably still a lot of videographers turned to third party applications to do their color grading because a lot of the color grading in final cut Pro X was done on the color board and third party applications like color grading Central release Color finale, which became quite popular because off the color wills Now final complex 10.4 includes color wheels, also color curves and hue saturation curves. We have the ability to adjust the white balance using an eye dropper and using the hue saturation curves. We can isolate particular colors to adjust these saturation and the huge So, for example, you can change the color off someone shirt very easily with these new color tools, and we have a particular section dedicated to color grading as well as using the new ways to color grade. Some of the other additional features in time 0.4 that I think are important are the ability to import IOS projects created in final Cut pro X on your iPhone or your iPad. There is now support for H E V C, also known as H 265 video clips, and there is support for XML 1.7. Now I am running Sierra on my system. I actually had a lot of trouble installing High Sierra, so because of that, I will not be able to demonstrate the ability off h e B C h 265 Unfortunately. But if you have a system that supports high sear, then you can't final cut Pro X. Tempering four actually has a minimum requirement for your offering system at a minimum and needs IOS Sierra, which is a major update, or High Sierra, which Apple is currently trying to push for. I actually had a lot of problems trying install High Sierra and actually wasn't able to install it on my system. I ended up installing Sierra and I actually have a trouble shooting video link over here. If you have problems installing Sierra because you will need to install either Sierra or High Sierra to be able to install final cut pro X 10.4. Some tips for troubleshooting are just to do a time machine backup of your system, and there is a way to make a brutal USB with the IOS update so you can boot straight from the U. S B and save you a lot of time off downloading and installing the update. This link over here is an extensive list of all the new features available in final compro X 10.4. All right, so that is a brief coverage of some of the new features of 10 point for and some minimum requirements and some troubleshooting steps. Now let's dive into the course. 3. Project files: welcome to the final cut pro X course. In this course, you're gonna learn a lot, including some of the newer features included with final cut Pro X time 0.4 that includes VR editing. There is support for new color grading tools, and because of that, I've got include and supply you with some project files to save you some time. If you want to practice some of these newer features and you don't have access to things like 3 60 footage in your Project Files folder, you will find different folders like the 3 60 files that will contentions like the video effects. There's gonna be media so you can practice slow motion or green screen or even some of the Loom Akira effects. I've also included a file created in final Cut Pro X Mobile device. If you wanted to practice importing that into your funnel Kaprow X. Lastly, I've got a multi cam project for the multi cam section where you can practice creating a multi count project, which is simply a project with more than two camera angles. So definitely download this Project Files folder. It's gonna contain media that you can fall along in the exercises, and I tried to name them appropriately. So you know which media is for which video lesson. And in the video lessons, I will point out if you need some of the project files to fall along in the exercise. 4. Overview of the Interface : Hi. In this video, I'm going to give you an overview. A tour off the final cut Pro X interface. So let's start off over here. This is where the magic happens. This is what we called timeline. This is where you actually place the video clips, your audio clips and you make your edits. We've got some information over here in this bar, and we have some different options. If we wanted apply different effects, this is where we would see them. Command five will put the effects there. But if you want a clean your area, you can press command five to remove it. This area over here is our sidebar. This is where we would see our library, our projects and events. So these are sort of the ways of organizing our media and our projects in final cut pro X. So this would be the library level. This is the highest level, and we expand down. We can see our events and within the events, we can have our projects and are different media. It's the quick sign note here we can also display are titles and our generators over there and, um, got different sound effects, but the default is to have it on this view. This area, besides the sidebar, is the media browser. So this is where you can grouse as different media in your project, and you can also search for different media. If you know the name of the file, we're here. This is the viewer. That's the main area where you're going to see the changes. That's what's actually happening. You can see your project over here. No, when I'm doing a long video edit, I like to connect the second monitor so I would actually connect the monitor through HD My and I can ah, take away this area and allow more riel state for other things. This area here is called the Inspector. As you'll see, the inspector has a lot of different options we can make to individual video clips or media and also gives us detailed information on each of these video clips over here. Well, here's our background tests, which we can pull up with command. Nine. This is going to show us the progress of any files that are being currently created. If we're are importing video files and they are rendering, it's gonna give us the progress of that right now, there isn't anything happening. So there's just a nice check, Mark. All right, if we go over here, this is where we can change some of our different selection modes. If we want to trim our video clips, we can change from our pointer over to trim or weaken going to a range Lexan and select a range of different clips. Or we can go into blame mode to make an incision off different clips. That's where we would find it. These arrows here allow us to go between different projects within final cut Pro X, and this area is where we wouldn't want to go. If we want to crop something or we want to move around different images or projects, that's where it would do that. Over here is where we would do our color balancing or manual manual white balancing. We can go over here to look at the re time menu. If you want to speed things up, slow things down and this is the time code. This will give us the exact time we are in the video down two seconds. Microsecond. This is also where we can monitor the audio in the projects and over the hair. This will allow us to display a full screen for the entire view when you wanna just play back the project and enjoy it. So that's our basic tour of the interface and the next video we're going to cover how to customize the interface. 5. Customizing the Interface: in this lesson, I'm gonna share some tips for how you can customize your final cut pro X interface. I'm also going to share my preferred set up for final cut pro X two video edit. So let's get started. So we have the interface here and between different areas. You can move your mouse and you can click on melas button to do things like just make one area large than the other. For example, if we want to make the timeline a little bit shorter, we can just drag this area down. Or we can even do things like high different areas when we don't need him. For example, the, uh, sidebar over here. Once you've selected your project, you may not need to see that. So you can even hide it by going over to window workspace. And then you can decide the sidebar. You have shortcut keys over here. We can hide the browser. With that. You're not sure you can just put your mouse over it? We'll give you a reminder. See, that will hide the timeline, But timelines pretty important. So I actually like to have the timeline there. So my preferred set up I like to have a second monitor if it's available. And, um, the browser is important. I mean, don't need the sidebar and I will need the inspector over here. So if I want to just display my viewer on the second monitor with Thesis on monitor connected through HTM, I weaken Goto window show in secondary display so I can choose to display the browser or the viewer or the timeline. I'm gonna select the viewer, and this is what it actually looks like in one of my current video editing set ups with a second monitor. Here's a look at how the actual connection looks like now just to switch gears. We can also adjust our workspace so it's optimized for color grading, so we're going to go over to workspaces and color and effects. This will display different video scopes that can aid while we're actually color grading like exposure of vector scope and the RGB parade. Don't worry about this too much right now. We're gonna dive more into this in the color grading video lesson, but I just want to let you know that is there, and you can bring up the video scope any time with the shortcut command. Seven. If you ever get lost, you can always just go back to the full workspace. Over in workspace is the fault, and you can even save a workspace if you've customize it to your liking. So generally, my preferred workspace is just to hide. Thesis. I bar over here. I like to connect the second screen and then I'll just take this viewer, and I'll display that on second monitor. And in the timeline, I may or may not have the effects with command. Five Final customization alike on my workspace is to turn on snapping. It's the icon knicks of the headphones. This is gonna make moving around the clips in the timeline a little bit snappier, like there actually sticking together like magnets. So hopefully I've given you some ideas of how you can personalize your final cut pro workspace. Everyone has a different work preference, so yours may look different from mine. 6. Working with Libraries: in this video, we're gonna look at libraries in final cut pro X. The libraries are the highest form or the parents container for your difference. Final cut, pro X projects and your media. I like to have two different libraries, and the reason is that sometimes I store my libraries on an external hard drive. The external hard drive might have a faster interface like a thunderbolt interface, or might have hard drives with USB three, which are not as fast libraries. If you expand them over here, we can see that we've got our events. And then if we open up our events, we condone, see our projects and are different media, so you can close libraries and you can open them. I'll just show you another library I have on another hard drive, and if you copy libraries over, you can move them over to different storage. So it's just good idea to be aware of how they worked and that you can move them across different hard drives if you need to. So this is another library that I have. It's called the Sea, and this may take a while to open, so we may not wait for all this, but you can see while is opening the library. It's going through the different events in that library. And, ah, another reason why you would want to create different library is that maybe one libraries too large and you're not ready to remove it. And maybe you just want some fast performance. You could just create a new library on a local hard drive. And that's what I ended up doing with this local library, because this Lissy library actually has quite a bit going on, and ah, actually created this local one for the course. Now let me just show you how you confined your libraries on the hard drive. You put the mouse over it. You can see mine is in my movies folder. Put the mouse over this one here. Let's just see if it shows up so you can see that it's on. Let's see which is an external hard drive. So let's just pop open the finder. So if we go over to movies, you can see the local library hair and we can see it's 64 gigabytes if we go over to the sea. This is an external Thunderball hard drive. You can see this is a lot larger, 387 gigabytes. And it's on this external hard drive, right? So that's our basic overview of libraries in final Cut Pro X Again, they are a logical way to organize your projects. Your media in final cut Pro X They're the highest form off organization, and they can be stored on different hard drives. 7. Importing media from the computer: in this video lesson, we're gonna cover importing media files and folders and this assumes that you've already copied your media over from your memory card over to your computer. And what we're gonna do is organize the media into folders and relevant file names. So this assumes that you've already going ahead and previewed your media, and you've given them relevant fall names. So I'll just, ah, give you an example of what I've done here. I've just come from a recent trip from Sibu, and this takes a little bit of time not too long. And you can use the all Khoury name tool. So you highlight a set of files by pressing shift and then you click shift down here. You can right click and rename, and you can just add a relevance title just before it. So I just group them based on what we're doing. So we were island hopping on this day, so actually just went ahead and previous some of these clips and then within the Heil island hopping trip, they were different activities. Some off the activities were on the boat, some of them we were on the island, and some of them. We were snorkeling. So I've renamed the files. Just take a look here. So all these files are gonna have island hopping in them. And what I did is I did the bulk her name again and added another specific activity to it. So I did snorkel island hop. And then I just created a folder and put those files in. Same thing for when we were on the islands. So we have island hop, And then I added on islands using the bulk rename tool. So now we have file names that are relevant, Aziz Well, as folders that are relevant. So now I'm ready to go to final Cut Pro X, and I'm gonna import the media and folders into a new library that I've set up. It's called Sibu. I'll just quickly cover that. So I went to following you library and then created one called Sibu. So now I'm gonna go and imports those median folders, so file import media, and then I'm gonna go try to find them. So I just put this media on an external hard drive. You can see here. We've got different cameras. This is the memory card that's actually connected in my SD card. And so I want to go over here. Okay, so we're just about ready to import our media. So let me just ah, do some final touches here. Now, there's a lot of different type of files in there Go profiles that I don't want to import. So I'm just going to select the specific holders and the media that I want in there, and I don't want the images. I just want to focus on video for now. So I'm just gonna scroll down here, and then I'm gonna command click those other folders a lot of images here because I actually shot the go pro and photo and video mode, which is good to have both in production, but not so fun when you're working it, working with it in post production. Okay, so there we go and highlight those other three folders. So let's review what we have here so we can create a new event in the Cebu library called GoPro Island Hawk. We're going to leave the files on external hard drive, and it's gonna take the finder tags. It's also going to take tags from the folder names so on boat on Ireland Snorkel. I didn't highlight the very top folder hierarchy because I don't think it's gonna be relevant. Audio. I just select to automatic under transporting I select the Create proxy media because I don't want to take up a lot of hard drive space. So just so you know, optimized Media is gonna create high performance video files that take up about roughly 60 gigabytes per hour, whereas proxy media is gonna take up storage in the neighborhood of 18 gigabytes per hour. So I'm gonna go with proxy media under analyzing fix and to analyze for balancing color and find people actually uses facial recognition technology to do things that creates more collection. So we'll take a look at that after, and we just selected to close the window after starting the import. So now we're all ready to start import. So when you click it and there we go, Okay, it's saying here that some of the files cannot be imported because they're not videophiles , so that's fine. Continue to import. And now it's going ahead and importing the files 8. Importing from a Camera, Camera Archive, & Movie: this video, we're gonna cover importing video files from the camera. So we're going to go over the final cut Pro X file import media and built in camera Is the facetime camera on my laptop right now? So once the import media window comes up, we're just going to select the facetime camera. Hopefully, my hair is okay. So Okay. Like it was creating event for myself and imports. This is a live video importing 123123 stop imports. And now we can actually click import to bring over those five or six seconds that we had on Sorry, my hairs. Not so great. And, yeah, there's no air conditioner or fans, so it's really hot in here. Okay, let's stop the import. So that's importing from the built in camera. Now we're gonna cover importing from an actual camera so you could connect your camera using the cable. But what I prefer is to take the memory card out off the camera and put it in your memory card reader. Maybe it's something like this, or you can take the card out and plug it into the SD card slot. That's the most common memory card these days. So this is what it looks like over there. Okay, so let's go over to memory cards. So Lou Mix is my memory card, and what I want to do here is just look for some files that are similar. I think I have some from the airport. So if we click this icon here, it's just going to change the view into following the in format so we can see things like the duration, the date stamp and the founding. But I actually find the visual view more useful song and click it again. And now I can actually see the clips. Now, I can actually select portions off the clips that I want to bring in. So if I hold down command and used my mouse, I Kenbrell in portions off the clips that I want to import, and then I can select whole clips. All right, so now that have highlighted some clips, I can actually play them back in this window here, But I'm just gonna bring in the entire clip and ah, I'm going to create a new event in the Cebu libraries is called Airport. So for files were gonna copy to the library because this is from a memory card. And if its memory cards not in its not gonna be able to find files, and I haven't done anything to the files or folders, so we may have to just add the keywords later in final cut pro X audios asleep, automatic trans coating on leaves, a proxy media and in the analyzing thick to find people and create a Somare collection off that analysis. And then we're gonna close the window after importing. So one more thing I will do is I'll just like one more clip. This is one. Where I'm actually talking at the airports is like a V log, and that's it. We're gonna import this, all right, so we'll let that run through. So what I've done is I've shown you how to import from the built in camera so face time, as well as import from a memory card from your camera, as opposed to importing fouls that are already on your system or on your internal hard drive 9. Organizing Your Files (keywords, collections, rating, filtering, etc: Okay, so final cut Pro X has finished importing the media. So let's take a look at the Sea Mu library and see what we got. So we have the smart collection for the entire library. There's not too much going on here except that it's group all the video and stills here. I did end up bringing some images over, but we haven't said any favorites yet. Well, I set one and ah, we'll come back here after I select more favorites. So let's go over to the airport event. So if you remember, this one was selected or imported from the memory card. And if we drill down on this, we don't have any existing HUER collections. So let's go ahead and do that. So we're gonna select our key words. We can add some keywords to the airport event. So let's select the key Ward Icahn there. So I'm just going to start off with this talking video here. This is a vlog, and I can use I as a starting point and then oh, from my endpoint and just select the key were Icon. I'm just going to select a log and you can see there's an area you can expand, and this is setting up keyword shortcuts. So if I've got, for example, the B roll keyword set up over here, I can use the shortcuts control, too, to add that keyword to a lot of clips. So let's just show you how we can do that. What I'll need to do is just highlight some clips that fall into the role, so I'll just command click. So that one, that one and this one this one on. I'll select that one, too, So I can press command, too, and you can see it's applied the bureau cure shortcut. Now, if you look at the event we now have filter just by the clips that are in the B roll and same with the vlog. Okay, but we haven't created any favorites, so I kind of like this clip here of the luggage getting wrapped. So let's say that I like this. I consume Plea Select F. It's going to set a green line here, and I also like this airport schedule sewing a select F as well. So now if we go up to all clips, I can select favorites and then we'll just see the clips that were Favorited and I can also reject clips. So let's just show you how to do that. Let's just go back up to all clips. Let's find one that I want reject. Let's just say the one with the, uh, petroleos over here so I'll just select the elite. So it's gonna put the red line. And if we go to rejected there we go. Okay, so let's move on to our next events. So this was the GoPro footage that I had a lot off folders and fall names that final cut used to create these key work collections. So we've now got some existing filtering on, but we don't see any clubs because we're still on rejected. So let's just go to all clips. So we got islands Island hop, which is gonna be pretty much all the clips island hopped B roll and snorkeling. I'm going to set up some favorites in the snorkeling. I got this nice clip here and I could just select the portion of it. Let's just say I'll start over there with I in the end point over there. Oh, and I want to select. That is a favorite. So select f and let's find another one. I over there and Oh, okay. So now we have some favorites over here, so let's just see at this event level here, I just want to find my snorkel clips. I can search for snorkel. I came because we have the snorkeling key. Word applied to these clips and the file names weaken easily. Filter for that. Okay, lets go back up to the main library here under smart collections. So let's go over the favorites so we can see here that we can see all the favorites across events. So we've got the favorites for the airport and our favorites for GoPro Island Help. Well, more thing that we're gonna cover is how to unwrap clips. So if we beside, we don't want this air board schedule as favorite anymore, we can select you, so that's gonna unread it. So if we click off of favorites and come back, we're not going to see that anymore. So we have a good starting point here for our library. We've got the different events that we've used to hold our keyword collections. For example, in the airport events, we've got just the airport video clips. And then within the events, we can do things like filter it for B roll or for logs. And if we go to the GoPro Island hopping footage, we did a lot more organization here. It took some time to rename the files and put them in folders, so we have a pretty good organized starting point to start working on our video project. Aiken easily search for island hopping footage or just on the boat or footage with people you can see here. The final cut Pro X did a pretty good job, and we can do things like Rader clips using favorites. And if we want to use the smart collections, which are for the entire library, we can go over here. Look at our favorites, our stills, all video, and so again, it just takes a little time. But it's nice to have organized system in place before you start video editing, but I would recommend not to go overboard, but it is a good starting point to figure out which is your B roll. Which ones are video clips with people or interviews and music and images, and then you're gonna have to start your projects. So I hope this lesson helps you organize your collections, your events a lot better. 