Getting Started with Final Cut Pro X - Beginner to YouTuber

1. Introduction: Hello there. My name is Tom Hartley and thank you for joining me today to learn how to edit with Final Cut Pro X. Now as a little bit of an introduction and a background, I'm a YouTuber or use Final Cut Pro X for every single project that I put online. I've also been using some form of the final software for over a decade now. It's an incredibly versatile piece of software and super easy to get to grips with. If this is your first experience using a nonlinear editor like Final Cut Pro, you're really going to enjoy this. Whilst this is exclusively for Final Cut Pro, the fundamentals that you will learn in this tutorial are applicable to other non-linear editors. All that might change is keyboard shortcuts and things like that. I believe the video editing is an incredibly versatile skill and it's something that is becoming more and more common now that screens are everywhere. Every app is vying for our attention in the form of video and visual media. There's never been a better time to learn such a versatile skill, such as video editing. I've studied film and TV production at the grid level of work within the TV advertising industry. And I run my own YouTube channel. But the best thing is that you don't need any of this experience to get started. I'm gonna be sharing my tips and tricks that I've heard over the years to make this as fun and as engaging as possible. If you're new to learning any type of skills are working with brand new software. Video editing is super easy to get started with. Today's technological age, people are insistent that you need to learn how to code or you need to learn how to make websites. But these kind of practices evolve you learning home languages and invested in so much of your time. Whereas I can pretty much guarantee that with video editing, you can open up the software in the morning and you'll have an edited piece of content by the afternoon. It's that simple. So that further ado. Let's crack on with the course. 2. Why FCP X?: Now before we blew up Final Cut Pro X, I just want to suggest a few reasons why I use it and why you would want to consider using this piece of software to you may know that there is other video editing software out there, such as Adobe Premiere Pro Da Vinci, Resolve, etcetera, etcetera. Who firstly, the fundamentals of editing remain the same across any editing platform. Doesn't matter if you're using Adobe or the Apple choice, which is Final Cut Pro, effectively you are cutting clips or video footage down into digestible format, creating some kind of a storyline so that your viewers, wherever that may be, wherever that is for television, for YouTube, I can have some kind of engagement with it. The only real notes we'll difference is the as you get deeper into that software package, there's gonna be some unique features to it. In today's video, what we're going to learn is gonna be applicable to any nonlinear editor. Just the layout and maybe the keyboard shortcuts will change ever so slightly. Secondly, I've been using some form of The Final Cut Pro package for over a decade now. And other than a major update about ten years ago when we went from Final Cut Pro seven to x remains largely unaltered. Final Cut Pro X is only available for Apple computers, so you do need to be having a MacBook, Mac Mini, as I've got here to be running in this piece of software. So before we get started, you might be wondering, why should I choose Final Cut Pro? Could I choose Adobe Premier was the difference between all these editing softwares. It is a personal preference. And to be honest, adobe Premiere might actually be more universal, more versatile as it's available for use on Windows and Mac operating systems. Whereas Final Cut Pro is only for Mac operating systems. However, if you've come from a Final Cut Pro background, I think you'll get on with Final Cut Pro much easier. The reason being is that it's very apple like in this design, in that it's very intuitive. I think you can probably open up Final Cut Pro and have a pretty good stab at editing a video while even watching my Skillshare class. Secondly, I've been using some form of The Final Cut Pro software for over a decade now, and in that time it remains largely unaltered. Thirdly, you pay a one-off fee for the software. It's around 200 pounds in the UK. I purchased my copy about nine years or so ago and I've not had to pay any extras to upgrade it. That one-off costs has definitely pay for itself in the amount of work I have generated using Final Cut Pro. Lastly, no matter what non-linear editing software you use, a lot of the skills we're gonna be covering here are transferable. There will be different is maybe how the layout of the software is, maybe some functionality and plugins and keyboard shortcuts that will vary, of course, from system to system software to software. But the full we open up our software to make the most of this course, I'd highly recommend filming some urine content to get started. 