10. 2.7 Working with Events: blue events in final cut Pro X are a form of container that you'll see in the library, so libraries the highest hi are key on the top of the totem pole. And within the library you can have different events I think you saw. If you've seen the lesson on key wording that's within and events, you can have different key work collections. So in the event is a nice place holder for media that belongs to a separate category. I also talked about different resolutions of four K full four K ultra four K and H D. So events are also a nice way to organize media that are shocked in different resolutions. And that's what I recommend. So if we create a new events, I'll just show you here we have the ability to create the name of the events which library it's in, and ah, select the resolution as well as the frame rate and the type of Kodak that we want to use. We can click OK and then from there. Once we have the event created, we can drag in files. I'm just gonna create one for full four K. So full four K is, or 96 times 216 So at 24 frames, so it's going to create a folder over here once that's there, I can important media by dragging and over or going over to the important media and from that window, the import media. We can also create events, so events are a nice way to organized media. But media with different resolutions as well as our key work collections in final cut pro X . 11. 2.8 Monitor Background tasks : in final cut pro X Your background tasks are a good way to monitor things that are in progress. For example, if you're importing media files and they're really high resolution, you can track the progress of that. Or what I like to do is if I'm creating stock footage, I'm creating a lot of video clips that will have to be put into a batch because Final Cut Pro Axe needs time to process those files before they're actually created. So you can monitor the background task using this icon. So basically, if a task is finished, you're going to see the progress in this little circle here. You can also click it or press command nine to bring out the background task. No, if it's trans coating, it's gonna let you know. Ah, that that's what it's doing and then you're going to see what it's doing specifically if you drill down into it, you can see here that it's analysing specific media and you have the ability to other pause or kill that task. If you're importing media, you would see something similar if you're actually creating a video file and you have more than one videophile you can actually track the progress off that under sharing. If you want to get rid of this window, you can just press command nine. And that's your background tasks in final cut Pro X. It's a good way to just keep track of tasks or work. That final cut Pro X is working in the background. 12. 2.9 ADVANCED: Working with 4k footage and frame rate: in this video, we're going to talk about how we can work with video shot in different resolutions and different frame rates. We've seen cameras become more advance, especially with drones and four K Maryland's cameras being able to shoot in resolutions of four K and not all four K are the same. You've got ultra four K, which is 38 40 times to 160 and within that resolution you can shoot different frame rates . For example, this is 29.97 or pretty close to 30 frames, and we've got full four K, which is 4096 times 216 so shot at 23.98 or 24 frames per second. Now, if you want to see this I recommend in the import window, you can just right click and select frame size and video frame rates. The camera that I've started to use last year was the Panasonic GH five, and it has one of the big benefits was the ability to shoot in four K resolution in slow motion. So these are what those clips are, and this is full four K. I like to separate the different types of videos with resolutions into separate events. So in this import media window, you can easily distinguish between clips that are shot in different resolutions. So I'm gonna go ahead here and just import the HD clips from this event and just shift click, and I'll just create a new venture was called Seenu Log H D and Collect Import Selected. Now the main thing to be aware off is when you're working with a video project, it's okay to bring higher resolution video clips into a lower resolution video project. For example, we can use those four K video clips in the high definition project because the four K video clips are higher resolution and that allows us to actually zoom in on those four K clips in the HD project without losing clarity and ah, image quality in the HD project. But you can't go the other way. You can use an HD video clip in a four K video project because it's not high enough resolution. So you're gonna end up with block gaps in the video and it's not gonna show up is clearly because it's lower resolution. So that's the main thing to be aware of. So for no, I'm just going ahead and importing the clips with different resolutions into separate events, and later on we'll take a look at a high definition project where I use four K video clips . 13. 3.1 Creating a Project: in this lesson, we're going to cover how to create a project in final Cut Pro X. There are two ways the traditional way would be to go to file new projects. Over here you can type of name, so I'm gonna type Cape Town. And from here, I would usually just make sure I have the right video resolution for full HD projects. 10 NDP would be fine, but more more on filming four K video resolution, whether it's with a Dijon maverick drone or even with my Panasonic GH five. So then I would need to select the correct type of four K resolution so ultra four K would be 38 40 2160 and full four k 4096216 So and then you also need to know the frame rates. If you're not sure, you can also select automatic settings. I usually leave the rendering on pro rez, but if you need to change it to another format, there are some cameras like the Panasonic GH five, where you can film at different rendering. Kodak's like 10 but 42 which is going to create really large, high quality falls but generally, Like I said, I leave it on Apple Pro rose 4 to 2. And depending on the type of audio that you may have, sometimes I record separate audio or sometimes the audience already in there. You may want to change this setting. If you're unsure, you can click, use automatic settings and final cut Pro X will decide that based on the video clip properties so we can hit. Okay. And it'll just detect the properties of the first video clip. And we can actually check what it did do. If you go to the event browser, which is this area, we can highlight the project and then we can see in the Inspector. If you can't see this, you can just use command for just a double. Check the settings, all of the projects so we can see here to 1920 by 10 80 at 24 frames per second. Okay, let's cover the second method of creating a project. This is actually new to final couple rocks, 10.4. So we're gonna go ahead and just elites all these projects just to simplify things. I'll leave this one in here, So the new way is to actually go to the video clip in the browser, and you can just right click Select New project. The final cut. Pro X is supposed to be smart enough to detect the video properties, but I would double check, given your knowledge off what video you shot to make sure these settings are correct. And these do look corrects. I'm just gonna go ahead and type in the settings. Notice that use automatic settings is great out, and then we hit, okay? 14. 3.2 Adding Clips to the Timeline - Insert, Overwrite & Connect Edits : in this video, we're gonna cover inserting video clips, doing connected clips and overriding them. We have our basic final cut pro projects set up, and we have one clip in the timeline. If we wanted to bring more clips in the timeline, what I would typically you do is go to the event browser. Where we imported are clips into the event and just simply click and highlights. Drag it down and there we go. Another way we can do this is to highlight it and click, edit and insert. Or, if you use a short cut key W you can also insert it. Okay, let's cover a connected clip So the video clips on this level are part of the main or primary storyline and clips that are above it or attached to it. We call connected clips. So I'm just gonna position the play head somewhere in the middle here. And let's just say I want to dio cutaway seen, too Table Mountain, A different scene. What I would do is position the needle there and in the browser, find that video clip, and I could drag it down like this and then just let it go I'll just undo that and I'll show you another way. Teoh do that with a short khaki so we can see short. Cocky is que so. With this highlighted Aiken, just press Q, and you can see that it adds this clip to the main story line. So if we play back, we can play this video, and the videos that are higher up on the storyline will get preference so they will cover the videos beneath. Unless I change the scaling off this video on top so that there would be ah so that the video underneath, which is a regular scale, would show up. I'll just show what I'm talking about here. So if I just reduce the scale of that top one, you can see that clip is underneath, all right, so let's just undo that, command said, And you can move this clip around once it's connected 15. 3.3 Ripple and Trim Edits: this lesson, we're gonna cover the ripple, edit, trim, edit and blade at it. In final cut Pro X, we have an existing project with at least two clips to demonstrate. So if you want to fall along, please bring two clips into the timeline. So we're going to start off just by making sure that in the timeline we have the pointer selected so we can just press a to make sure now to perform a ripple at it. Too simple as just dragging your mouth, said the very end of the clip or the beginning of a clip and you'll see a Nikon appears that allows us to change the duration off a clip so we can do it in between two clips. And if we are doing it between two clips, we can double click over here. And this is basically an enlarged view. It's called the position editor just to allow us to get a more precise at it. So keep in mind, these at its are not actually changing the original media. This is only editing the clip in this project, so don't worry about your original clip if that makes sense. So let's just say I want just a bit of the second clip. If I'm happy with that, I compress escape to get back to the original view. So that is our ripple at it. Now, if you want to do a trim at it, this allows us to changed two clips of the same time. So we are gonna click over here and go into TRA mode or you compress T and let me just zoom in here with command. Plus, so what this allows us to do, it's actually use less of one clip and more of the other. So over here, what I'm doing here is reducing the amount of clip one and increasing the amount of clip to so Ah, pretty simple to understand. So that's just a different type of voted called trim. So remember, you can press t for that. I'm gonna cover one more type of edit that I do quite a bit. This is called the Blade Tool. So to find the blade tool, we can go to the same area and select blade or you can just like be so once we east like be weaken. See, we've got sharp object that looks like it's, ah, cutting tool, and basically this allows us to do a nice quick incisions. So if you want to just make a cut somewhere, you can see that red vertical line. And if we click, you can see it now Cut that clip in the to so we can edit them separately. All right, so we've covered the ripple, edit, trim, edits and the blade edits. 16. 3.4 Compound clips: in this lesson, we're gonna cover compound clips in final cut Pro X. So what is a compound clip? It's basically a clip that combines more than two video clips, two or more video clips. So over here we have two separate clips. We can click 2nd 1 and actually there's three clips. So to actually create a compound clip, we just need to highlights the clips. We want to be in the compound using our mouths and just striking a outline around those clips, right click and select new compound clips. Now it's gonna ask us how we want to name it and what events We're gonna click. OK, and we can see that those incisions are gone now, and we just have one clip, and this icon hair means it's a compound clip. So how would this be useful and why we want to create a compound clip? Well, if we have a different group of clips or a series of clips, maybe we won't apply some editing or color grading or some type of edit to these clips that we won't apply to all the clips so that could be coloring. Or maybe it's taking the sound out just as an example, we can also break up the compound clip by selecting clip and break apart clip items. I have a more advanced example. This is an actual client video where they requested some drone B roll over the video, so this would actually be a good use case for compound clubs. So let's head over to that project. No, I have many drone bureau cuts and because I'm probably going to be moving all these together might be better just to add them in a compound clips. So what I'm talking about is these clips over here. So if I just highlight them striking my mouse over them right click new compound clip, and I just called him drone compound. Once these clips are converted into a compound club, we can see that icon to indicate it is a compound weakened. Then click and drag the compound over other existing videos in the timelines. So here we brought it up to the third level to act as R B roll in this video project so we can make changes that apply to all the clips in the compound. One example of how we can use this is to change the scaling, which actually changes the frame size for all these clips in the compounds. So that's one use case scenario for having compound clip. So to take this off, I can just undo and easy enough to break the compound we just highlighted, and we can go to break apart items just to return it to normal. So that covers our compound club in final cut pro X. 17. 3.5 Blade Edits and Joining Clips: in this video, we're gonna quickly cover the blade tool for precision incisions. So, for example, if you wanted to make an incision on a video clip, you compress be that gives us this red line here. So it's just nice for cutting up a clip into more than one piece, just like a piece of meat. And we can also join those two clips together again. If we go up to trim here, we can see the shortcut is J for joining the clips. And while we're in this menu, just want to bring your attention to nudge left and nudge right. So these are shortcuts for trimming as well as war, also for precise editing. So let's go ahead and join the clips first. OK, but if we cut it again and we press t just for being some true minutes, we can use our keyboard shortcuts to do more precise edits that advance only one frame. So using comma and the period right? So we covered blade, joining clips and nudging 18. 3.6 Slip, Slide: Hi. In this video, we are going to cover slip and slide edits in final cut Pro X 10.4. So for this video, we have three video clips in the timeline, and we're gonna focus mainly on the second clip. For the first example, we're gonna cover a slip edit. So for a slip at it, we are just going to go to the trim tool ring are mouse over the second clip and then move the mouse left and right so we can see the actual length or duration of the second clip isn't changing. But we're changing which portion off the second clip plays. So for this toe happen, you actually have tohave more media in the second clip. So what I mean is that this second clip, if we select it has 27 seconds, but I think this is only about two seconds, so we have a lot of room to work with. So again, just change it over to the trim tool so we can change which portion off the second clip you want to play? All right, now we're going to cover a slide edit. So for a slide edit, we're gonna use the trim tool again, but now we're gonna hold down the option and use the malice button by holding it down. So this is not changing the duration of the second clip. But what it's doing is changing the where in the first or the third clip that the second clip is playing. If that makes sense, the overall length all these three clips of the entire project is not changing, so we can see that we have 15 minutes and 10 seconds. But when I move this middle clip, I'm sliding it between these two clips. So I just slid the second flip to the far right. And that means that this third clip is not gonna play as long. No, I slide it to left now. The third clip is going to play longer. Last solve the first clip, and that's our slip and slide at its in final Cup Pro X 19. 3.7 Three-point Edit Backtime Edits : in this lesson, we're going to cover the three point edits and the back time edits in final cut Pro X For this video tutorial, we have to video clips in the timeline and we have ah third clip over here in the event browser that we're going to insert between our start and or endpoints. So let's start off by defining our start points by moving the play Had needle over here, so we select I the start point. Just move the needle over here and press Oh, for end point Now for two. Complete this three point edits. We're going to move the mouse to the clip that we want. Let me point out that this selected portion is two minutes and 12 seconds. So if we want to be precise, we can actually highlights the portion that we want to insert. You can see here if we hold down the mouse. Okay, so that's about right. Two minutes and 14 seconds. Let's press d to insert it. So that's our three point edits. So let's just play that back using the space bar. Now we're just gonna set ourselves up to do the back time edit. So I back time edit is going to play the and portion off a clip. So just to make that clear, if we're looking at this clip over here of my uncle eating some french fries, you can tell the end of the clip. He's pulling away the napkin. Okay, so let's just do command said to get this back to normal and let's just reset here. So we're gonna use I for our start selection. Oh, for RN selection. Now, for the back time at it, we are going to use shifty instead of just using d. We're gonna highlight the clip. Let's do that again. Okay, so for our back time at it, we're gonna use Chef de. Now, If this was done correctly, we should see the napkin being taken away, which is at the and portion off the clip. Yep. So we have the napkin being taken away, so that completes our back time edits. And earlier in the tutorial, we covered the three point at it 20. Lifting and Overwriting Clips : this video, we're gonna cover overriding clips and also lifting them from storyline. So I've just picked an actual client video, a more complex examples just to show you Hollywood lift a clip from the storyline. So once it gets to be a bit more complicated, we may have more than one level in the storyline. And let's just say we want to get a clip completely off this area, which is our storylines. So what we can do is right. Click the clip and select live from storyline and that will just move the clip completely off and insert a gap there so we can take this clip out without interfering with the rest of the project. So let's just put it back with Command said. So if we tried to move that clip without lifting it from the storyline, it would be a little bit more complicated because it's connected to other clips. So let me just demonstrate over here if I try to click and drag it around, see outs connected to that other drone compound clip. So that's why we want would want to use lift from storyline, override a clip I led the clip. You want to replace it with you can drag it over and let it be replace. And let's just say we want to over right the clip. So let's select a star points. We're going to use I and so we have a range there. So the next thing we need to do is just to find the clip and then select D to override that . 21. Adding Video Transitions : in this lesson, we're gonna cover transitions in final cut Pro X. The transition is a nice way to transition from one type of scene to another. And just to start out, I've brought some clips into the timeline and just want to point out that we can change the default transition. You know, frontal cup pro preferences. The default duration is one second my belief, and I've just changed it over to to, so I'm just going to switch it back down to one. Okay, so how do we actually apply to transition if we just want apply it at one side? We can just place our play head there, and I'll use command T, and that's gonna ply the default transition, which is the cross dissolve. This is the cross result transition here. If you don't see this, you can just click this icon here to reveal the transitions browser, and you can change the default transition by right clicking and selecting make default. So let's just play this back to see how it looks like. Okay, So from data nights, we're gonna zoom in here. No. If I place the mouse at the edge share, I can adjust the duration off the transition, but it won't go longer than what it actually is. If I actually want to change the duration off the transition, I can right click. It's like change duration. Let's say I want five frames. I would just like five and enter. But if I wanted five seconds would select five colon 00 And from here, I can just the length off the duration. Now, if I put the play head in middle, I can ripple the transition, which doesn't change the actual length off the transition, but it's making the first clip a bit longer. Okay, let's look at some of the options. We have to change the transition. So I'm gonna open up the inspector with command. Four. All right, so we can see that we can change things like, Do we want it to be dark or cold warming up? So I've just selected a warm look and let's just play this back to see how it is, okay? And maybe we want to increase the amounts. Let's play this back, Okay? No. One of my favorite transitions is fade to color. So in the transition browser, if you go to dissolves, You will see fade the color. So to replace that, we can just drag it and place it right over it and click. Okay, let's just check out what the default feet to color is just gonna hide the transition browser. So we have more real estate, okay? And you can actually change the faint to color. So the default is black, so we can change that two white or some other color. It's Let's just change the position. Yeah, and the amount. Okay. To apply the default transition to either side off the clip, we can highlight the clip in the middle and we can press command T, and then that will apply the transition on both sides over there. And we can do this to more than one clip. So I'll just highlight two clips, command T, and then we have three transitions. I'll leave you with one more transition and this is a little trick that I like to use if I am ending the video are opening the video. Sometimes I want a transition that's a little bit more smoother. So what I will do is I was just placing gap. So if we go down to edit Insert generator, click Gap. So this is just a gap. Basically. Sophie, play this back. This is just gonna be all black for three seconds. And I can actually just command t and apply transition there. So by playing this back, we're gonna actually get and even smoother transition, which is good for opening scenes. Now, if I had a logo here company logo, I couldn't share where I could even just remove this last scene and have a different look for fade to black at the end. So let's just play this back here. So it's just gonna transition two black background. Okay, so that is an overview of transitions in final cut pro X. 22. Snapping and replacing clips: in this video, we're gonna cover snapping and replacing video clips in final cut Pro X. So what is snapping? Snapping is a feature you can turn on in your timeline. So it's over here, and what it does is it changes the behavior once you're moving clips around in the timeline , they just seemed to snap together. So you see, when I move that clip and I let it go, it just seems to want to snap with other clips together. And I find this is easier to video at it with this feature on. So I just wanted to points your attention to that. So let's cover overriding clips. So if we wanted to replace this clip with another one, we can simply drag this clip over it until you get this icon here and then let go of the mouse. And then what it would do is to do a simple replace. Just click replace, and there we go. It's completely replaced. The other clip 23. Demonstration - Working through a rough cut : in this video, I'm gonna cover a rough edit off entire project. We covered a lot of the basics, so let's just try put it all together, create a project and have some fun with it. So when we create a new project over here and I just called five men, I'm gonna change the duration here by right clicking, selecting duration and just make at it over here. Okay? So often times I like to put together a story that has a bit of a sequential story to it. So it makes sense ago is in a logical order. Just change the duration off this clip. These clips are quite long off the trim them a bit and in trying to select clips that mites go along together. So let's just select the wineries. So put these together. Many do you quick trim it there and let's just find that waterfront scene. But one of question of that and portion events can I want to just create more work space. There seems probably a bit long, and I want to end up with something like a sunset, just the mark, that it's the end of the day. Just do a tremendous, too so initially to start the project. I'm laying on the trucks, and then it's about doing the finer things, like trimming on and maybe publishing it up just to make sure that the clips are the right length. I haven't even played this back yet. All right, let's play this back. It's used space bar. So tell you what, I'm going to take this out. It's a no. I want to put in a transition between that eating scene and the mountains. So let's put our transition than you where we know back she'll workspace, transitions and, like the finish video with Fade to Black. Let's see we confined that page curl. Let's put that over here Now. If you can't find a particular transition, you can go to all and use the search. Fade to color. That's the one I'm looking for. So this is the fade to black popular transition. Okay, so let's give this a try played back. Okay, I think that's not too bad for a quick 45 minute rough edit. I'm just gonna trim that in a moment on May be just let's just quickly insert a title here . Let's do one of these three D wants. So when did you go ahead? And, um, let's just use the project files and see what you can come up with, given what we've covered in the basic section of this course and let's see what you can come up with. 24. Adding Audio Clips: I in this video lesson, we're gonna cover adding audio files to find a cup. Relax. Some different audio file formats include way files, Aziz. Well, as MP threes in this last second and cover adding away foul through one of two ways, first way would be to go to file and then we're gonna select imports. And then media, you would need to remember where your audio files are. Maybe they're on your memory card or your hard drive. So you're gonna wanna find those so we could see on the left. Here, we have our different devices. So this is my external hard drive, and I'm just gonna ads this way. Fall over here and you can add it to an existing event. I want to create a new event in this library in August. Call it Byron. And I'm gonna make a copy to the library and just leave. Everything else is and click import selected, and you can see the progress of the import over here. But you can still work with that foul even before its import and might be a little bit sluggish. And that's how you import the found the phonic up. Relax. okay, the second and my preferred way of adding audio. Final cut Pro X is to just simply haven't events and then drag it over into the event or the browser area of the event. So we are going to the finder and I have a way foul, and I can just simply drag it over there and you may wanna tests of this MP three, and that's it. So this is what I would recommend. Just a lot simpler workflow. So that's how you can add all your falls over two final Cup pro X. 25. Syncing Video & Audio : in this video, we're going to do a sink with audio and video clip. So why would you want to do this? Let me give you some background. So as you start to do things in videography like interviews, situations where you need dedicated audio or higher quality audio, you will need to use a separate audio device to record that audio. The microphone built into most of the cameras are just not as good as dedicated devices like feel recorders. So in this demonstration, I'm gonna use a video foul that's got the audio from my camera Panasonic J age five, which is a pretty high end camera. But even then, the microphone on this camera is not as good as a dedicated device like my H wives zoom field recorder connected to a live mic. So this will all make sense once we start to go through the lessons. So the first step is to find the video foul and just a tip for in the field. When you're actually recording this video fall, make sure that you have audio recording on your camera because you're gonna need that to help you sync. It also helps to reference the scene before you actually record. So, for example, seeing to take one so that if you're reviewing these clips, you may end up with a lot of audio video clips and you're trying to match up. Okay, here all these audio falls here, all these video falls Which of them go together? So in the example, I've already reviewed some of these audio and video clips, so I just labeled them. So I know exactly what audio and video fall to bring into final cut Pro X. So this all your files already over here and this video file. So let's bring that into the event by simply dragging it over, All right? And I've got my project underneath. I'm just gonna drag it under. And just if you look on the right in the Inspector. You see, this is dialogue one audio. There's a ready audio into this video file. Okay, fine. I'll take real. All right, now to actually do the sink. I just brought that video found on the project to show you that there is audio in this video file. So to actually do this thing, we're gonna highlight both the video and audio file in the event browser by pressing command and then clicked. Highlight both. We're going to right click and select synchronized clips. Now we're gonna get a window asking us. Do we want to change the name? Which event? The thing to pay attention to in this window is to use audio for sink. That's why we want to record. Oh, you honor camera to help sink with the dedicated audio so can match up the waves, the audio waves. So we're just gonna select, okay? And it's gonna go through and create a sink video clip, and we can tell which one is the same clip with this icon here. We're gonna drag this into the project. Okay? You may notice there's a black spot here. This means that this portion of the audio had no video to accompany it. Okay, so that's fine. The next thing we need to do is just to remove the audio from the camera. So I'm just gonna run click dialogue one, given the tests and listen position. I want to help you do that. Okay. Okay. You gonna start? Okay. This might just be, uh, So switch this audio on, take the same stage. Chances are for a new job right now, and you probably want to get higher pretty quickly so you can stop applying for positions. So we can immediately tell this is that it could audio. This is coming from the live mike. So I'm just gonna uncheck this audio feeds in the inspector. If you don't see the inspector, you can toggle it on and off with command for And I'm just over in the audio section there . All right, so that's how we can sink an audio video clip and bring it into the timeline and remove the audio from the camera. So now we're ready to finish the clip and do some final trimmings and polishing to make it ready. 26. Editing Audio Levels: Hi. In this video lesson, we're going to cover how to adjust your audio levels, how to detach audio from a video clip. And also how to this able audio. Let's get started. The first thing we need to do is look at our video clip. We have one in the project timeline here, so I'm just gonna zoom in here and let's just take a listen here, There. If you found this page, I'm guessing you're looking for a new job, right? Chances are you want to get higher. Okay? So normally, I try to tests for the audio when I'm actually in the field. But let's just say you're in final cut and you won't increase the volume, so it helps to highlight the actual clip and then have your inspector open again. If you can't see it, you can press command for We just need to highlight the audio icon and you can see here. There's this volume tab over here. And take a look at the on you away form. In the actual timeline, you can see as I decrease the decibels, you can see the entire wave going down. So this is how you can either increase or decrease the volume using the slider, or you can actually just enter in a manual value. Let's just say I want increase it by 20. I think that understood it as 12. I want 20. All right. I think 12 is the maximum, actually. And you can see there's some parts of the audio that are highly yellow and red. So these air definitely peaking. Meaning too loud. Let's take a listen. Here. Are you wanna get tired pretty quickly so you can stop going through the hassle. Yeah. All right. So I'm just gonna return that to normal by on doing that. Now, let's say you wanna enabling disabled. We covered this in the sinking portion and just some background. Why would you want to do this? Well, I was sinking audio with a dedicated field recorder. Live my You can see the live on Byron here, and I also had audio in the camera. So once we've sink the audio clip, we wanted this able the audio feed from the camera because we only want the audio from live Mike. So, to this, a blitz, we just simply unchecked the audio in the inspector once you have the sink clipped, highlighted, so you can see if you have more than one all your fee. You would have mawr check boxes for audio, and sometimes you just need to test just to make sure you're getting the highest quality audio feed. So that's one use case scenario for enabling or disabling audio. Or maybe you're doing stock video clips and you don't want any audio. You can simply just this able audio completely. Or you can also do this in the event browser by finding, uh, the clip, and you can do this to more than one clip and when you would simply do it, just uncheck the audio here and now I'm gonna cover how to detach the audio from a project . So to do that, we need a video clip with audio in it so we can right click on the actual clip on the timeline and then just select detach audio. So why would we want to do this? Maybe we need to taken audio track and place it in another portion of the videos. So when we do this, he probably wouldn't do it for this situation. Maybe if it's some music and, ah, we've already sinking with a clip. We need to just detach the audio track. So we have a bit more flexibility on where we place it. Eso that's one situation where we would detach the audio just to give you flexibility separate from the audio. All right, so we covered how to change all your levels. How did this able and able audio on a sink video clip and also how to attach audio from a video clip? 27. Disabling & Detaching Audio: we're how to adjust your audio levels and also how to detach the audio from the clip as well as disable it. The first thing we need to do is look at our video clip. We have one in the project timeline here, so I'm just gonna zoom in here and let's just take a listen here, There. If you found this page, I'm guessing you're looking for a new job. Chances are you won't get hired, Okay? So normally, I try to tests for the audio when I'm actually in the field. But let's just say you're in final cut and you won't increase the volume, so it helps to highlight the actual clip and then have your inspector open again. If you can't see it, you can press command for We just need to highlight the audio icon, and you can see here there's this volume tab over here and take a look at the audio away form. In the actual timeline, you can see as I decrease the decibels, you can see the entire wave going down. So this is how you can either increase or decrease the volume using the slider, or you can actually just enter in a manual value. Let's just say I want increase it by 20. Think that understood it as 12. I once 20. All right. I think 12 is the maximum, actually. And you can see there's some parts of the audio that are highly yellow and red. So these air definitely peaking. Meaning too loud. Let's take a listen. Here. Are you want to get hired pretty quickly so you can stop going through the hassle. Little. Yeah. All right. So I'm just gonna return that to normal by on doing that. Now, let's say you wanna enabling disabled. We covered this in the sinking portion and just some background. Why would you want to do this? Well, I was sinking audio with a dedicated field recorder. Live my You can see the live on Byron here, and I also had audio in the camera. So once we've sink the audio clip, we wanted this able the audio feed from the camera because we only want the audio from live Mike. So, to this, a ballot, we just simply uncheck the audio in the inspector once you have the sink clipped, highlighted, so you can see if you have more than one all your fee, you would have mawr check boxes for audio, and sometimes you just need to test just to make sure you're getting the highest quality audio feed. So that's one use case scenario for enabling or disabling audio. Or maybe you're doing stock video clips and you don't want any audio. You can simply just this able audio completely more. You can also do this in the event browser by finding, uh, the clip, and you can do this to more than one clip. And when you would simply do is just uncheck the audio here and now I'm gonna cover how to detach the audio from a project. So to do that, we need a video clip with audio in it so we can right click on the actual clip on the timeline and then just select detach audio. So why would we want to do this? Maybe we need to taken audio track and place it in another portion of the video. So when we do this, he probably wouldn't do it for this situation. Maybe if it's some music and ah, we've already sinking with a clip, we need to just detach the audio track, so we have a bit more flexibility on where we place it. Eso that's one situation where we would detach the audio, just give you flexibility separate from the audio. All right, so we covered how to change all your levels. How did this able and able audio on a sink video clip and also how to attach audio from a video clip? 28. Fading Audio: this video we're gonna talk about fading in and fading out audio. And some of the most common scenarios that I would use this for is if I am laying a music track in background for talking video, and I just wanna transition that music trucks smoothly into the video. Oftentimes the music track could be a bit longer than the video, so then would want to fade that out. So let's actually look at a climb project that I have here, and we can see that we have a music truck that's in the timeline underneath. So let's just go ahead and do a feed in. So to do that, we go to the timeline and we put the mouse over this icon here. I'm just going to zoom in a bit more so you can see it, and it's just that small icon there. And to feed it in, you wanna hold down on the mouse button and dragon to the right to faded in so you can adjust the angle here, so a higher angle, an angle closer nine degrees is not going to be as smooth as a fade in, so you can actually listen to this guy. My name is Natasha, but the music actions and starts Natasha and I'm the co founder of school. I always heard. Okay. And if we want something even more obvious, we can exaggerate it. An extreme fade in Hi. My name is Natasha, and I'm the co founder of school plots. I always heard the word shop lots working in attack and startups, but it didn't look into Okay, so that's a simple fade in. Now I'm gonna take us to the end of this video, are all faded out often feed on the truck. See you inside the course. So this track actually is pretty well designed, and it already has fading l built in. But some trucks either don't or your finishing the video before the music track is finished . So if you want a faded out simply, just do the reverse of what we did. So just find that icon and then drag it to the left and the further left you bring it, the more extreme the fade out effect be a honors soul. Your clients see you inside the course. All right, so that's how we do it. Fade and fade outs, and you got to see how I actually use it in the client video. 29. Making Audio Sound Better: this video, we're gonna talk about some ways we could enhance the audio, make it sound better. Some different options available to you in final Cut Pro X version 10.4 and let's get started. So the first thing I would recommend is to apply the audio analysis so you can click the magic wand if you haven't already, and that's going to do an analysis with the software, and the one that I like is noise removal, and then you can adjust the levels there, and I always recommend just played box. See how it sounds. Now It's a mother and has been Is it can make is the loudness. If you didn't recorded loud enough in the field and there's some different enhancements under equalization, you can enhance the voice. Give it more base again. I recommend you make these adjustments experiments and see what sounds good to your ears. Put on the set of earphones while you're doing this. Now, if you got an air conditioner on or fan, maybe you can try on the hum removal. My recommendation is to try improve the sound while you're actually in production or in the field, and some tips for that. Some basic tips are to look at the levels that you're recording the audio. You want to make it not too loud, so that is peaking. Not too soft. Ah, but at a good level that you can hear it. It's good to listen to it on the air phones and do some audio testing before you hit record . Some other tips are for the speaker to have the microphone as close to their mouth as possible. I find that the closer you talked to the microphone, the Les Echo and just the richer the sounds comes across. Also good to reduce echo and reflection by having any type of material that can absorb sound So blankets and pillows near the area that you're recording or recording in a room that has surfaces or material that absorb sounds. So cushioning or foam or curtains conduce that. But if you have a lot of glass or marble that can reflect sounds, so those are some basic tips to improve your sound in the field, and that will actually reduce the amount of work you have to do in post production 30. Getting Rid of Background Noise (l30): hi. In this video, we're going to talk about removing background noise in final cut Pro X. I'm also going to show you a method to remove the background noise in a popular free application. It's called audacity, but since we're using Final Cut Pro X version 10.4, I actually think the noise rumble function has been improved. So let's cover how to do that first. So here we have an actual interview and I've sink the video and audio clips. But I haven't done any treatment to the audio over here. I'm just gonna disable this music track by right clicking this able So it's a little bit easier to focus on the vocals without the music. So let's give it a listen. And I'm the co founder of School of Butts. I always heard the word chatbots working in tech and startups, but it didn't look into them until 2016. Okay, I can tell there's a little bit of background noise, a little bit of echo, and, um, let's just see what final cut pro X conduce. So to do that, if you haven't already, you can open up the inspector with commend four and If you click on the audio section, there's his Magic one here that you can click to analyze a clip for any audio problems. So because I've already done that, it's sort of given in overall analysis, saying that there's no problems detected. But if I wanted to go ahead and remove some background noise in final cut, I could just click that button there. And it's given me the faults of 50% which I think is appropriate for this project. But you may want to just experiment by adjusting at lower. I wouldn't recommend going higher than 50% but you can adjust that lower and just just see what works for you. So let's just see how that sounds of 50%. I always heard the word Shabazz working in tech and startups, but it didn't look into them until 2016. That sounds pretty good to me. It sounds a little cleaner and crisper, and I'm gonna listen to it again. I'm gonna play back and then also uncheck this just to see what the difference sounds like . What's I always heard the word Shabazz working in tech and startups, but I didn't look into them until 2016. I was watching Facebook's F eight conference and when they started, So my opinion. I think there's a definite improvement with the noise removal filter on. And, ah, if you had some fans or air conditioners on in the background, maybe you could even try the hum removal. But we actually made enough for to turn off the air conditioner. So that's how you remove the background noise and final cut Pro X 10.4. I think it's improved a lot to the point where I don't necessarily need to do that in a separate program called Audacity. But I will show you how to do that. We will just prepare ourselves to export the audio out of Fundacao Pro X. So what I would do to actually do that is I would take that clip. I'm just going to create a separate project so you don't export all the audio out so I can create a file new projects we can just leave. This is the full. Basically, I just want Teoh get the audio out of the video clip. All right, so we're gonna go ahead and press Command E and we're gonna go to settings. I'm just gonna select audio because I don't want video there, and, ah, in a select way format that's going to give us a larger but higher quality files and work with and call it Natasha on you, and then we'll save it. So the final cut Pro X is gonna just take the audio of this video clip as away fall and weaken open just the audio file in another application, which will cover in another video. So in this video, we covered how to remove the background noise and final cup Rolex and also to extract the audio of a video clip so we can cover another way to remove background noise in a another application outside of fallen cup Rolex. 