3. Class Project - A List Video: Now before we get started with Final Cut Pro, at highly recommend that you film some kind of content that you can work with. Don't worry, if you don't have an amazing camera, you can do this entirely on your phone. Of course, every smartphone is pretty capable of some really good video recording. And if you can, I'd also recommend using some kind of external audio recording device, or perhaps just plug in your headphones into that smartphone. It will make the audio much, much clearer and that will make your video much more engaging as a result, in terms of a topic, one of the easiest videos I find a film is I list format video. So that could be seven things that I enjoy about my job. I things that I love about going to the gym. Any topic that you really like talking about would be perfect for this. Now how about grep, whatever, it doesn't have to go on the Internet, but it will just mean that you're filming process. And of course, the idea in process, it's gonna be much more enjoyable as a result. Once you've done that and again, before we open up Final Cut Pro, we want to make a folder and neatly arrange all of our assets. So I've done that here on my desktop. I sometimes edit off of a external hard drive, not doing that today because it's quite a noisy hard drive. I don't want to interrupt this recording. Inside of this photo. We've got all of my assets here. The most important one is I've got this one called Z v1. And Z v1 is the name of the camera I'm using a Sony Z v1. We can preview that. And it's about 25 minutes of unedited footage here. It's about autonomy and how it might be a ten minute video. Who knows? I've also got my audio recorded separately in this folder called road. And I've got other things as well, such as sound effects, soundtrack, which will be musical potent top, thumbnail if we want to make a farm now, later on for YouTube, creating a project file like this is a really good habit to get into. It just means that you haven't got files on pen drives, on an SD card out of your camera, some stuff on a hard drive. Putting them all into one project file means that they are super easy to locate and that will make your editing much more efficient as a result. Now let's pull up Final Cut Pro. 4. Opening FCP X and Learning The Interface: Okay, so we're going to do up Final Cut Pro. I've just got it here on my doc. Now, you might not be great if the screen, but what is just telling me is, would you like to open a library? It's got some previous projects that I've worked on. Final Cut is saying, maybe you want to welcome some of these. We're just going to cancel this because I don't want to work on those on any of those projects. We're gonna start with something brand name. Before I'm Paul, any files, we're gonna have a little look around the Final Cut Pro Layout. You will Final Cut Pro might lay out a little bit differently, but as you get to grips with the software, you will start laying it out on customizing it in your own way. Now, let's go through some of these pains. Along here is a side bar and that will be showing some of our files or libraries. And things like this button here will show some music sound effects or effects we can put on top such as titles and generators. There can be things like shapes. We'll get into using some of these later on. Next, that is a pain that then shows what's inside of these folders. When we import footage later on, it will pay ahead. This is actually called our browser. The browser, so we can browse files. This screen in the middle here is called a viewer. The viewer is where we view, of course, our footage. Wherever it's brand new footage we've just imported, or if it's footage that we are editing on the timeline. The timeline is effectively the crux. There's nothing of course on this timeline at the moment, but the timeline is the crux of all non-linear editing software, whereby you lay your footage out on there and you can then cut bits out, trim it down, add music onto it. And that's where you get these different layers on your timeline. That's where the editing magic happens per se. Top right corner here we've got something called the inspector. The inspector, as you might know from using Apple software in the past, will show you different attributes of your footage or maybe a transition. So when you go in, you could load up a piece of video and it will tell you what the attributes are of that video. And there's also different controls you can have in there. So you can zoom in on bits and pieces that will all become much more apparent later on down the road. I've got an audio meter here as well. Yours might not load up with an audio meter. And to be fair, at this stage in the edit is not that important. I generally do a lot of audio balancing towards the end of the edit. That's cut out a rough layout. You can get rid of some of these panes by clicking different things, but it will all become apparent as we go through this. Now, let us start by ingesting some footage. 5. iCloud Drive Issues To Look Out For: Now I know that Final Cut Pro can sometimes get a little bit fussy with working off the desktop. I know that my desktop is linked to iCloud Drive. So just to be safe, I'm going to put these into a movies folder. And all my assets are going to move into that movies folder. That's a safe place for us to edit it stored locally on my Mac. And that way, final cuts not going to have any issues with finding that media. 6. Importing Footage: We're in this blank screen of Final Cut Pro, and ideally we want to import our footage so we have something to work with. Now you'll notice if you go to file of a top, where do you go to Import? It's not letting me import anything grayed out. And the reason for this is the final cut. Once you to put it inside of a project file or some kind of media structure. If we go to New File, New, you will see the only option available to us is library. Now these terminologies can get a little bit confusing, but I'll go into these in a little bit. Essentially it's a library is the master file, if you will, folder events sit inside of libraries and projects sit inside of events. We go for a new library, call this number 57. I call it 57 because I number all of my projects. So I have a separate Excel spreadsheet where I can track all these numbers and put additional editing notes. We'll put it inside of that folder that we looked at earlier. So this is all of my assets that we'll put that inside there. That's now created a library of Final Cut Pro library inside of that folder. And this is what we're looking at. Now you'll notice a few things have changed on my screen now. The inspector is now showing us symmetry about this library where it's stored and stuff. Just ignore that. What's sort of important? It's just what's happened here. Now these things happen automatically in Final Cut Pro, this is just a default. You have something called a smart collection. And this has to do with how we can organize media and Final Cut Pro, you can add things like keywords to your immediate. Is it a day shoe? Is it a night shoe? And these great tools as you get further in your final car journey because it can help you just make your editing process much more efficient. Find the clip that you need. We won't be needing that, so I'm just gonna delay that folder. And in this hair with a tie on it, this is today's date, the 25th of February 2022. This is an event, but it makes an event as a daily thing. I sometimes rename these to wherever the project might be. So again, we know the project is going to be 57 reasons. But now we get this all important button here, Import Media. I can either click this button or I can go up to the top and go File Import Media. There's even a keyboard shortcut as well. So there's more than one way of doing this. We're going to import our media and we just go find that folder where it is in my movies folder. 57 reasons. The two bits of footage I want to import the moment are the two types of media. I want to import the video track, which is in Z v1. I have not named it and it's very bad with me, but ideally you want to name all of your footage. And I also want to import the audio track. This is actually, this is a kind of a cool feature as well in that uses too much, but just to make sure I've got the right piece of content, you can just apply for it and skim through it to make sure that is 101 impulse, which I know it is. There's also this audio track here which I recorded separately on a microphone. My microphone that we want to import by just holding down the command key there that allows me to click another file, important both at the same time. You will see that on the right-hand side here, there's a few different options we can do on the import process. Because when you import, Final Cut can be really efficient and do certain tasks on the impulse. I've chosen it or it's currently selected to add to an existing event. 578 reasons. You can choose to make a new event. You can say, I want to make a new event in there and call it something else. That event might be a shoe or it might be that you've had a whole day of recording five different topics and you want an event for each single topic. In this case, we know that 57 is gonna be absolutely fine for us. Let's not over complicate the process. There's also a few things here like copy to library or leave files in place. By using lifo is in place. It's going to reference to the folder where those files are. So I know that those files are stored on my Mac. It's not going to copy those files. If we said copy to library, what it will do is it just copies those files into our final Cut Pro Library. This is our ideal if you're working on a hard drive or you're sharing hard drives with people because then they have a copy of those files to work from. Other things as well. You can say inhale it, you want to bring in some keywords as well. These are ticked by default. Don't worry about untaken them or moving them. You can analyze stuff like balancing the color, find people. We're gonna be doing some of these things later on anyway, such as balancing color. You can also ask it to transcode media as well, such as creating proxy media. Now mine is set by standard to a ProRes proxy. This basically means that when it important, it will actually make a low resolution form of the file. This is very handy if you've not got a very powerful machine and you're ready in your original footage is in for k, then it will make a low resolution copy of that file. So it's not having to play that massive file every time you go through. I'm just going to leave that as ticked, but do check the requirements of your machine or the specifications of your machine. If you've got an older Mac, you might find the fork footage will struggle a bit. 1080 footage, you should be fine if you've got Final Cut Pro X on your machine and that's running the intensity should be okay. Of course, video resolutions against that in a bit. You got to fix that frame size. That's just how much it scales down. For a smaller thing, analyze audio, fixed order problems and stuff like that. We're not gonna do that. This is just if you want to be super lazy and efficient, but we're gonna be learning how to do all this. We're going to go Import selected brush. It appears here in my browser. I'm just going to zoom out using Command Minus that allows us to just very quickly say outfile clips there. Now that we've got our footage imported into our event, we need a project editor. Now. A project which we can see down here, it says new project is effectively your timeline. And you need to make a new project of sorts because that timeline might have certain characteristics to it. We can think of projects. It's kind of like our lens of how our footage