31. Removing background noise: in this lesson, we're going to cover how to remove background noise in audacity if you watch the video before you would have seen how we extracted the audio from the video foul and created a wave file because that's a higher quality audio file. And now we're going to open it in audacity. So we're going to right click woken with and open audacity. So this is a free application. If you Google audacity dots or dot org, you can find this application and its popular application to work with audio files. So we're just gonna select the first option there. It's the safer option and spend this. So this is the audio clip we extracted. You can see the ah kilohertz. So let's just play back space car. I'm the co founder of School of Butts. I always heard the word chatbots working in attack and startups, but I didn't look into them until 2016. I was watching Facebook spectate conference, and when they started talking about messenger bots and how much money companies are making open rates, the click rates I mean, the fireworks just started going off. Okay, so we're looking at the audio away form here. And ah, this is a portion off that Tonio where she is not talking. So I'm just gonna highlight that and then press the space bar so you can hear there's some background noise. So this background noise is in the entire audio over here. It's our goal when removing background noise and audacity is too, take a snapshot off this audio pattern because it's underlying the audio for the entire track. So once we've done that, we can then go to effect, click noise reduction, get the noise profile, and so I'm just going to go back there because I went over it quickly. So the noise reduction is a 23. You can actually make this Ah, higher amounts. Let's say 30 or 40 if if you want it. Ah, I'm just happy with the defaults over here. So, um, going x It's like get noise profile. And the next step is to select the entire truck so it can use command A and we go to effect . We're going to ply Nori's reduction again. This time, we're not going to select get noise profile. We're just going to select okay, so you can see that the way form. It looked like it shrunk a bit. And you can see this area where there was no talking. This area has almost become flat, has become a flat line. So let's just hear this. And what that is is its reduced that background noise out of the entire truck. So let's take a listen. Natasha and I'm the co founder of School of Butts. I always heard the word chatbots working in attack and starves to them until 2016. I was watching face looks at a conference, and when they started talking about messenger bots and how much money companies open reads the click rates. Okay, so that's just a simple example. So if we're happy with that, we're going to export the audio. And I'm just gonna name this a different file. Gonna name it Tasha on Destiny. And we're gonna save it as a way file. So this way fall has the background noise removed. And now I'm just gonna cover how we bring this back into final cut Pro X to use this treated audio. Fall in audacity. All right, so I brought the audacity fall into the project, and you need to give a little bit of time to render the clip, so it plays Bach smoothly. But now that I have, let's played back to see how it is. Hi, my name is Natasha, and I'm the co founder of School Butts. I always heard the word chatbots working in tech and start ups, but I didn't look into them until 2016. I was watching Facebook's F eight conference, and when they started talking about messenger bots and how much money companies open rates , click rates. Fireworks just started going off, right? So that is how we would bring clip treated from a dusty back in the final cut pro X. So that's the workflow, whether you choose audacity or the new noise removal in final cup rocks. Temple four. That's up to you. But personally, I'm going to try final cut pro X noise removal first. If that doesn't sound good, then I'll do you know Desi just because it's more work to take the audio out of final cut, treat it, bring it back in. Eso hope that helps you cover two different ways to remove the background noise and help your audio sounds a bit better. 32. Working with Music : in this lesson, we're gonna learn how to work with music in final cut Pro X So popular question is, where do you find music? Well, you can go to sites like Soundcloud or C. C. Mickster dot org's one I like. And if you want quality and you're willing to pay premium beats also has some really good music. I like this particular artists. Beira, Craddick and I actually paint a album license fees off permission to use his entire catalog for set fee. So the different types of audio formats the most popular ones. I work with our MP three and wave files. MP threes have been around for a while there a bit smaller. The audio quality isn't as high, but for the Internet, it's more than good enough. Oftentimes I'm working with Way Falls when a record interviews and I want the highest quality possible. So if you're curious about the actual quality, if this press command, I and this will give you the sample rates of this 44 kilohertz and ah, I'm just going to show you how we can work with music and final cut so you can either import the file in But if you already have final cut Pro X actual way I like to bring in the final cut. It's just drag it straight into the project. So I dragged the audio foul into the project and you can see it goes underneath the video fall. And this is gonna play in background so you can position it where you want. Give it a quick listen are there and stop. Okay? Actually can't hear this truck, so I'm just going to look at the volume levels. So there was muted out now we can played by stop. Okay, so there's a couple things we need to do here. First, we need to lower the volume levels so that it doesn't drown out the vocals. Maybe minus 25. And I find the music doesn't get going until further in the track. So I'm just gonna drag that over now. This is where we could use a fade in, fade out. We're gonna fade that in, and I can tell just looking at this, that the actual way form of the music still looks pretty high. So I'm just going to manually put that in minus 30 and actually think I adjusted the on you for the vocal track. So I want to put that back up to zero so that our vocals are about 30 decibels higher. Then the music. Okay, let's just put the needle over there and play this back. Just get a an idea by their was job right now. Stop. And you could just make adjustments here, depending on how it sounds like to you. But to me, it sounds like the music's a little too soft now, so I'm just going to change that to minus 20. So that's a little bit louder for the music. Be able to relax. Good. That's less existing example of how you can work with music in final cut Pro X. This is probably not the most appropriate track who probably needs some corporate music for something like this. But I think you understand how we can bring music in the final cuts and how it can make some adjustments to prepare for how the music's gonna work with existing vocals. So we did things like Fade in. We trim the music track a little bit and positioned it and just suggested the audio levels works better with the video 33. Panning Audio: in this video, we're gonna look at the audio panning feature of Final Cut Pro X version 10.4. We have an existing video clip with audio, so let's get started. So the first thing we need to do is open up the inspector with command for if you already have that open, then go to the audio section and we want to scroll down until we see the pan feature. So by default is set to none, and we can just do a basic audio pen. So if it's set to zero, this is just gonna be what we normally here. But if you wanna bring sound just out of the left speaker, we can set to minus 100 or we go 200. That's just gonna come out of the rights speaker. Now there's a whole lot more advanced options here under the surround section. And to be honest, I'm not an audio engineer because I think you can spend a whole lot of time in here experimenting with these different options. And once you select one of these, for example, let's select traits space. There is a visual that we can even adjust, and there's even more advanced settings underneath here that, Ah, I think you could spend a lot of time on. But what we recommend is to try these different presets, put a pair of headphones on and see what sounds best for you. So I'm just giving this a playback here. You can leave it playing back while adjusting to these different presets, and I think for just some basic use for someone who's not a sound engineer, I think that's the best use case scenario. But at the very least, I think you should do the audio analysis. And if this background noise, you can use the noise removal function. If there is something like based locking, then you can turn on equalization. But for panning, these surround sound features air quite advance. And, um, if you have time, you can experiment with them. But for my needs were working with audio for interviews. I tried to improve the sound while actually in the fields, so I have less work to do in post production 34. Doing voiceovers in Final Cut Pro: in this video, we're gonna talk about voiceovers in final cut Pro X. Before we start voiceovers, why would you use them? While voiceovers are nice, too, record your voice over something like images or video that doesn't have any audio. Eso. Some prerequisites for voiceovers are to have a microphone connected. Or maybe you can even just use the internal speaker. So once you have your microphone connected and you're ready, the next step is to go over to final Cut Pro X. We're going to go to window record, voice over. I know it's sort of in a weird area, and we're gonna wait for the papa window. I actually use the voiceovers quite a bit for travel videos and things like that, and just some basic options here so you can add gain here, depending on your microphone. I've got my external recorder. The H five connected, so I selected this Mike and I'm doing stereo. But you can also use the built in microphone and select motto or stereo, and you can turn the monitor on. If you want to hear yourself talking, why recording? But I turn it off because it's been annoying. This will give a quick count down before it starts over here. This on me project and you can select the events and this is the record button, so it's actually start. Just press a red button. It's going to give the countdown. And this is Cape Town, South Africa, followed by Bangkok and the Amazing Temples on the Child Prior River. So once I hit stock, it's gonna laid on the audio track I just recorded underneath. And from there that voice over is now ready to go so we can just close this window. And here's the voiceover audio himself. Oh, by amazing temples. All right, so I hope that covers off how to do a voice over and final cut pro X. It's a nice function to use if you're planning to do some narration for your documentaries or your travel videos or even some training 35. Adding a Title: in this lesson, we're gonna cover adding a title and lower thirds title in final cut Pro X. So a basic titles, just some texts on top of the video, lower thirds is going appear on the lower thirds of video often use. If you're giving the title to someone who's speaking or you're describing location or what not. So let's go through the basic title. First, we have a video image of Cape Town, South Africa, and if we want to start off, we are in a project timeline. So if you haven't open the project, go ahead and do that. And the first step is to make sure that our browser is open so you can go toe window showing work, space browser or use the shortcut over there and we can see our video clips there. But the area that we're interested in is this area right there, and this is gonna display the different titles. So let me just close this out here so you see a lot over here. I'm just going to close things off to simplify it. Now let's just add a basic title here, so if you want a basic title, we want to just highlight the actual titles node and in the search bar here because there's so many you can just search for basic where you can browse for it. It just might take you longer and then you can just left click and drag it down into the timeline, and we can see her title there. Now. How do we actually change the title? We can do this one of two ways, so weaken Just actually double click right into there and type or texts. If you want to modify further the other section we can do this is in the Inspector so we can open up the inspector with command. Four. Let's wait for the Inspector open and with the Inspector open, we can also change the text. But we have a whole lot more options to change. The style of font sighs the baseline. If we want it all uppercase a whole lot of things, so I'll just demonstrate here. I'm just going to add additional text. Cape Town, South Africa, and let's just make it all cap. This is something I would actually do if I was making a video, because the basic text by itself is a little bit too plain. I like to add some drop shadow. You've been outline and we could even make a bigger All right. So there is our basic title. So let's go ahead and add a lower thirds title. So lower thirds is located over here. If we look at the text area or the title area and we can see that we have our basic lower thirds and we can drag that down into the timeline and you can see that the title is located on the lower thirds off the video image. That's why it's called lower thirds. Maybe I just made that up. Okay, so let's type in Cape Town, South Africa, and I actually did visit here recently, so I'm just going to type something out here, one of the most beautiful places in the world. And just like the text, like the basic title, we can also make similar modifications in Inspector so you can see here the text doesn't stand up very well, and the way that we're going to fix that is just give it an outline, maybe a drop shadow. So let's just double click that, okay? So we can add a and let's do the same to this part by double clicking and the drop shadow is added when we checked the Dropbox so that covers adding our basic title and are lower thirds title in final cut Pro X. 36. Modifiying Text: this video lesson. We're gonna modify some texts in final Cut Pro X. We're actually going to use a previous example from our first lesson on titles. And we already have some text over here, and we're gonna go through, look at some difference modifications we can make. So to make the modifications we need to highlight the tux, either in the image area or in the inspector. You can highlight the texts right over in this window. So once that's highlighted, you can do things like change the fonts. You can even mouse over different texts without clicking it, so you can just quickly see what it looks like. So let me try to find something that looks appropriate. Okay, this one's not bad. Now, if you see an up and down arrow, sometimes that means that there's more options there. So it's nice to click on that not to change the size. You can use the sighs slider, or you can manually just put in a number like 90. Over here, you can change the alignment. Right now, it's sender lines where you can do left, centered or align the text of the right. It's actually doesn't actually go to the right. I rarely use these options, but at least you know that they're there. Another option that I may use is tracking. So this is the space in between the letters. So you go to a negative amount, they're gonna get close together, positive amount, they're gonna go further away, and then you can undo everything just by clicking on the arrow Baseline is going to bring it below this baseline, which is this line where you originally had the texts and you can bring it above that baseline by putting a positive number. So this is a nice, precise way just to bring the texts above or beneath the baseline. And I'll just quickly cover how you can actually just another wake and move the texts so you can click on transform. And with the text highlighted, you can also just move the text over there. And if you look above where it says position, you can see the exact X and Y coordinates, Okay. And you can see we have all caps checked. We can check that too. Put it back to lower case Shin. We can rotate this. We can also scale it so Let's just do quick example here. This has change this amount minus 90. It's a son. Do that so we can use the wheel over there to actually see the effect live so we can rotate texts. I think over there, one tilt it just a little bit. And one more way you can change things for any object is you can scale it. All right. I'm just gonna go back there and there's some additional effects again you can use. I'm just gonna move that background tasks of the way. So even though we have these options checked, if you could show, it's going to reveal some more options here. And so I have the face which is actually what color the, uh, filling is all the letters. I can actually just change the color. Let's just change it a blue and you could do the same for the outline. I can change this to I don't know, yellow. I think weaken even adjust some of the options with the drop show. Yeah, we can, so we can make the distance a bit larger. You can experiment with these different options to create custom looks because it does take some time to customize the titles, and you may be creating more videos in the future. And maybe you want to use somewhere customization is again. So let's just refer that back and let's just say I want to move it back up, Okay, so that's just one example of how you can modify and alter the texts. We modify things like the type of fonts, the size, the position, different ways of making a larger by scaling. We changed the face, which is the actual color off the letters we adjusted. The outline, as well as the drop, shows quite a few little things to give it a custom look. So I hope that gives you some tip, son modifying your titles. 37. Working with 3d titles: in this video, we're gonna sh work with three D titles. Let's get started. If you don't see the titles area, remember to open it up by going to window showing workspace, and you need to open up your browser so you can see the titles over here. If you don't see it, maybe you need to expand the titles node, so just expand that. So we have three D titles over here, so the three D titles are just that. They're three D a little bit fans here. They've got some animation. I used them for a while. Sometimes I still use them. They just look a bit more fancy than the basic titles. Let's go ahead and you scale three knee, so we'll just drag this down over into the project timeline. I just over laid it on top of a video clip, and they work just like titles. So if you want to just it, you can double click over here or with the Inspector Open, you can just type your title so they're no different than Texas. Just a different type of title. It's three D, and there's some different options you can play with with the three D texts. Let's just play this back first to see what it looks like. Okay, let's bring the needle back over there. So, yeah, we have things like the depths step direction so I can make those adjustments. Bring Neal back and play it to see what is actually doing. Not to be honest, I actually go play around with all these in the visual three D settings. There are so many minor modifications you can make in final cut pro exits. It's quite hard to play with them all, but, um, if you want to do things like change the substance, that's something I've used before. Let me cover that. So if you're not happy with this kind of white plastic look, you can actually change the material or substance, so that's kind of cool. He can change, too, would. So once these changes over the wig will have a couple more options so we can choose the type of wood, the green depths, so that's pretty cool. So let's change it over to old wood, okay? And with that old would, it sort of gets lost a little bit. Maybe we need to adjust the drop shadow color to a like your backgrounds. Here we go. It's trying. Make that, but more prominent. Okay? And maybe change this to upper case and adjust the fonts. There's my customized three title, and since I put some time to that, I think I will just go ahead and trying to see this. So I'm just gonna click over there and select Save Well, formats and appearance attributes. I'll call it three. Cape Town three D Ash. Okay, let's look at three D cinematic titles. So over here in the titles we have three D cinematic and these two over here or what kind of final cup? Relax, I added some of my own there. So if you're wondering, that's why you may not see a similar look in your final cut. Pro X. I'm just gonna drag this over into the timeline, and I actually used these three D cinematic titles, so they're not just title. They come with the background and it looks pretty high production value. So let's just play it back. It's just thinking right now, title here so you can just the title just like you can with with basic texts. So if you play back this title, you'll see that it's a pretty cool title effect tohave, and I'll give you a tip because I've used these quite a bit. Is you can make modifications not only to the font, but you can do things like adjust the background to give it more of, ah, custom. Look, let's go ahead and do that. Over here we can make some modifications to the three D cinematic title like Change the Background color. Change the title size. And there's some difference adjustments we can make to the animation. Okay, so that's just a brief overview of the three D cinematic titles. 38. Adding Motion to Titles: in this video, we're gonna cover how to do a moving title. So to pull this off, you need an existing title on your timeline so we can see Were there any got their title on top. And with her title on top, we can click Transform, which is that rectangle over there. So we're clicking over here, which is actually gonna add a key frame, press the space bar just to play through some of the video, press the space bar again to stop and just move text a different position. And then we can play through the video, but more by pressing the space bar. Okay, Now I'm gonna move the text over here, and then we'll just repeat the same thing space bar to play through, but and then I'll just move the texts over here. And when you're ready, you can click done now to see what this is going to look like. We're just gonna bring the playback needle to the beginning and press bass part to play back the the title moving over there. I do want to point out that you could also pull this off in the Inspector, but the way I showed you is simpler and easier, so that's how we can do a moving title in final cut Pro X. 39. Saving a Style Preset: in this video, I'm gonna cover how you can save a title modification into a preset. So if you make a custom modification like the font the size, you get that perfect look that you want and you want to use it over and over again, this is where becomes useful, deceiving as a preset. So this is a custom look that I made in final cut Pro X, and I'm just gonna modify it a little more and go through Saving it is a preset and then showing you how you can use it again with some new text. So I'm not gonna change too much here. I think maybe just the color. And, um, I think I'll change the drop shadow color, something that stands out. Okay, that's quite nice. So once you're ready to save a preset, you can scroll to the top here and you can click, save all format and appearance attributes can see here, and you have a few that I've seen for Cape Town already. So I just called this yellow and read. All right, so now I'm just going to copy the text because I'm lazy and I'm gonna bring a fresh title into this video. So click titles just gonna do basically on here and now I can apply one of my presets to the basic tux. All right. First, I'm just going Teoh haste in Cape Town and we click in the same area. The very top. No, I don't want to save. Click here and see there's my pre site right over there. Boom. So is easy is that and that saves everything from the size, the fonts, all the modifications. Now, if you look a two D and three D styles final cut, Pro X comes with some of their own custom modified fonts that you can choose from on. There's some pretty decent ones here, so I also encourage you to look around those, and you can even use these, modify them and save them as a preset. So that is how we can save and recall our tax presets in final cut pro X 40. How to Make Color Corrections in FCPX (40): hi. In this video, we're going to cover how we conduce color corrections in final cut Pro X. I'm going to supply you with three friends sample files that you can use to apply the correction. Color correction is a huge topic in video editing, especially as cameras get more advanced in the technology changes and you can easily get lost in this world. So it's okay if you find things little bit overwhelming. I'll try to keep it as simple as possible. And for these sample files, you may notice that they look a little bit flat. There's not a lot off color going on, and that's because when I shot these clips with my camera, the Panasonic GH five, we have the option to select a color profile. Now, if you just leave it in a standard color profile, it's gonna look fairly normal. It's gonna have some saturation, and color is gonna have a pretty standard look. But as you get more, professional professionals prefer to use what we call a flat color profile, which means that the videos we're looking at now may look more flat or ordinary, but we have more room to work with to apply more color grading or alterations in the post production process, which is where we are in now. So let's just keep that in mind. And to begin to open up the color board, you can either open up your effects and drag over the color board effects. I won't do that because I think it's just the long way to do things. A shortcut way is to just press command six. And that will open up our inspector with the color board option selected. All right. Now, if you're using final cut Pro X 10.4 or higher, they're gonna be some additional options to make your basic color corrections. So let me just highlight this clip here. You need to have a video clip highlighted in order to see the color board. So we're on the color board now, and from the color board, we can make adjustments to the exposure saturation and the color. Now, if you're using final cut Pro X version 10.4 or higher, you can also adjust your color not only in the color board but in color wheels, color curves and the hue saturation curves. So we're just gonna go quickly through each of these areas that we can adjust color. And in another video lesson, we're gonna use what we call our video scopes. So the video scopes are a way to view color in a way that weaken specifically, make adjustments that the human eye may not see correctly. But we're just gonna go over the controls very quickly here. So we have our color saturation and exposure, and we're on the exposure tab. So this is where we would adjust the rightness or the contrasts so we can increase the highlights over here specifically, and you can see the percentage value change over here. We can also just double click and put in the specific value. If we want the master control, we'll change the overall exposure. So if we just want to do keep things simple, we can adjust the master control over there. Just bring it down. If you want to make things a bit darker. The knob in the middle here is for the mid tones, so we can bring down the mid tones a little bit over there and in the shadows. If you wanna decrease that, you can bring it down there. Let's go over to saturation. So again, the same idea. We can make an overall saturation boost by bringing that knob up. Or we can do that in the shadows or just bring it up in the mid tones. I think you get the idea. It can go over to color, and now we have the ability to just that over here if we want a bit more green hue or from one but more Redd's. And if you want to reset any of these adjustments, we always have the ability to click on that back arrow. So that's available on the saturation and the exposure. So that's the color board. So we're going to go over to the Knicks area, weaken just the color, and that's the color wheel, all right. So before we start with the color wheel, we just want to take off the color adjustments we made on the color board. So we have a clean slate so we can just uncheck the color board and let's click on that icon Teoh, get into the color wheel. So let's look at the color wheels now 41. Color Wheels: So we're going to go over to the Knicks area, weaken just the color, and that's the color wheel, All right. So before we start with the color wheel, we just want to take off the color adjustments we made on the color board. So we have a clean slate so we can just uncheck the color board and let's click on that icon Teoh, get into the color wheels. So let's look at the color wheels Now. We have our color wheels open now and with the color whales. We can make exposure adjustments on the right hand side of each of these wheels over here, and we can make saturation adjustments on the left side. If you want to make specific color adjustments that could be done inside with the little circle inside the wheel. And if we scroll down here, we can see we have the ability to adjust the temperature if we want to make picture warmer or cooler. And we also have this ability to undo any of the changes, we can adjust the tent over here or change the hue. I'll come back to this area in a little bit, but let's look at how we can adjust this saturation in the color wheels. We can just move this area up on the master. See, that's applying a lot of saturation, Okay? And let's just say we want to bump up the highlights just a little bit and bring down the shadows and bump up the mid tones a bit King. If we just want to add a little bit of color to the skin, just drag small circle over the top left. All right, so know that we've made some adjustments. Let's just open up this area and we can click Show to reveal the actual specific adjustment that we made in your miracle value. And these can all the reset if we click over there. But I'm gonna reapply the saturation over there. Okay, so that is the color wheels. And now we're going to go over to the color curves. So we're going to remove the color wheels, and you can see the difference that it's already made just with some minor adjustments 42. Color Curves: we are in the color curves view of final cut Pro X, and if you worked with some third party applications, maybe color grading central, you may be familiar with color grading in way formats or Kerr ferment. Or maybe you're not for me. This is not something that I've used a lot in the past. But the way it works is that we have our Louima read green and blue curves, and we can use the top point here if we want to make an increase to the highlights. We would drag over this point over to the left if we wanted to increase shadows would drag over to the right, and we can add control points by just clicking. And the Solossa is to make some evil, further refinements to the mid tones. If we wanted to increase the blue in the shirt, we could go over to the blue curve, and I could drag this over to increase the blue highlights. If I didn't like that, I can reset it. Maybe I just want to make the adjustments more on the mid tones slightly over there, and you can experiment with this. We can increase the red in the image got a pretty unique look. No one is going to reset that back now. There is no area to adjust the saturation. Zaun, the color curves. So if we want to do that, what we need to do is go over to the color board. I'm just going to click over here and click on color board, and over here we can make a global increase to the saturation, all right, And that's how we can work with color curves and just keep in mind that we can't add saturation. So we have to use the color board to do that. Let's just remove that and we will go over to the hue and saturation curves. So let's just see what it looks like if we just change the image back to normal. 43. Hue saturation: Hi. This video, we're gonna cover how we can use the hue, saturation curves, as you can see here, I've got Beiring here with a green shirt, but this all started with a blue shirt. So we're just going to reset this reset parameter, and this is how we started out. But to start off with a good base, I'm going to actually select one of the other adjustments I made with the color wheel because the hue and saturation view of making color adjustments is a bit different. And just in case you're wondering, Hugh is just a another turn for color shade. Okay, so if we uncheck all this, this is the native image. This is how it came out of the camera because I shot it in a flat color profile. And I'm just going apply the color wheel effect as a base, okay? And we're going to select the color saturation curves. If you don't have this, when you could do is just click on that icon just to get over to this view, and we can then click over here and hue saturation curve. Okay, so we have a lot of different options here, and I'm gonna show you two areas that we can use to make practical adjustments. So let's just say we want increase thesis saturation in the blue shirts. We can click on the eyedropper. Just click on the bleacher to add some control points, and you can see here we have some control points. Now I can drag this control point up to increase the saturation in the shirt or decrease it , and I want to increase it. And the cool thing about this is that because we're using the eyedropper, we can isolate this just to the shirt. Now, if you want to make a color shade adjustment, we can click the eyedropper in the hue versus you. We can click in the shirt and you can see we have control points here and now. I can move this up, and we've completely changed the color of Byron shirt from blue to green and drag it down. We can change the pink so you can experiment here, and this is a pretty fun tool. If you want to change the color off shirt, someone's clothing and you can add additional control points here. If you want to experiment with some different colors and you can see there that we're going outside off the shirt over there and we can just back out of our changes. So that's just a simple overview off the hue saturation curves. 44. Fixing exposure: this video, We're going to adjust exposure, and we're going to do this in a few of the different tool sets that final cut Pro X 10.4 and above gives us. So just to begin, I have set up the three different sample files and to begin, I just want to make sure that I'm in a proper workspace view. So I'm just going to again select color and effects. That's gonna change things up. So it's gonna remove the library, and I have more space to view my video scopes, okay? And because we're focusing just on exposure right now, I just want to have one display. So I have more riel State. So I'm just gonna select that view over there, and I want to just show the loom away form and I have my broadcasts safe effect, which I will use to apply after, and you will see how this comes into play a bit later. Okay, let's just start off with the video clip with Natasha. Let's turn our attention to the Loomis scope. So the way this is red is just how we look at the video. It's from left to right, so Natasha is over here. And overall, we don't see any colors that really stand out in this picture. Our goal is to bring up the highlights closer to 100 our shadows closer to zero. So we want to bring up the color board. So we're gonna press command six and let's go over to exposure. Okay, so we're gonna want to click on, uh, highlights first. And I could probably bump this up just a little bit, and we would like our mid tones to be at about 75% for the flush. Okay, were both there. And really, this image doesn't need too many adjustments. Now is the final touch. You can apply the broadcasts safe effect. And what this is going to do is just to make sure that where within TV broadcast CF standers, which means that our highlights are below 100 and our shadows are above zero. So you just quickly apply that effect over there. We don't really need to, but this is just a nice good practice to apply to video clip. All right, let's go over to another video clip here, just going to zoom in with command, plus just to get a little bit closer to the auction. All right, In this video clip here, we've got a bit more color. We can see that Byron is over here. He's on the right side of the video clip. And ah, we could probably bump up the highlights a little bit. Okay? We're gonna go over to the color wheels and adjust exposure from there just to give you some practice making exposure adjustments in another tool. All right, so if we want to bump up the highlights, just little bits we could drag up on the right side over here. We're just gonna bring down the shadows a little bit. And in the mid tones, we're sitting around 75%. I think we could probably just bring up the highlights a little bit more. And just to cap things off, apply broadcasts effect. Now, if we pay attention to loom a scope weaken, see the adjustments that is gonna make some slight adjustments there. So that's how we can make exposure adjustments within the color wheels. Not a whole lot that we needed to make over there. And Ah, in the next example, we're gonna use the color curves to make exposure adjustments. In this video, we're gonna make exposure adjustments with the color curves in final Cut Pro X and the Color curves is a feature that's available in 10.4 or higher. So just to begin, we have our loom away form video scope open. We are in the bloom a curve and to increase the highlights a little bit, I'm just going to move that control point over to the left a bit. Just a bit. I'm going to bring the shadows down just a bit and just increase the mid tones a little bit over there, and we have our exposure adjustment. If you want a final touch, you can just bring the broadcasts safe effect over there just to make sure we're within TV broadcasting safe standards. And that's our exposure adjustments. Using the color curves 45. Fixing White Balance: in this video, we're gonna look at how we can adjust the white balance in final cut Pro X. If we go over here, we can select balance, color or you compress option command be inversion. Final cut pro X 10.4 or higher. You now have an option to white balance. Now we need to just click or drag over an area that should be pure white. And I'm just gonna try over on the wall here, and that's our white balance. 46. Adjusting Saturation: in this video, we're gonna make some saturation adjustments in final cut Pro X. We're gonna look at some of the new ways we can adjust color in final cut, pro X 10.4 or higher, but we're going to start off in the color board. So to set yourself up, I recommend opening up the video scopes with command seven and selecting the RGB parade. So this is a nice way for him. Just to make sure that's your red, green and blue are, well, balance. We want to keep them within 0 200 and open up the color board. We compress command six. Okay, we're just gonna go over to the color board over here and click the saturation tab. So now that we're on the saturation tab, we can make just the global adjustments using the master knob. Now, if I drag this way over the top, you can see that our blues are way over What They should be same for the reds. And you can see that the actual new miracle percentage for the master control is that 69% well, spring that down to zero. So if we want to make a adjustments over here. Maybe I want to just bring them highlights, and that's just a simple adjustments, and that looks pretty well balanced. 47. Adjusting saturation in the color wheels: in this video, we're gonna make saturation adjustments in final cut pro X. We're gonna use the color wheels to make the saturation adjustment. If you do not see the color wheels, you will need version 10.4 to see color wheels, color curves or the hue saturation curves. I've just set up a video scope on the left over here. RGB Parade Command seven will open up the video scope and I have RGB parade open. This allows me to see the red, green and blue channels, and basically we once are blue, green and red channels to be within 100 to 0. So if we make an overall saturation adjustments using the master wheel, so just a quick tip for all these wheels, the saturation adjustments are on the left side. So if I dial up the knob all the way to the top, we can get an oversaturated image, and you can see that the blue highlights are way above what they should be. So we Condell this down. Yes, the beds. And maybe we want to brings some more color to flush tones. This by dragging in that little bowl towards the orange and maybe we can just bring the my lights down a bit. There we go, and we can cool this image by bringing the temperature down, but you can see that spikes are Blue Channel, so this is a bit of a dance just to adjust your values. Or you could just reset over here so we can see the specific values we've adjusted for. The master shadows, mid tones and highlights, and we can uncheck the wheel to see what it looked like before. So there's a lot more color and warmth on the saturation adjustments that we made in the color wheels. 48. 6.8 Color Masks for targeted corrections: in this video, we're gonna cover how to do color and shape mass in final cut Pro X. I've supplied you with this video clip. If you want to practice on it and just to set things up, we're going to drag this video clip into the timeline. If you haven't already, you can create a project is by right clicking on the clip, selecting new project. Once you've done that, we need to open up the effects browser with command five and weaken drag color board down here. And if you don't see this window here, command fort, open up the inspector and what we want to do here is first do a color mass. So we're gonna click on that icon and select color mask, and we're gonna take this needle over here, this eye dropper, and just click and drag over the color that I want to change. And if I want to add additional colors, I can click, shift, click and drag, right. And now let's go over to the color board using command six and you can see that we have inside mess highlighted. So that's going to just our water color. So I want to make the water but more blue and just taking the shadows there just going to take that moved back. Let's start off with the mid tones. Let's just move it more to a aqua blue. I could bring my global saturation setting as well, and now the water is looking pretty good. But you can see that I'm catching some blue on the clouds so I can actually press option. Click and drag to remove values from the mask so you can see that minus sign there. OK, so that seems to be working. See when a press option there there's that negative signed by the I dropped her head and let me just try, move more. There we go. So now we have a nice Akwa blue color and I think color mass are a great technique to have in your pocket to color and isolate those money shots 49. 6.8.1 Shape Masks for targeted corrections: in this video, we're going to Playa Shape Mask. In the previous video, we applied a color mask. As you can see, the ocean is nice, perfect. Hemorrhoid turquoise blue. And now we're gonna attempt to change the lens color off my sunglasses. So to start off, I have the effects browser. Open command five if you don't see that. And I'm just going to drag the color board effect over to the video clip. I have the inspector open in the top, right? So, command, for if you don't see that. Okay, there we go. So I'm just gonna let final cut Pro X. Think about that for a little bit, and we can see we have a second color board over there, so we need to click on that icon and select shape mask. So now we have this circle here, and you can see there's two circular shapes. There's inside and outside in points to change the heights as well as a side. But if you want. But if you want more of a square shape, you can click on that white circle there. And if we wanna move the mask over, we can click on that middle points, and now it's just a matter off getting the right shape. Okay, we also have this outside border. I'll just leave it like that just to illustrate what that actually does. Okay, let's have some fun with this. We can press command six to go to the color board and just to give us a bit more room to work with, I can close the effects browser command five and just drag the time line down the bits. Okay, so let's change this to a yellow color. Okay, so you can see the mass there, and it's sort of going outside of the sunglass shades as well. And that's way I want to close up that outside border. Just to tighten that up takes a little bit of precision and patience to get this right. If we had a perfectly square or circular shape, it would be a little bit easier. But because my sunglasses aren't it's a little bit tougher. They're just gonna drag everything over. Let's try and get more of a red tint. So here I've demonstrated how to use a shape mask. It's not perfect. It's a little bit tricky. If you're shape is not perfectly square or circular, require some patients and position, but if we take that off, we can easily remove it. It's just a fun way to experiments, and I personally think that the color mask is a little bit more practical. And, ah, we can click the color board over here. We can view the mass that we've created so we can see that square shape. And then we can also go to the color board. And then we can click outside Mass, and then we can begin to change some of the colors outside the mask. So that's how we can use the shape mask in final cut pro X ah, good tool to be aware of, especially if you want to change the color off a easy square or circular shape, but a little bit tricky for objects like these sunglasses. 50. 6.9 Applying & Modifying color presets: this video, I'm gonna show you how you can apply color presets or filters. They're quite popular in today's world of instagram and Facebook that a popularized this type of coloring, so I don't encourage doing it for professional work. But if it's just for YouTube and you're in a rush, this is a quick way to style eyes your video coming out of the camera. So with your video clip in the timeline, you can open up the effects browser. If you don't see it, you can press command five and you can scroll down to color presets, and you can see that there are some different presets available for you to use, and I'll just show you how you can use one. And so you can see there's Summer Sun, and you can preview what it looks like before you apply it. So I've gone ahead and applied that presets, and I've got the Inspector open with command for, and I can see that that effect is that color board over here. Now, if I want to adjust what that looks like, I can click on the icon to go into the color board and make some adjustments so you can see that this effect has greatly reduced the amount of shadows so we can actually make your own adjustments here. If you decide Teoh modify and existing presets and you really like it, you can actually save it. So you can recall this leader by clicking on the save effects preset, and you can also select more than one color board. But just say the one we actually did was color Board three. So we can actually create a name for this preset and select the category where it's going to fall. But I'm not gonna do that. I just want to let you know that's something that you can do, as well as the final cut Perot presets. You can also purchase third party presets. I'll just show you one that I used to use. I don't use it too often. It's called Lester grade presets, and they had some pretty cool effects, like cross process and epic that I found to be a little bit better than what final cut Pro X provided. So you can see if I just drag over there. I can see what that looks like before apply it so this is more of Ah Instagram style filter . But filters there are always changing year over year, and once you apply these presets, then you can do things like adjusted manually. We ready went over some lessons of how we can make adjustments to the color and the exposure if you want to customize it further. So that's how you can apply color presets within final cut Pro X, as well as third party their party presets. You often have to pay for, or you may give it on a free trial just to give it a try for a week or two. I don't recommend presets, but they can be a time saver if you want to use them as a starting point. 