will turn out. You might make multiple projects because you might have the same piece of content, but you might want to stick it on tiktok. Tick tock of is of course a portrait layout. Your project would be portrait orientation. Then you might want to make another project for YouTube. And of course, YouTube is generally landscape. That's why you might want to use different projects. Or perhaps one might be going off to TV, in which case it might be just 1080 format 1081 might be going onto the internet, in which case you can do it in four K. Projects allow us to change the characteristics of footage. Different ways you can make a new project. You can either click New Project down here, File New Project appear. There is of course a keyboard shortcut as well. Now, um, I'm gonna be calling this I reasons, but at the end I'm just gonna put YT because I know that it's future. There's different things you can say here is obviously going to go in the event a raisins and it's got a low grade out, 57, which means 57 is our main library. Starting timecode, just leave that as 0. You've also got different settings here. This one's important video set based on the first video clip properties. Basically, what that will mean is that when you drop a video onto the timeline, it will automatically set that project to the resolution to the settings of that video. If you film that video in a very high-quality for K format as I have, it will automatically make that project the same resolution as that video. If you film it in ten, ADP, might get the same. They're similar thing with audio. Let's go audio rendering. This is all perfect for us. We've already got our separately recorded audio. Anyway. You got to use custom settings. And this is if we were to say to force it into a particular size. So sometimes I will have a mixture of footage or we use for k and ten ATP footage inside of one project. The whole video might have for k and tonight's footage. If we set this to just 1080 and we put for k in it, it will actually downscale it. So this is where you can manually set up your project and say, Look, it must be for k Because I know there is for K for h going in there. As I know, the very first footage that I'm going to be dropping onto my timeline is for okay, I'm gonna be more than happy to use automatic settings because it's going to set it based upon the properties of the first clip. Push our timeline here, you know it's a timeline because across the top, on the top line, there is time there. And once we took this on to drop footage onto here, it becomes more than obvious. That's setting up our libraries, our events and our projects and also bringing footage into Final Cut Pro. Next, we're going to learn how we actually get footage onto the timeline. 7. Synchronizing Video and Audio: Okay, so we've got a library which inside of it has an event. Inside of that event is an a project. Also within the event folder is our media. So we've got our video and we've got our separate audio. Now if you haven't recorded your audio separately, just skip this step and go on to the next chapter. If you have recorded audio separately, we need to synchronize both this separate audio and our video before we do any form of cotton, if we start cutting about video and then realize how God we haven't put the audio with the video is an incredibly time-consuming process. Big mistake. We don't want to do that. Since these two together, final car actually has a synchronous feature, There's multiple ways of doing this, but what we're gonna do is using the command K, We're going to hit the or click on the audio, and then we're gonna click on the video. You've got both these two bits of media selected will go up to the clip. Piling up here, there's a little button here that says Synchronize Clips. Will click on Synchronize Clips. And it's basically saying we can rename it and some are synchronized clip. I'm going to call it some bit better. I'm just, I'm just gonna call it synchronized clip. I will tell you me inside the event 57 reasons that's co-star in timecode. Perfect. We are going to use this tick box here which says use audio for synchronization. And because our video camera does have an in-built microphone, it can use that audio track, this recorded. Compare it with the audio track from the external microphone and line the two up. The second tick, it says disable audio components on IV clips. What it's gonna do with that option ticks, It's going to obviously sync up those audio track. And once it sync them up, it's going to delete the audio from the camera. We don't need the audio from the camera because it's pretty crap. Call it E. So I'm happy if that's happened. Again, there's some custom settings here. We're not going to touch those because I'm more than happy with the settings It's given me. Hit Okay. It will then analyze and hopefully line that up. Bosch is credit as a synchronized clip just up here. If we apply that back. Sounds good to me. It's worth, when you do this, it's worth going through all of your content and ensuring that it does sync up correctly because some audio recorders, we'll record a different speed to your camera is not always guaranteed. It's for this reason I sometimes like to manually do this on the timeline, but that's an incredibly time-consuming process. This should be perfect. But just check towards the end of the clip as well. Very accurately calculate how wrong. Sounds good to me, ready? And that is how we synchronize our audio with our video. 