51. 3rd Party 6.9.1 Plugin, Luts, and workflow: in this video, I just want to introduce you to look up tables. These have been popularized in recent years with in the video world as shooting video in flat color profiles becomes more popular. I've been shooting in flat profiles since the Canon DSLR days, and once I switched to the Panasonic GH five in 2017. These are also becoming more popular, shooting in what we call vlog or seaney like D color profiles. So these airway to shoot your video picture so that it's really flat, so that in the post production you have a lot more flexibility to work with. Often this is the domain off color grading specialists. I don't consider myself a color grading specialist, but a look up table allows me to use that footage out of the camera that has a flat profile and give me a starting point and saves me some time. And then I can use my color grading skills in final cut Pro X to customize that a little bit further. So I hope that makes sense. Some companies that have made look up tables or color great central, and this is one such tool that I have here. It's called The Luck Utility, and I'll just show you how it works briefly. Just so you're aware of it. So I'm just going to apply the effects of already dragged it over to my video clip. And this lot tool or look up table has different profiles for different cameras, so I can actually preview what those look like. But I would choose one that's closely match to my camera. So that is the GH forests and you like de miners actually GH five. So when I comply that and you can see that it actually makes some good adjustments to the RGB parade balances things out. But I can see just from my eye this looks a little bit over saturated so I can actually dial down the effect, and I usually like to put it down to 30%. And then I can do things like look at the way form and you can see there that this requires some adjustments here, so I could actually add the color board over to exposure and just move up my highlights bump of the mid tones a bit and the flesh tones you generally want the mid tones at around the 75% mark. So that's where I'm in the picture, just a little bit to the left. So maybe want a bump that up a little bit and the last thing I like to do his apply a broadcast safe effect. And this is because I do a lot of stock footage. So for stock footage that might go on TV or commercials, so we want to keep those exposure values between zero and 100. So once this effect applies, it can see its within safe values. So here's a potential workflow that I might use for stock footage. It's got a little bit of saturation. I've adjusted the exposure a little bit, but it's not over stylized. Someone who may purchase this clip has a lot more room to work with themselves when they're using this clip with their video footage. So I hope this gives you an idea of what is possible. There are look up tables, which are used lots, especially with the more modern cameras, and there are so many different ways you can color the video footage now, so I encourage you to just keep it simple. Try not to get lost but tried to educate yourself and increase your knowledge and comfort with color grading and some of the different ways that you can do it. In final cut Pro X, especially with 10.4, it gives you a lot more power that third party tools used to have before, but now they're built in the final cut pro x 10.4. 52. 6.10 Blurring and Censoring: in this video, I'm going to teach you how to apply a sensor effect. So if you need to pick slates something or just censor it, so maybe you want to hide a brand name or if it's sensitive material, how do we do that? So you start off by bringing our video clip into the timeline and open up the effects browser with Command five. And I've got all video affects selected. I'm just going to search for sensor. There it is and just double click on the effect. You can see that we've got a sensor applied. Now there are some additional options that we can change to make this work a bit better. So let's just dragged us over. I don't think the effect applied correctly. And if you want to make some adjustments to the sensor effect, you can just open up the inspector with Command four. Okay, and there we go. So let's just say we want to censor that beer and not my face. First thing we could do is just changed the radius in just the just the rainiest there, and you see this little circle here we can click and drag to relocate that. And there we've covered the beer. No one knows what delicious beer I've been drinking. We also have some additional types of censoring. There is the blur, and we've got Darken, which is probably not something I would use that looks but ugly. So let's put it back on pixel eights. So from here we can reduce the amount of the effect, which gives us smaller pixels. And maybe we wanna reduce the radius. And another neat thing we can do is just also invert that effects. So it's just going to flip that fact around and blur everything also, which is a pretty cool effects. So in a nutshell, that's how we can censor something in final cut pro X. 53. 6.11 Demo: Color correction Workflow with colorboard & curves: OK, in this video, we're gonna try to puts all the skills that we learned together. So we're gonna start off with one of the video clips highlighted we have our inspector open with command, for we have a video scope open commands seven, and I have the BlueScope way form selected. So this is a good general work flow. We're gonna look at the exposure and contrast first. And with this highlighted, let's just go over the balance color and these some white balancing. So now that the balance color is applied, weaken, Select White Allan's, And now we can just quickly zoom in. I just click that button there. Okay? No, I'm going to go back to fits the video in picture and open up the color board. Command six. So we're going to start off with some exposure. Crease the highlights a bit. Maybe Donald back down. You can see the value is 14. Bring the shadows down a bit. Okay. I'm sitting just right off center. So we want the flush tones for the mid tones. Be at about 75% so I'll just bring the mid tones up a bit, okay? And then we can see your values for exposure over here, off and on just to see the difference. Now we can go over to saturation. Let's turn on our RGB parade, Okay, so we can see the We have a bit of a blue color caste. Let's go over to her highlights. Try and bring that down a bit. Let's open up the color curve. It's you some of the new tools. So our plan with the color curves is to keep an eye on the RGB parade while we make the adjustments of the color curves on the right. So by bringing that top points to the left on the blue Channel, you can see I'm bringing up the blue highlights too much. And when I moved the bottom blue points to the right bringing down the blue shadows too much. So we need to bring down those blue highlights And then sometimes we make a change. It changes the other color channel. So we're gonna adjust the green highlights, bring it down and do the same to the red. I remember these color curves don't have a way to adjust the saturation, so we're gonna go over back to the color board and then bump up the saturation obits. Jane, Let's go over to saturation. Okay, let's turn that off. Turning back on and the last thing I like to do is apply a broadcast safe effect. So this makes sure that your color channels and your exposure, or within 0 200 so that they're safe for TV or commercials. I like to sell stock footage, so this is something that is a part of my work flow. That's just, ah, basic overall color correction. Let's see what things look like if we turn off what we've done, so you can tell the picture looks a bit more livelier but more color, and I've used a combination of the color board and the color curves, but you can develop your own style for her. You want to color correct your video footage in final cut pro X 54. 6.12 Demo: Color correct Biron: Okay, We're going to put everything together to apply color correction to this image of Byron and I've already applied balance color, so weakened do a white balance. So let's click the eyedropper. And to make sure where precise, we're just going to zoom in and this click on his button over there J. Now let's go over to the color board command. Six jumped to exposure. So we want the limb away form and in Syria should bump up the highlights of it and bring down the shadows because we re just the highlights and the flush tones should be around 75% on the mid tones, which they are. So I'm pretty happy with the exposure, so it's turned it off. Turned on No, let's go over to our vector scope. Okay, so we want to add a little bit of color to the flesh tones so we can go over to the mid tones close to the orange. Generally, once our color values to be about 24 or quarter way from the center. Okay, let's go over to saturation and let's go over to our RGB parade. I'd like to see this in way form So let's just bump up mid tunes a bit. Okay, let's see what that looks like without the color that's looking a bit warmer. And one final thing I like to do is maybe just supply a broadcast safe effect at the end, not make sure that your RGB channels and your exposure are between zero and 100 so that it's safe for broadcasting on TV or commercials. Okay, let's look at the before and the after. So there's thief finish color grader product. I think it's a lot more livelier. There's a lot more warmth and color in the Color Grader product. You can see a tautological workflow, beginning with color balance and manual white balance. Next, we looked at adjusting the flash tones and the saturation, and then we applied the broadcast safe effect. So you may develop your own workflow here, and it does take a lot of time to color grade, and I think it's more art than science. So if you do have similar scenes, sometimes you can copy color grading and pace that effects so you don't have to redo all the work all over again. 55. 7.1 Blending modes and opacity: in this video, we're going to talk about opacity and blending modes in final cut pro X capacity refers to the transparency of your footage or your image, and I'll just show you where we can control it. So to actually practice this video lesson, I'm gonna supply you with some project files that you see here. So I have laid down a video clip of Cape Town and I've simply just laid over my local watermark. And this is the most common way that I'll actually adjust the opacity. So to adjust capacity, you need the inspector opens. So command four. And you just need to lay this logo or another image over on top of another on the timeline . So place the play head on the area that you have both clips and go over to a passage e. And you can see here I can adjust it from 100% to zero, so zero means it's disappeared. So when I'm doing a video project and I want to protect my footage, sometimes I'll put a logo watermark where I don't want the logo to ruin image and ruin the viewer experience. But I still wanted to be there in case someone tries to steal my video and by having just a light, transparent watermark that protects my image. So that's the most common way that I'll use opacity. But there are others, as we'll soon see. So now we're gonna talk about blending modes. Blending modes are a way to combine pixels from two or more video images. So to set this up, I've just got another video clip that have brought over from my Cape Town event, and you can use any type of image. I've just chosen to put an image of Cape Town downtown as the bottom layer, and I gotta keep telling Winery on talk as the top player. Now, immediately you see some interesting blended image, and that's because I have the color dodge blend mode. So let's see how we did that with the lying image over talk. Just select the color dodge and to justice effect. You can see that this is an interesting effect where the bottom layer gets priority, but you can see some of the background from the top layer so I can play around with the intensity of this effect by changing the opacity so I think this is a great way to experiment and style eyes your video projects if you're feeling a bit artsy. Okay, here's another fact. Call hard light and just going to adjust the opacity so you can see we have some really interesting effects over here. So let's just move over to two different images here, and we have a completely different look. Now, if I highlight on top clip, you can see what blend mood that I used and it's hard mix at about 54% had 100%. This looks a little like the old graphics on the computers, but we can soften that look by going down to 40%. And actually, this might make a very interesting YouTube thumb, so you can just be really creative of how you want to use us. Let's just look at some other options over here. You got hard likes got the lighten effect, which has a very subtle look, giving the top image priority that looks very cool. So hope of giving you some ideas of how you can use the blood mode and you understand how to use opacity. So again you can use the supplied footage from the project files or it can use their own to try create a very unique and custom look using the blend modes. 56. 7.2 Applying effects and generators: in this video lesson work. Gonna talk about applying effects in final cut Pro X. If you want to see the effects, you can open it with command five. That will bring up the effects browser and in my facts browser. I have around 291 effects. You can also install third party effects, but final cut Pro X gives you a lot of different effects that you can apply to a video image to do certain things. Let's just take a look at some of these effects to start off. I've just put in a video clip from Cape Town. You can use thes supplied project files if you would like and just plopping into the timeline and let's go over to the Effects browser. So you can either browse through all these effects or you can search for a particular effect if you know of one. And if you just want to preview what if in effect, does you're not sure you can just put your mouse cursor over that effect, making sure that your play had needles already over there and you can take a quick look at it without implying it. Here's the night vision effects. It's just loading. So a lot of neat things that we can do. No. If you wanna narrow these down into different categories, you can do that on the left. And they're also different types of enemy graphics that you can put into your project. If you do apply an effect, you can adjust the settings off the effect in the inspector. Let me just demonstrate with popular effect. Let's try the prison. You can just drag that over now. If there's something to adjust in the effect, you'll see an icon into the clip, and sometimes you'll need to make the adjustments. For example, you can see there. The amount has been adjusted just by moving that icon in the viewer. I can reset that. And I could even make the adjustments over in the inspector command, for if you don't see it. If I just want to make the adjustments over here, you can undo, in effect, Bayan checking it. If you have more than one effect, you can. This able all the effects by un checking the effects in the browser and you're back to normal. And if you want to remove in effect, you can highlight it in the inspector and delete it. All right, let's spring Mac or video clip, and I just want to turn your attention to generators. Generators are good for backgrounds. They are found over in the browser over here. If you don't see that, you can go to window show workspace browser, or you can use the shortcut and I just click the tea to open this up. And I'm just opening up the generators now. These generators of goods. If you want some animated backgrounds and you can even adjust some things about the background like for this one, I can adjust the color. And I've used some of these backgrounds in the past if I'm putting in an old photo and the resolution's not high enough, and I kind of want to just replace the black background with something that's more colorful . And so these backgrounds, they look free pretty good. They look really professional, so I just want to make you aware of them. So again we looked at the effects in final cut. There's a lot of effects that you can apply from applying a prism to night vision modes to applying a blur, and you can adjust the settings of those effects that you apply over in the inspector. And we've also just touched on different backgrounds underneath the generators in final cut pro X. 57. 7.1 retime and reverse clips: We're going to cover re timing and reversing a video clip so you can use any type of video clip. But I often find video clips that are shot at a higher frame rate. So, for example, 60 frames per second are good video clips to re time or do for slow motion. So any frame rate that's higher than 60 frames per second will provide nice, buttery, smooth, slow motion. If you want to speed it up, that will also hold true. So actually, to start off, I'm gonna use this waterfall clip, which was shot at four K 60 frames per second in my camera. It is showing up in final cut pro as 30 frames per second. Nevertheless, this is a good candidate to show you how to change speed. So to begin with, we set up our project, and with the clip in the timeline, we simply go over to this icon and we can select to speed it up or slow it down. So with a clip like this, I'm gonna try slow it down and it's a ready shot insulin motion. So this is gonna play back like super slow motion once we apply that slow effect, we can actually click on the actual video clip. We can bring it back to normal speed, or we can actually even choose to speed it up over here. Okay, and there's not a lot of video there. So then the sped up clip doesn't look very good. Now, how do I actually use the speed up effect? I'll use it. If I have a long video clip, let's just say an aerial video clip and I like to do what we call a speed ramp, and speed Ram will speed up a portion of the clip, but no B portions of the clip ahead of it and behind it that are played a normal speed. So then it will have a nice effect where it's playing a normal speed. Then it'll speed up. I'll also show you the other area where you can change the speed of a clip. So if you go over to modify, you can go to re time and you can speed it up. We're here. I'm just selecting eight times. The times is normally what I use for a speed room, and I find sometimes right after make a re time adjustment. Sometimes it'll playback choppy if the clip hasn't being imported correctly and sometimes final cut needs sometimes, Teoh just render that. But once you actually export the final video, it'll playback smooth. Let's just play this back to get an idea of how it does. Yes. So the playbacks little bit choppy. Aiken C final cut is tryingto run some background tasks along with the change. I can see it's rendering. So that is normal. So just be aware of that. Okay, Now I want to show you how to reverse the clip so reverse we'll just simply reverse the clip. We can highlight it, and we go over to the same area, and we can just select reverse clip. So now it's just gonna go backwards. So this is going to go from the lake up to the waterfall. There we go. All right. So we covered re timing, and we covered the reverse effect to the video clip 58. 7.4 slow motion and frame hold: Hello. We're going to cover doing frame holds and applying slow motion to go pro. Footage shot at 10. 80 p. 24 frames per second. The ideal frame rate to apply. Slow motion two is 60 frames per second. Please watch the re timing video lesson where I use four K footage shots at 60 frames and apply slow motion to it. But anyways, we are gonna just apply this to 24 frames per second. So I've selected this clip over here. You can select any portion of the clip by applying a range, or you can make an incision. I'm using the blade tool by pressing B just to isolate the clip I want apply slow motion to So I compress a over there. And over here this is where you can apply slow motion so you can do the effect at 50% 25% or 10%. Let's just select 25% and we will play back. You can also access this menu over under modify every time, but it's just easier to access it over in the icon over here. So let's just play this back here. We have some snorkeling with the whale sharks. Okay, it's not bad. It's a little bit choppy. Sometimes you need to give time to the computer to let it render, so it plays Bach more smoothly. I'm going to just try and apply 50%. I don't think 25% was enough. Okay, that's not too bad. Now. Another thing you can try if applying slow motion is final. Cut has some built in bodes here, frame blending well. Attempt to insert additional frames using pixels from the other frames to make the appearance of smoother, slow motion. No, this takes some time to render, so I'm going to use another clip that I've already applied it to. No, if frame one frame blending doesn't work out for you, you can try optical flow. Final Cut recommends you try frame, blinding first and optical flow. Personally, I do not use these options, and maybe I should. But normally, when I'm applying so motion her second or higher. So even with the normal setting, it's 50% slow rate. It plays back pretty smoothly, and so let's just go over to the first clip, and I'll highlight that clip and just confirm Oh, you can apply frame blending to this one here. I think it's already done it before I shot this video so it should play. Bach's smoother. Okay, there's a bit of, ah, shadow effect that doesn't really look natural. Okay, we can try the other option. Optical flow. Okay, I see a little bit of warping. And again, this was shot underwater. It was kind of a chaotic scene with the wheel shark here, so is a little bit shaky. So maybe I encourage you to experiment Worth normal. Optical flew in frame blending to see which one is best for you. All right, so now I'm gonna demo how to do a hold. So hold is going to just do that is gonna pause the scene. So there's the hold, And if I zoom in, you can see the strip over here. This is where the hold is. So we have some markers. We can actually extend the holes to make it a bit longer. Nice way. Just pause the action. Okay, so we've covered applying slow motion to regular 24 frame footage and applying Ah, hold 59. 7.5 Chroma keying green screen: we have a fun lesson today. We're going to cover applying green screen using the Keir Effect. So to set this up, we're gonna use thesis, apply project files and actually use four K green screen footage and create a project in HD . All right, now, something I want to mention is that this green screen clip is actually shot in four K resolution. But we are gonna work in HD, so this is fine because the project is in a lower resolution than the video clip. So we're just going to change this over to HD and keep it at 24 frames now? Because this is four K in HD project, We can actually scale this image without losing the sharpness or the quality. I'll show you that in a bit. I want to drag over the HD image, which is also in your project files, and I'm just going to drag that underneath so your green screen video should be on top and the green screen picture on top. Okay, Now, if I bring the play head over there, you can see that's there's a gap there because this is four K resolution now. I just want to bring out some tips here for best results with green screen. A lot of the result depends on how well you shot the green screen, so some of my tips for best results are to have adequate lighting. You want to try reduce any overexposed spots or under exposed spots. You wanna have even balanced lighting, and even if you try your best, you can still end up with some spots. It's sometimes difficult to see when you're actually shooting image. So I recommend having a computer nearby where you can pop the footage into something like final cuts. And you can actually do this workflow really quickly when once you get more from live with it, just to see how well you're set up does in a green screen environment. So I think that is the best way to actually test the footage and then make any adjustments if needed. I can see here just with my eye that some of these spots our flared out there are over exposed. But because it is four K footage, we can crop some of that out, so I'm just gonna scale up the image there, see, we can go all the way to 150%. So now we have a cleaner green screen image to work with. We cropped out some of the overexposed spots, so there's a little tip if you're working with four K footage, that's one of the benefits of using it in HD. Okay, now that we've got our four K image scaled up, we're going to go over to the effects browser command five. If you don't have that open and we're going to drag the keying effect onto the green screen , no. Sometimes you get lucky, and it looks like you know, you've done a great job, but sometimes you'll need to make some minor adjustments to get the best screen screen image that you can. So over here, let's just play this back, okay? It doesn't look too bad. In my opinion, it just went to detach the audio, extend the video clip underneath. I don't want the all you to be distracting, so just detach on you. So let's play this back again, okay? This actually doesn't look too bad. If you don't have an image underneath, you just see a black background. Sometimes this is a good way, Teoh isolate some adjustments you may need to make. I'm just gonna go back here and I'll show you how you can refine your key. So in the inspector, we have the sample color tool. So if we highlight that, we can draw a rectangle in the around the color that we want to remove. This will make more sense if I actually just pop it up over here. So click sample color and bring it over the green there. Let's see what happens if I do it over the white coat. See, it removes the white coat. So we wanted over the calorie one remove, which is green in this case, and now we can use the edge tool. So the edge tool we want one endpoint on and color we want to keep and one endpoint on color. We want to remove. So, like so and then we could just use this line to balance it just over there, and then we can start to experiment with other options we have here, so weaken experiments. So we see if we reduce the strength, it's actually not helping the image. If I die, all of the strength it is and you may or may not need to make these adjustments if you see they're not helping. The image image I have right now is actually pretty good. But you can see if you experiments with some of these tools. They may or may not help seethe spill level. When I reduce, it increases the green, and I can always just change it back to the fault. And there's a whole lot more options you can play with. There's light drop. There's Matt Tools, but I'm pretty happy, you know, with the basic green screen off the result that I have here. Okay, now that the images moving Aiken see, is a little bit of an outline there. Sometimes it's just a bit of experimentation you need to do. Don't be afraid to experiment with the different settings because you can always revert it back here. I'm playing around with spill level, and I can see is changing the color tones. Now there's some options at the bottom that you can expand, and they open up even more options. So the light rap softens the edges, and the streak and expand removes a bit of the outline. But it's a little bit too much. Every recording, green screen situations going to be different. And it looks like I'm gonna have to settle with what I've already got, which is pretty decent, I think. OK, so that's our basic introduction to the king tool. Again. Try to get the best lighting balance lighting while you're actually shooting your green screen shot. Try not to over expose, and that will make things a lot easier When you're trying to apply the green screen and final cut pro X, you can try manually set up your green screen using sample color and the edges. I think if you've done a good job, you won't need to play around with these tools too much. You've got a lot of other options over here just to tweak some things. I recommend experimenting if you're not happy with your picture, and you always have the option to revert back 60. 7.6 Luma keyer: this video, we're gonna demo how to use the loo MK ear effect. This is often most useful if you have an image in the foreground over backs by default, out of the image, sleek and superimpose the image over the backgrounds. There are two interesting examples that I figured out how I would use the looming key just by playing around. I think there's a lot of different creative uses for it. For example, I have this maverick image over the background of an aerial image, and I'll just show you how I actually got this look. So if you play this back here, you can see Phantom Drone with the image playing inside it. So I think that's pretty neat. Let's just go back and see how we got that effect. So because this is a four K aerial image, first thing I needed to do was just scale up my maverick image because it was too small. So I did it up, too. 156% see there. So just by increasing that it looks but more dramatic. Yeah, I really like that, and you also inverted it by clicking invert. It takes out the whites. But how did we get a maverick to white? I took the the fault. Let's just reset this over here. I took the needle and I brought it over closer to the bottom rights. So we got Mawr, the whites and focus. Then I inverted the Image and Walla. That's how we got that look. Let's go over to the Phantom and somewhere thing here. I skilled up the image and because the drone is white, able to convergent, that's what it looks like without inversion. And you can see what the settings are for the Louima. So you have a phantom image, and we have the aerial image inside the drone, so hopefully you can come up with some creative uses for the loom A kier. I don't often use it, but ah, we got some interesting effects using it. 61. 7.7 multi-cam edit: in this video, we're gonna do a multi can edit in final cut pro X. So for those of you who are not familiar, a multi cam at it is editing more than two camera angles in one project. So it's a common thing to do in interview where you have come. One focus on the speaker and you might have the camera switch to Camera two occasionally just so that people don't get to board of one camera angle. So to set things up, you can import the project files. I've got two different camera angles set up. No. In some camera angle setups, multi cam setups, they may have a separate audio source. This is not the case here. We want to keep things a bit simpler, and I've got the audio included in the camera one Videophile. So to get started, let's set up an event we can go over to file imports media, and then let's look for our files. Here are the two project files that were going to use to create our multi count projects. I've labeled them camera one in camera, too, and we're gonna highlight these both, and we're going to create a new event called Multi cam and just leave everything as it is and select import all. Once those files have been important, we can highlight both of them in the media browser. I'm just going to make that larger so you can see now. So this is camera one. This is the feed that has the audio. And this is camera two. We don't actually need the audio from that camera, but we may need it to sink with the camera one angle. So to start off the multi cam Pro Jack, we're gonna highlight both of these video clips. Right? Click and select new multi cam clip. Gay project. Name is multi event multi cam. And this is the important part here. We want to use audio for synchronization, and we're going to use the camera name to sort out which is which. So just got a little tip here. We're gonna just go back to the media browser highlights camera one clip, go to information. And there's actually a field here where we can just give it a name was gonna call it one and then do the same for a camera too. And this will help us Select camera one in camera to when it comes time to edit. Now that we've given our cameras name now we can go back to new multi cam clip. Just call it multi. We're gonna create it in the multi cam event Click use audio for a secret ization and leave everything at automatic. And I recommend that both camera angles, air shot in the same resolution and frame rate. We can leave everything the same and click. Okay to set up our multi cam project are multi cam sink video and audio clips. Now we're ready to actually create the project. We're gonna right click on this clip here that has been sink select new projects. So we set up our multi cam project by right clicking on the sink Multi cam clip. Okay, now we have a project with this clip with this square tiled icon. So that's exactly what we want. No, to kick things off. We're going, Teoh, display the angles. And now we can actually minimize this media browser just to give us more real estate and because we're just starting off the project and we've already sink camera one in camera to using the audio. We no longer need the audio from camera to, So we have that unchecked. And so now we can start editing this project. So I'm just gonna find our starting points. Yeah. Okay. Tips for doing a multi cam edit. Take one. Okay. That's why I ended the claps. Think there. And that's actually a good point to begin our projects. No. It's actually gonna be easier to apply some color graining before I start cutting up this clip. So I'm just gonna ply this look up table. And I was just ah, quick way of fixing up the color grading. Okay, Just gonna punk our scopes. Okay, let's just quickly fix up, are exposure. Looks like we can definitely bump up the highlights. And that's gonna bring our flush tones over to 75% the pump of the mid tunes a bit. Okay, we fixed up the exposure. Now I just wanna displaying my RGB parade. Okay. I can see there's a blue color tests. That's just style down this lot here to get things more balanced. Okay? And just a quick broadcast safe. - Okay , so I'm pretty happy with the colors. Now we can start to clip this project. So let's go back and display the angles. Now you can see in the angle window there's one and two. This is based on how we named it in the information area earlier on if we have more than two angles and we also had a separate audio feed, you see, here we have four tiles. We would see the third and fourth window where we can also switch to that camera angle. So the way this works is weaken. Bring the play head to the beginning of the project and we can use our one and two keys to actually trim and switch to that camera angle. So once you have this set up, it's pretty smooth and efficient to get going here. So I'm just gonna press the space bar to skate on this great Kong. And in this video, I'll give you some tips on how to do a multi cam set ups a multi camera set up, going to switch to camera two by pressing two. I quips, I just noticed that I messed up here, so I actually going to restart the project I'm gonna controls at to undo that last clip plane back. Okay, Now, I was gonna use the blade tool to cut the first portion. Okay, let's run it back. Hi. My name is Greg Hung. I'm in trouble, videographer, in this video give you some tips for doing a multi camp set up with just one person. So about every 10 to 15 seconds, I recommend switching the camera angle. So I'm just gonna press to to do that. Civically you have one camera that's facing the person, and then you might have another camera able to side shooting from okay. Switched to kill the one. That's this is a tutorial that you can look at the camera angle that's focused on the camera to minimize the amount and that pretty much we're just going to be clipping between two and one just by pressing the true and run keys. So I recommend or camera one. Okay, so we're just gonna skip through until I finish flipping with project between camera one and camera two. And then I'll show you a few more things before we wrap up this project back at our multi cam edit. I've finished making all my cuts, and now I wanted to show you a couple of different things. The first thing is that you always have the ability to change where you made the incision. You can make one camera angle longer simply just by putting your plea head on the timeline , and it's making the trim a bit longer. If you want. Teoh make camera tube but longer. And while you're actually making these cuts and the video is playing over in the angle area , you can monitor both camera feeds so that if you're messing up on camera one, that's a good time to switch to Camera two. So that's the advantage of having to camera angles. You can cover up something with camera, too. I actually, somewhere over here I'm looking at my notes. So I quickly switched over to camera two. So you couldn't I really see that as much. So over here I'm just gonna demonstrate how we can shorten this camera one clip and make camera tube and longer. Okay. And now the last thing is, we want to make sure we're getting the audio just from Camera one, where we had our live mike. We don't want the audio to switch to Camera two So if a highlight a clip with camera too, and we go over to the inspector, you can see that it's got the audio from camera to checked. But if I go to camera one, I'm going to see that the audio for camera one is checked. And that's the audio we want for all the clips. So I'm just gonna go ahead and select the entire project while I'm in the inspector with the audio tab highlighted. Now you see that we are some close with. It's half checked on two and one. That means that some have on your to checked and some have on your one checked. We want everything on audio One check. So I'm gonna keep clicking on this check box until it's empty and then on audio for camera one. I want a check for all the boxes. Now you can see over there. Not sure if you caught that the audio wave is now, even because it's switch to camera one from camera to to camera one. Okay, now I believe the project is ready to exports, but let's just finish the last step here. I'm going to go to commend E to export this project, and it's pretty much the same as exporting any type of video. You do just want to make sure that you've got video and audio checked, and then all the camera changes. The details are in the timeline, so just gonna select where to save it on your movies, and I'll just move this over to the project files later, I will call it Chips for filming a multi cam set up with one person. All right, so that covers are multi cam at it. So just to recap we filmed with two different cameras we filmed with the tripod and each of those cameras. And if you actually watch the video, I'm giving tips on how to on the production side on how the film, a multi cam set up from the editing side, we imported both camera angles. We did the multi cam sink and then we set up our project. We then applied or color grading because you can see there's a lot of different cuts here. So it's easy if you do the color grading first, and then we showed angles and then we cut them by switching from camera one to camera two. And we actually named the camera from the browser so that we know which is which. Okay, so that's her multi camp. Set up for a final cut, pro X. 62. 7.7 tips for filming a multi cam with 1 person: Hi, My name is Greg Hung. I'm a travel videographer in this video. I'm gonna give you some tips for doing a multi cam set up with just one person. So let's just start off with what the multi camps set up is. And why would you do it so simply, it's just to camera angles shot. Typically, you'd have one camera that's facing the person, and then you might have another camera angle to the side, shooting them from the side profile. But I've decided, since this is a tutorial, that you can look at the camera angle that's focused on the camera. So there's some challenges when you're doing a multi cam set up with one person. First of all is that it is difficult to set up the focus if you're the person talking from the camera as well. So I recommend for Camera one that you focus that on the person so your camera one would be your a camp for your better camera. I'm using the Panasonic GH five for a number of reasons. First, it has the flip out screen so I can actually see what the picture looks like while I'm recording it. also has a microphone inputs so I can plug a lab directly into the camera. So I don't need to record audio into this h five zoom, which means I have separate audio that I would need to sync with later. And we also have, um, a nice picture quality. I still have room on the hot shoe to place lighting over it and ah, my second cameras, the Canon SLR have got a 50 mil prime lens which has some nice boca. But it's difficult to focus if you just have one person. So what I'm doing is I just haven't focused on the camera on the GH five, so that's not going to move. So that's easy to set up. I also have my earphones plugged directly into the GH five so I can monitor the sound as I record it. Some other tips are to film both cameras in the same resolution. So full HD, same frame rate and if you can similar color profiles. And um, I like to use manual settings and ah, just adjust the exposure and the I s O so that Ah, if you have a light meter, that it's nice and balance. So right now I can see I'm using F 3 50 frames per second and 3 20 I So on the GH five and probably on the canon 60 it's an aperture f 1.4, but I think I'm using F 1.8. I saw 100 something like that. Okay, so those air some tips on how to do a multi cam set up with one person uh, las it will give you is that it's nice if the primary camera is within reaching this sense so I can actually adjust the focus and still see the picture. So I make sure that my picture is in focus. I'll probably look at the picture after and see that I'm not in focus, but, uh, yeah, those are some tips for filming the multi cam set up with one person. And in another video lesson, we're gonna show you how to take the footage from this multi cam set up into final cup, relax and show you how we can set up that Edits in final cut pro X 63. Intro to 360 and publishingb (L60): Okay, When it comes time to create your 360 video, it's important that you make some good decisions when creating the project. Otherwise, you may end up with a 360 video that is published and is not 360 capable. So an example is this video over here, which has been published using the default values with Final Cut Pro X. But it'll just show up as a video like this. That is not 360 enabled. So this is not what we want. And we have another example here which has been published in mono scopic mode, which should be 360 enabled. There we go. There I am. Okay, so just a few things before we begin. So if you are interested in creating 360 video, you will need a 360 camera. Like a sounds are 360 or a GoPro 360 camera. And if you're interested in learning more about 360 video, I do have a course about it while we are going to cover in this course is how do you added the 360 video? And we're also going to publish a 360 video over to YouTube and to Facebook. And to enjoy the 360 video, you do not need the VR glasses that you associate with 360 VR videos. You all you need is a phone or a laptop. Now if you're viewing it on your phone, you can actually just tilt and pan the phone to actually enjoy it. If you're on the computer, it's a different experience. You can actually go over to the platform like I am right now on YouTube. And you can just click the mouse, mouse over. And you can see you've got some controls here to turn right, turn laughed. Tilt up and down. Now if you tilt down too much, you'll see a blind spot right now. Okay? And if you go to Facebook, we get a similar interface. So we can pan. And you can see this icon here that's, that's also allowing us to control the experience. There we go. But this video is actually playing as soon as we press Play. So it's a really dynamic type of video. So let's get started. All right, so I'm going to start a new project and it's important that you. Set up your columns. If you don't see them. You want to see 360 mode and stereoscopic mode columns. Now, I recommend that you keep your settings on equirectangular and mono scopic. Now, I'm not the 360 video expert, but as far as I understand it, modest scopic is going to allow you to view the video with both eyes when you're watching it. If you choose stereoscopic, which is more geared towards having a different type of video being available for each eye if you're going to be watching on those glasses. So just for viewing it on social media, equirectangular stereoscopic is what we want. So we're gonna go through and create a brand new project. And we're going to try to select files that are all similar, resolution and frame rate. We can simply right-click create new projects. One, bourne Identity. Now it's important here that we select 360 video. We go with the resolution and frame rate that the video is projection 360. Microscopic arrives. We have a choice of stereoscopic and we're going to select, Okay. Okay, so now we've got our project created. Let's just resize our browser, give us more real estate. Something you should know about 360 videos is that you've got some different options here for titles, for effects and in the inspector. So let's start off with the titles. So in the tunnels you will notice that there is a separate section just for 360 videos. And we can actually just bring down title here, will relate and work similar to regular titles, but you've got a few more options. So you can go ahead and select a tidal drag and down. Please ignore this sunspot here. It was probably an issue when I was recording and also the sun. An effect of the sun going on the lens. That's what I think. Okay, so over here on the left side we have the 360 viewers. So if you want to open that, click on the View over here and just make sure you have your 360 viewer open. So this is the view that people are going to see on social media. The view on the right is more of our behind the scenes viewer that we can use to see how we're going to control the experience for the viewer. But the beauty about 360 video is that the person watching it, they can control the experience as well. So if we look at the viewer on the left, you can see that we've got the option to play around with us. Now this is not actually going to control the experience for the user, but this allows, this allows us to just look at it a different way. In Final Cut Pro X, we can see we've got different options here. If we want to reset the angle, if we've been playing around with things, you can see we can rotate it and we can just reset the angle at anytime by going over there. We also have the option to show the overlays. So if we want to look at the viewing angle over there, we can do that. So we can just reset