8. Adding Footage to the Timeline: We've now synchronized our audio or video. This is the file that we're going to use to start doing our cutting onto the timeline. I'm just going to close this disclosure triangle here so it makes it a little bit simpler. You will see that our project here is blank. It's got this little arrow here that looks a bit like one of those capabilities you get in the movies. And that's just referring to this project here. We can, if we wanted to just drag this entire clip onto our timeline like that. The only issue is I know there is a lot of rubbish in here, more relevant than ever, the needs cutting down a lot of blank spaces in here. I'm not doing much. We can't do it on the timeline, but it'll get a little bit messy. So we're gonna go back, just press Command and z. That's the undo. K4, apple by the way, or Command Z to undo. Okay, What we're gonna do is we're gonna use something called in and out points. And we watch through this footage from start to finish and we just cut out all the bits that we think are quite good. But there's a way of dealing with keyboard shortcuts. So it makes this system a lot more efficient. Now, I'm going to zoom in on this clip because it's quite small. So if we use Command and plus, make sure you're clicked within this browser section here, click in the browser, press Command and plus, and that will zoom in on that clip just gives us a little bit more of an element of control. We can scrub through this. I've got audio scrubbing turned off, I believe. But basically you can actually hear this if you go to I believe it's under audio skimming. There we go. Julio, skimming mu minus horrible noise. Some people like it because it was not actually clicking anything here. I'm just dragging this play head low red line that you can say that for the first edge, I'm going to turn it off. It can get really annoying, really, really quickly. Starting right at the beginning of the clip. Just click once at the beginning there were clearly selecting this clip in July. I'm just going to close this box here as we can see a little bit more. So we just show or hide the library sidebar. We can even drag this pain a bit smaller so we can see what's going on here. What we're gonna do, if you just press the space bar that we're allowed to stop playing for your footage. Spacebar will also stop. We want to do is we want to get to the point where we know something good happens and we want to cut that out of this video. Lot more rubbish may send it up. This is where we can use the skimmer. Actually. I can still see it where I start talking. I see why I say that. When I think this is the start of something good, I'm going to press, I'm going to obviously click to that area. So now you can see there's a little white play headed in that area. I'm going to press the I button. I stands for in. And what we're gonna be doing is creating an in and an out point I and O. And the reason is it will select a range along that clip and then you have defined what's good in that clip. Because I've now set that as our input. And I, when I press Play, it will play from that point. I'll I got that one wrong, so that's not a good take. Let's keep going. Apply again. We can skim back to that point. Zoom in a little bit. I'm gonna put my either become a map of London inside your head. That's not a bad time and I'll just pause that layer by pressing the space bar. I love that take, I'm going to press O now because I've already put an end points is going to be my out point. You will see that yellow box goes to that area there. That's a good point in that clip. Now, we can put this on the timeline multiple ways that you can do this. You can either click that yellow box and drag it to the timeline. It will just take that small paste there. We don't want to do it that way because if you keep dragging, that will take quite a bit of time. So we're going to command Z. We are going to use the WK. And I'd like to think w as right, It's gonna write it onto a primary timeline, this little black bar here. Ensuring that this clip is selected, we press the w drops extra on the timeline there. Cool thing is, is that because when you drag and drop it can be a bit variable where you drop it, it might move out of place. If we select more clips. Clips TO in person. Again. Well, give me age of various apps and sat down. And we could take, we start again, the age of sadness. Really any point in doing that? What did this video I'm going to share with the reasons. This video I'm gonna share with you, right? Reasons. Part of that beginning part. In the age of various apps and sadness. Sadness. Any point in doing the knowledge, I'm going to use that part. So I put an out point there. Oops. Point rule base. That's my that's my out. And just making sure where that play head is because what will happen if you press the WK? It will pull that clip to where that play head is at the play heads at the beginning and I press WE it puts the clip in front in front of whatever clip we've had that. Put the play head at the end. It should snap to the end, press W and it will add it onto the end, which is exactly what we want. We're going to go through the rest of offer is doing this video. I'm going to share with you. Now a cool feature I have enabled, but I'm pretty certain won't be on your final Cut Pro at the moment. It's these little orange markers here. These are great reference point because it shows you what I've already put on the timeline. So I've put three clips in the timeline. So I can say for Eclipse, and you can even click on them. And it gives me that range I've used. To enable this feature. You just want to go to View browser and go to used media ranges. If I click that, that's going to turn them off for me, but we can turn it back on view, browser used media ranges. That's a really cool tip because then you know that I like I've already got that there because all of this footage from start to finish looks exactly the same on first input. To make sure I don't know doublet my workload. That's a great feature to turn on. Now, is quite long and time-consuming to go through this at normal speed, especially as I filmed this, I should have some indication of what bits I screwed up on. Another little tip is a little bit faster and a bit more efficient. And that's all video I did. And is it the end of the day is efficiency is that we can use the keys J, K, and L will specifically L. What l will do is that it will stop playing a regular speed if you press it once. If you press it a second time, it will then double that speed. Because of seven others prefer speed. Another time it goes double-space. You can still hear what I'm saying. I am currently I'm working at and you can see that I screwed up, but I've just gone through that clip in double speed makes a massive difference, z or efficiency as an editor. So let's go back to second take. I'm going to put it in point that I just to be safe, randomly. Begin by having pretty lazy. And I know there was a little clip there, but maybe and lazy. You find incredibly lazy. You can press K. K is your stop there. J is if you want to for some reason do it backwards, but k is the stop. And as we're going through this process of finding our in and out points dropping on the timeline. Don't worry about being too precise at this moment. All you're doing is just roughly in the clips out of your footage. Once we get them on the timeline, we can be much more precise about cutting off too much pauses and things like that. Also, if we don't put enough footage on the timeline, you can extend it and go back a little bit and get, you know, in case you cut off the beginning of your sentence. So don't worry about being accurate at this stage. This is just more carrying all the pieces that you need on the timeline and then datum with them lighter. It doesn't matter if I duplicate these clips because I can get them out of the timeline later on. What does Matt as is I'm just cutting out all those pauses in-between my tics basically, as I'm going through each time they're like I'll press I where I think the start of it is if I screw up, you can just press I again. So your fingers on that. I just waiting for the right point and then once you get it, you'll get into the flow of this as you do more of it. Let's try them always ask there, but as you start getting for it, you don't even need to pause the footage. You can just let you go. I o w i o, WOW. Is pretty cool. 9. Tightening Your Edit: Now that we've got all of our footage onto the timeline, it looks something like this. Now, as I said earlier in the in and out points process and putting it onto the timeline, this might not be perfect. You might need to go through and trim out a few clips, and that's what we're gonna do next. We're just going to really hone, get out some of those pauses, those silences, maybe get rid of some bad takes. But before we do that, I'm gonna be using the audio waveforms to help me inform my ideas because that's a really good visual tool. First of all, we're gonna zoom in on this timeline. Best keyboard shortcut for that is Command and plus it just make sure you're in the timeline area. Just click it to the timeline anywhere. Command Plus, and you can keep going right the way in. Let's take the very first clip. I've already noticed that this audio is quite low. We're not mastering the audio with this point. I just want to be able to see these waveforms a little bit clearer. I'm going to pull this audio up the incidence little line here. If you click on it, highlighted, it says 0 decibels. Click on it, pull it up, and then pulls those audio up. It was a little bit lower than my system volume. So yeah, that's I just wanted just so we can see that a bit. You can see basically if we zoom in a bit more as well, you can see roughly from the audio timeline where I'm talking. So there's clearly this point here. There is a little bit of a pause. I'm not saying anything, and then I start talking around here. Let's just confirm that. Become alumni. Say that is a bit of a pause. Then we know at some point we're going to be cutting this piece off. Before we start counting about. I'm just going to raise all of the audio level of the timeline. So the whole time on it's the same because once we go into our next clip, you can see it's a little bit low. You can't quite see what the audio level is doing. So easiest way to do that is if you select that first clip. So I'm just zooming in and out on this timeline here. Zooming out is Command minus by the way. So Command and plus go back in and we'll scroll to this point on the timeline. Just click night clip. What we're gonna do is we're going to press Command and see. What that's gonna do is that will either copy the clip or it will copy the attributes. In fact, what it's done, it's done both of those things, depending on the command you press Next, then dictates what is gonna happen. If we just did the usual Mac keyboard shortcut. And let's say my play head is here. And we just press Command and V. We'll just paste that same clip there after the play head. We don't want that, we want it to copy the attributes, will undo that Command Z. I want to do is I want to copy the attributes of this clip onto the other clips. The attributed I've done. The reason why this is now different from all the