things right from there. Alright, so the next thing we shared know about is that there are different effects for 36 C. So if we go over to our facts, we click over here, open up our facts. We can see that there are different 360 effects available to us. Now in this course, we won't spend too much time on the 360 effects. There's a lot to cover. We want to cover the basics first, and so I just want to make you aware of it. So another thing we need to be aware of is the inspector. So I have my Inspector open already. If you don't, you should open it with Command 4. There is a new menu for 360 feet. It's called reorient. So you'll see it over here if it might be compressed. So just click Show. And we've got different values for 360 video of tilt, pan and roll. So we can see how those are impacted by changing these values. If we tilt, we can reset it if we mess things up, panning as more traditional, right? So we can reset it. So this will actually change the viewing experience for someone watching it. Okay, and we're all kinda messes things up. Now that we understand how to control the reorient values, a better way of controlling it, that my personal opinion is to just do it from the actual viewer here. So we can click this icon over here. And we can do things like do keyframes, right? So we'll just keep things simple. And let's just say we want the viewer to look at me, right? So we'll just set things there. You can see it changes the pan value. And we can just reset the totes, the role. And got a simple title here. Probably want to change this. So to change the title, we can click on this icon over here, just like we would for a normal tidal 360 in the park. All right, so let's just expand that. And you see we've got the same options that we do have for a regular video. But there's some rotation options that we have. Won't dive into those too much. So there are some additional options here that you do have with 360 titles. So we've just changed this since you can see that we do have options to change the rotation here. And you can see that we've got the keyframe icon, so we can see the potential here. We can actually key frame things. So we've got 360 titles rotating, so we can get pretty fancy here. But just for our first basic title, we want to create a basic, published a Basic 360 video that works. So let's go ahead and just strip the sound for now. K. And then let's just shorten the video so it's going to be faster or you can just make it ten seconds long. And maybe you just want to move the title over there. All right, so we've got a basic 360 video. Let's just play it. Okay, So this title is rotating automatically. Okay, we're now ready to export and publish this baby. So we can either go over here or file share. And it's similar to a regular video. And we're just going to select video and audio. Sure. We don't have any audio in here. Let's select Next. And let's just set a location to save this in or an identity 360. Okay, so we're gonna go ahead and publish this over to YouTube and Facebook once it is finished, and it's actually almost done. So we're going to go ahead and open up our YouTube channels. I already have mine ready. I have a Facebook page. You can also publish those to your personal accounts. And yeah, you can upload it right over here. Now for YouTube, this is my YouTube channels is the backend. And see the video just finished creating. I can click create and upload. All right, so here's the video. This is what it looks like. So just playing it on my Mac on Quick Time, it's not 360 enabled. So we will need to upload it to either of these two platforms to enjoy the 360 viewing experience. So I'm just on my Facebook page where I think you can just upload it on your personal account to. So we're just going to select the file. Just quickly name and 360 in the park. Select Next and publish. Okay, that may take a little while just for the video to process. So let's head over to YouTube. Upload. And we can select the file as well. Same file, select Open. And I have to go through some publishing options here. So in 2020, May 2020, YouTube has some default options that you need a select. Now we're not going to dive into all the details here. As a YouTuber if you want to publish those properly, but at a minimum, should at least have your title, description links if you need, and a thumbnail. But you need to these days you need to select this radio button nodes, not for kids. Great to put some tags here. I'm not actually going to make this public because just doing this for the purpose of the tutorial. And we're not going to monetize, so select next, but we do need to select that option. I'm just going to slack off next. Now if you do select monetize, there's some mandatory questions you need to ask. Select Next, and we're just going to leave this unlisted. Okay, Now that is going to process and we can't view it in 360 until it is done. Let's head over to Facebook and see if the video is ready. It is still preparing. Okay, so we're going to let this video process and we'll come back and see how it displays on Facebook and YouTube. 64. 8.1 Importing 360 Media: Hi and welcome to this video lesson where we're going to import 3 60 video. This video is also going to kick off are 3 60 VR section off final cut Pro X Final cut Pro X has added new support for 3 60 VR beginning with version 10.4. So I'm excited to kick off this new section year and just sue start off. You may want to get your 3 60 media on a hard drive or if you don't have 3 60 video, I'm going to supply you with some files that you can test out for this video lesson. I've used two different 3 60 video cameras. I've used the 3 60 Fly four K. This is an orb shaped camera that you can actually get from best buy. And you can tell these files here which have already got set up. If you don't see this window, the media import window and this is the first video you're watching. You can access it from file import in final cut pro X file import media and then ah, I'm just gone to my internal hard drive and folder where I've got my 3 60 videophiles Now, when you have this window open, you may want to add some columns that are specific to 3 60 video files. You can do that by right clicking up on one of the columns, and I recommend adding 3 60 modes stereoscopic mode if you want to add the frame, size and video of frame rate as well and maybe even camera name. Okay, so these 3 60 fly four K files you can tell they were shot in a different resolution. Then 3 60 videos shot with another 3 60 camera. The Samsung Gear 2017. So these are the Samsung Files. They're high resolution Full four K. Let's go back up to the fly files and we can see frame rate there 24 frames the size as well as a 3 60 mode fisheye and the stereoscopic mood. So these air all monos Coptic and the video shot with the 3 60 fly our fish, I but the ones shot with the Samsung or Acqua Rectangular. Okay, so I'm going to look at the Samsung Files. I can play them back over here summat the tennis bubble, and I can tell this is a 36 2nd file. So I'm gonna select the tennis one one of the coffee shop and one at the gym. Okay? And these are full full four K 3 60 files. I'm just gonna pause out there, and we're just going to create a new event. I'm gonna call it 3 60 Samsung. And because thes follows air in my internal hard drive, I'm just gonna leave them in place and just gonna leave everything as is with select import . And this may take a little while. So when we rejoin, we can start looking at these falls in final cut pro X. So you haven't done so you can go ahead and import your 3 60 media. 65. 8.3 Adding title to 360: in this video, we're gonna be looking at adding text to 3 60 video. First thing we want to do is make sure we can see the titles. If you cannot see it, you can go over to window showing workspace and browser, or you can use the shortcut. Once you've enabled the browser, click on your titles and you'll see that there's a lot of different categories of titles. So I've put down a three D title over here, and we're also going to be looking at the new 3 60 titles. What the differences are so you can see here 3 60 and I'm just gonna drag it down to your timeline and then we can take a look. That's what we got. So I also have the Inspector Open command for if you cannot see that. So we're looking at the top right hand corner, and I'm just going to click on some of the text options just to contrast what a three D title looks like versus a 3 60 title. So with this 3 60 title, we have different options. We have distance. I'm gonna show you what that does, So if we look at the 3 60 window on the left. If I give this ah, high value of 900 9000 you can see it pushes the text further away was just make it 800 and you see it comes closer. So let's just put that back in zero and you can see we have an area. We can change the rotation. So this is a little bit different than actually changing the angle for the video clip. So you can experiment with that. If you want something similar to rotating the video clips, you can change this option from use rotation to use orientation. Okay. And you can also click the orientation icon over here, and we can try and move things around on the right window. But what we're actually gonna be seeing is on the left window on YouTube or Facebook in the 3 60 view. Let's go ahead and change the text. Let's just change it to tennis 3 60 And if you want to just things like the size of the font, the color that's just done like normal texts. Hey, wanted to say tennis there is 60 and I'm gonna ply one of my presets just to give this text accustomed look. So if I click the drop down over here, I'm just going to select the gold presets. Okay? Applied one of my presets, and let's just make this a little bit bigger, and we've added our title to the 3 60 video. 66. 8.2 Editing 360 Video: Okay, we have a 3 60 video in final Cut Pro X, and we're gonna go about how do we actually edit 3 60 video? I want to point out that when you're creating a 3 60 video, you can look at your clips in the media browser and you can see this Icahn here. So when you see this icon, you know that's the 3 60 video. I'd also recommend that you list your clips in less mode. Well, we want to make sure is that they're set to monos Coptic ECU, a rectangular, so we can do that by scrolling to the 3 60 mode and stereoscopic mode. And if you do not see these columns, you can add them over here 3 60 mode and stereoscopic mode. Now, at the time, the most common settings, like a setter, Akwa rectangular and mollusc OPIC. So you want to make sure your 3 60 clips are set to those values and then once you've set those values, you could just change them on the drop down here. Then we can go ahead and create our project. I'm just going to go back to the filmstrip view, and you can right. Click on a 3 60 clip and create your project. Normally, final cut Pro X is smart enough to know what type of clips there are, but this is a very important thing. You want to make sure you're creating a 3 60 project and then select the appropriate resolution. Based on what? 3 60 clips, your shot. I'm just gonna set this to mollusc OPIC and I'll hit. Okay, I already have. Ah, project set up here and you can see that it's ah Ultra four K project. And these are the values that have set it up for 3 60 ultra four k 23.98 friends for second . And it's monos copping. Okay, Once you've done that, you can go ahead and bring your 3 60 clips in the timeline I already have. And editing 3 60 clips is very similar to just editing regular video clips. I'm gonna show you a few different things about editing 3 60 clips. I'm just going to go ahead and hide the browser, okay? So you can go ahead and lay them down, just like you can read the regular video clips. You can also trim your video clips just like regular clips, you can undo them. If we look at the clips in the timeline, you'll see this icon over here, which is also over here, where we would normally see transform, cropping, distort. And we also have the option to select the 3 60 viewer, which I recommend. So we'll enable that. So let's talk about the 3 60 viewer. The 3 60 viewer is going to give you the point of view from a 3 60 enabled video. So this is what you're actually going to see. If you hop over to YouTube and you view this video over there, the viewer can also change the angle and re orients the 3 60 video to their liking. We can also zoom out and zoom in, and we can also click and drag to change the angle. We can go ahead and reset the angle, and this information over here is what we call the overlay so we can disable and enable that. But if we change the angle in the 3 60 viewer, this is not actually going to set the position. So this is just more of a display. The actual angle or orientation is controlled in this window here, the right window. So there's two ways we can change that's orientation so we can highlight the reorientation icon. And in the right window we can click and drag. We can change the handing value, and I recommend you have your inspector open. We're just gonna scroll down to the Orient area so you can see how these values are changing. When I'm clicking and dragging on the right window, notice how the panning value is changing. And if I click and drag down, this is gonna just the tilt and the role. If we get a little bit too crazy, we can always reset the orientation. So we just school over to the inspector and click Show and let's reset these values over here. Did you want to be a bit more precise? You can also change the orientation by setting the value, or you can move the wheel. So if we change us around, we're just basically handing. So if we look at the left window the 3 60 year, this is what we're actually going to see on YouTube. But it's controlled by either the inspector or by clicking and dragging in the right rear window. So I'm just gonna leave it there, maybe just drag it over a little bit. So we're looking at the tissue box, then angle it down a bit more just to emphasize tissue box. Okay, I've added some transitions here. This is the same as adding transitions in a normal video and on this clip here that set up the orientation. So we're looking at the coffee, and if you move over to the third clip and see in the right window, you can see myself. But what we're actually going to see on YouTube is the actual players that are playing hockey. So I would recommend laying down your clips and try to change the pan or tilt or rule values experiment with it. And when we return, we're going to be looking at adding titles and effects to our 3 60 video 67. 8.4 Applying 360 Effects: we're going to add some 3 60 effects. Or maybe we'll just add one. But we'll just look through some of the effects now that we've got our base project set up in 3 60 So to begin, we're going to open up the effects browser. You can do that by just pressing command. Five. So when we press command five, you can see our regular effects. But with version 10.4 or above, there's now a new section called 3 60 Well, look at this 3 60 degree patch later, that one is a little bit more involved. And just like our regular FEC's, we can actually preview what it's going to do just by mousing over. So this is our regular Gaussian blur. Let's look through this one here 3 60 aura, taking a little while to load. That looks kind of cool. It's just dragged that one over, okay, and you can see in the inspector that we have some options to play with. So it was just scroll through or the effects. So we have one for sharpening. There is a glow effect, so these aren't too different from what's available for regular video clips It's nice that we can no do this in final cut Pro X. I'm gonna add a Gaussian Blur. I'm gonna try to blur out that tissue box, but I think it's going to blow the entire clip. Yes. So it took a little while and take effect. And the blurs on everything, Not exactly what we want. So let's just see if we can use the shape mask it was. Take that off first and at a shape mask over here around the tissue box. So to make the mass more squarish, I'm going to move this control point and just reduce the border between that outside and inside box. Oops. But with sluggish here. And I think that will do it. So we have applied some effects titles, music transitions to our 3 60 video, and now we are ready to export it. So the next video we're gonna go through how to share this 3 60 video 68. 8.5 Exporting 1st 360 Video: moment is here, and we are ready to share our creator 1st 3 60 video. So it's actually quite similar to just doing a normal export or share so we can go over to the file share menu. Or you can use the short cocky for command E. But let's just go through and look at our different options. So we go to file share. We can see we have the different choices now, just some background experience here, having worked with 3 60 videos before the platform that you share it out to House to support 3 60 video and Facebook is one of those platforms. Aziz well as YouTube now final cut Pro X version 10.4 and I'm suing higher in the future we're using tempore for at the time of recording 10.4 and above will actually inject the matter data. So what that means in plain English is that final cut Pro X will put in the 3 60 information so that platforms like YouTube and Facebook will know this is a 3 60 video in the past would actually need to download and install a separate program to inject manner, Dana so that platforms like YouTube and Facebook would know your videos 3 60 And so it wouldn't look all warped when you actually watch It would act like a 3 60 video. Another thing I want to point out is that you do not need those 3 60 VR classes to enjoy this 3 60 video. Of course, it gives you amore immersive experience, but you can still enjoy this from your smartphone or your tablet. But you need to open a YouTube video using the YouTube app, not YouTube. Open up on a Web browser. Okay, so let's just go ahead and I'm gonna select master file. Okay, so over here, we can just change the title. I'm just gonna put Samsung can see specs and the frame rate. Let's go over the settings. We're gonna include video and audio. Leave it at age 264 Projection type is equal rectangular, so everything looks fine. Let's go ahead and create this video. You know, what I could have done is I couldn't Could have actually just shared it over to YouTube as a destination, but I prefer just to create that file. So I have it on my hard drive, and then later on, I just haven't handy. I can just uploaded later. So in next video, just to recap, we're just going to cover the upload process in YouTube. 69. ADVANCED 360 VIDEO PROJECT: All right, In the last lesson, we created a basic 360 video. And now we're gonna get a little bit more advance. We're going to add some more clips. And we're going to add some music. So we've got something a little bit better to show that we can actually publish to our channels. So let's start off by getting some music, file imports, media. And let's just find a track. I will supply you with some music that you can use. Let's just check this. Okay, let's just go with this one. Added to the same event. Just add Import selected. And we have our events. Have the truck in our event. Okay, so I'm just going to drag this down to the project here. All right, you can see you don't have as much real estate now. We've got our browser, but I will change things after for now, I just want to select some clips. Let's do one where you put more dynamic, where we're riding the bike. Let me just check that this is a similar resolution. Spyglass. Yep. Okay. So I'm gonna select this, drag it down. Let's select a few more here. Another bike riding one. Sure. They can just select the portion that we want. Drag it down. I'll just clean things up in the timeline. See if we can find something. But different. This one's nice. I actually took these during a bike ride and around the Vancouver seawall, which is this really beautiful in the summer. Okay. This one's also select one more. I believe I have one in a coffee shop. So let's search for coffee. Or Starbucks? No. Okay. Might be easier to go to the film strip. Here, this. Okay, let's just go to Lists mode and double-check that. Yep, this is the same resolution and it's mono scopic. So I'll also bring this down. All right, so now I've got my clips in the timeline. Let's resize our columns. Let's zoom out Command minus to get more real estate. So first thing I will do is I'll just strip the audio by highlighting them and taking out the audio. That one still has audio. So let's take that out. All right. So let's just start laying down the clips here. This can be a pretty basic video. Okay, so we've got seven seconds in here. So let's go to transitions. And we also have 360 transitions over here. So we're going to have some fun and see what these do. So let's just put a transition in between these two clips. Let's see what it does. You can see out of the box. It's pretty impressive actually. So we highlight the transition. And we opened the viewer. We can see we can change the angle that it's starting from. And we can change the direction, can even change the speed. So a lot of options to play around with the transition here. Alright. So we're going to resize this. So I can see in the the viewer that this is not a nice experience for our person watching it. So we gotta change what perspective they're looking at. So I'm going to highlight the transform. And we still got our traditional options here, but I've got the reorient selected. And now I can change the angle here so that they're at least looking straight ahead to begin with. And now I can change the role. So it's bit more level. Maybe something like that. So that at least the viewer is looking straight ahead. All right, so let's just try it out a bit. All right. Now this club, I think I want to show on actually show myself. So on this, change the angle there. Alright. How about another transition? So because we are going to be going directly to another clip, let's just use a slide. Okay, so we're back to bike riding. Okay, so let's change the angle here. So let's highlight transform, the Orient icon. And you can see it's a bit misaligned, so let's adjust the role. There we go. That's nice. Little trick. You can press L speed things up. So it's actually a nice bike trail in Vancouver, Ontario Street. So I'm just speeding through this. And all right. I'm just going to trim it a bit. All. So we want another transition here. Let's choose something different here. And let's see what options we have for this transition. Transition. But we can change the starting longitude, the speed. Let's ease. And N. There we go. So this is a time-lapse, Very cool. But it's not the angle I want. So again, we're going to click the Orient icon and let's just change that angle. Okay, so what I will do is I'm going to cut this clip. I'm going to use the Blade tool because I want to show two different angles so that our blade tool, so the first part will be myself. And then the next clip. I'll just show you what my perspective is over there. And you can see it's a bit messy lines versus just the row. All right, Great. Okay, So let's just capitalists video off and fade it down and fade to black. And let's use one of these 360 titles as a whole, the action. So let's take a look at what we have here. Like this rotate one. So let's put that here. Let's change it to subscribe to see more 360 videos. We click there. And we can see that it's a little bit hard to see. So we can actually change the substance versus changed to match the type of atmosphere where n, and we can change the type of word k. Let's change it to red word and give it a drop shadow. Say we've got all these extra menus we can use to change some options there. Okay, Let's just reset that. Change it to a lighter color. Alright, what's going on? So scribe to see more 360 videos. Great. Change that title. Little bit smaller. Okay, great. We're r