other clips is that I have raised the audio level. This is running up 12 decibels. All the others are running at 0 decibels. That's not the actual level of the clip, that is just the setting that Final Final Cut Pro, I set it up. It could be the loudest audio in the world. It could be the most quietest audio in the world. It older folks to 0 decibels. And it's just kind of a gauge to go by. What I want to do. I've already press Command and say on this and just do it again and make sure that clip selected. Then I'm going to zoom out a little bit. But I'm going to click and hold my left mouse button and still keep, keeping it all down. You can drag over all these clips that you want. So I'm going to drag all of them apart from the first clip because we don't need that one and drag it all the way through the timeline. Whereas the end like that. Now, we're going to paste the attributes and the keyboard shortcut for that is Shift Command and V. When you do that, it will list dialog box same Paste Attributes. And this is basically asking us is which attributes do you want to paste to it? Because if we say zoomed in on that very first clip, might be thinking, Well maybe you want to paste the zoom in and, or maybe if we change the color of it, if we change the brightness, again, these rule attributes you can paste from one clip to the next. In this case, we just want to paste the volume attribute. You can see that nothing else is tick is just the volume that we're gonna be pasted. Just click paste. And you'll notice that all of the clips, the audio now jumps up a little bit. You can see that's now been increased. Brilliant. Now let's get down some of these clips we've already identified. And that very first clip, there was a pause. There anything. We can do this by pressing Play. Become alumni in capital. You can also use those same keyboard shortcuts we used up in the browser earlier, which is J, K, and L. So you can go backwards, K for pause and l will go forward. I know that about here is when I start talking and you can see as I scrub through, my mouth starts to move there. You can also see the audio waveform picks up that I want to do here is we're going to cut this point. The tumor I'm going to use is what's called the blade tool. It's the most fundamental tool in Final Cut Pro or any nonlinear editor. Now there's multiple ways that we can cut this clip. You can go to this little arrow here and more they allow us to do is you can change your arrow into a lot of different tools. You can change it into a hand, you can change it to a trim tool position. You can start this one cool plate and what it does, it turns it into a little pair of scissors. It's quite easy to say. Then you can get row I want to cut there. And you can go through other parts. If your timeline and go to perk up there, I can impair caught right in the middle there. We're not going to do those last two cuts. Were just interested in that first one. We've cut that and we need to go back to our arrow, arrow TO or select tool. So we'll just click that one again. And then we can select the portion that we want. Press the backscatter based K or the Delete key, and that will remove that clip for us. The only problem of using this play TO, in this way is it's quite long and antiquated. We have to keep changing back and forth to do that. We're gonna do a little bit differently. Let's scroll through some more clips here. And I don't think I'm talking here. I got that bit box and we'll call this area here. Now. You have to apply head itself or we have this other play head that we can move round. And this is more where the mouse is. If you put this red one wherever you want the cat to be, let's say press the BK. And what that will do is it will played at that exact point. Now we can just then select this clip and press Delete. That makes it a lot more efficient. I can see there's a bit on the end here. This video I'm gonna share with me, maybe not, that's quite, I actually just put it on the beginning here. We'll just do the same again. We'll just line up that red bit there. Press stay constant at point, click that clip and then hit the Delete key. You can go through and do more and more of them. There's other things as well. You can do a trim. Trim is quite a lazy work doing this because you can go, this behavior is like a bit of silence. Let's play it at night in my account. Yet best silence there. We're actually just going to trim this clip back and to do that, well, you got to do is just click on that join there, that end of that clip. Click on it. You can see it's the end of the clip because it's gone yellow. Drag handle around it. And we want to drag that shorter like this. Now, all this preview is doing is show me exactly what frame, this clipboard, and we're going to add about that. And then the next preview is, the next clip starts. Now it should be a lot higher. In my cat fact, if you stay a little bit too tight, because the next bit where I say fact or in fact comes into quickly. And now you can do the opposite of what we've just done with the trim tool whereby you can extend. So let's do that again, that's fine. The end of that clip, click on it, so it's definitely selected this piece here. We're going to extend that a little bit further out. Now I should probably say, in fact, let's listen. My cat. In fact, if you stay tuned to the sounds, pretty cool. If you asked me. You can go through and you can just notice these points where there's obviously a bit of a silence. Not much happens. My cap. We can trim that one down. Getting even more advanced with it. And you can do any of these keyboard shortcuts. There's no right or wrong way of doing this. There is a feature where you can trim to the end and trim to the start of a clip. We're going to use a shortcut which could trim star and trim end. And it's a lot more efficient than using the blade tool. But what we could do is identify which we want to trim. In this case. You see that little bit of silence there before I start talking. Hopefully your, your other, this isn't a play head but this red so of us pose timeline thing into the correct place and trim the beginning of the clip. We're going to use the open bracket tool. If you look at these on your keyboard that actually looks like the start and end of a clip. So long as that red line is in the correct place, it will trim up to where the cut is, left bracket or open square bracket. That trims perfectly like that. It also works well with an end of a clip. Let's find a nice big gap on the end. Let's just make this one longer. Look. This is a nice long ending. Too long, too long. Again instead of two implied and then select it and then delay in. All we have to do is just get a little red indicates roughly where we want to purchase the closed square bracket. And that trims off the end ever since innately, all you got to do now is just go through your entire project and just do that with the whole project. Also getting rid of some of the types that you might have put onto the timeline you don't quite like. In which case if you don't like them, if I don't know this tape, I'm ready to be pretty efficient. If I don't know that taking you select the entire take and just press backspace key that gets rid of that entirely. Go through your project and do that. And we'll see you on the next chapter. 10. Adding Markers: Now that we've been into the timeline, we've trimmed all of our footage down, removing any unnecessary pauses and got a semi polished edit. We're going to go back and I'm going to add some markers. Now, you don't necessarily have to do is on every edit. But because of the type of video we're making, in this case, a list video. I wanted to put markers for every point that I bring up. There's different points I bring up in my video about reasons why a London cabbie doesn't need to use a sentence. I've already put a few of these down here at different points. And it's a real simple keyboard shortcut. You just press M. Let's find point number five here. Skipping a set of traffic guys. Solid straight because I see a pop for suggests an alternative route. The piece of data. Therefore, we provide you skipping, making them only say that assume compounds across the course of your day. There's also the topographical knowledge, a more relaxed, I think that's point number five. Just press M, then it comes up. You can right-click on these and you can change the color to do which is red. Complete it, which is great. I might just leave it as standard and blue. You can even right-click on it and modify it and give each one of these a name. So if your project is a bit more complex, you can put more of these markers indicating different things. The reason why I like to put markers down is that when I'm zoomed out and I've got, in this case about 12 minutes of footage or 11 minutes we can see we've got 11 minutes are up here. I know that these are all the different points that I bring up. Now It's very likely in this edit, I wanted to add some titles, each one of those points, just to make them stand out for the viewer. By having the marked out, I can quickly zoom into that point. I haven't got a scan back through my footage to try and find it again. Markers can be really useful. Just a lot of ways, just flagging your content and saying right, I need to go back to that. At some point. I'm going to go find point number six now. Number five. Number five, so that's number five. I can interleave that one right-click delay. That's because currently the fact that not necessary. Now, what do you notice? How congested a bus? I still have trained as a London cabbie. You watch them? I still have to up on my fans point number six. Number eight, is to go through and do the same if your project, it might not necessarily be a list video. Maybe there is a bit of content in there that you want to come back to and want to highlight. Markers work really, really well because zoomed out we can see exactly where we're going to do some of our future work. And that's what we're going to get onto in the next chapter. 11. Adding B-Roll: We've added our studio or arrow footage in the timeline. We've cut it down to our desired length with even added markers, which indicates where the moments of action happen within the studio footage. We want to do now though, is we want to add some B-roll or stock footage to really help explain the concepts that we might want to be talking about in our edit. We've got to import them in the same way we imported the studio for age before. I like to go up to the file at the very top, impulse media, and we go to our neatly arranged media folder. And in there I've already made one code P row. Now I'm gonna be adding some screen recordings, but we can be added in this payroll here. I've downloaded this from a website that I have a subscription to code story blocks. You can film your own B-roll wherever your payroll might need to be. Just to select all of these. I'm gonna close that. I'm just gonna select that entire folder. I'm happy with the wire is gonna be importing, is going to be pulling it into our existed event called eight reasons. You'll see there's a good selection of clips here. If we skim across them, the studio for it before, it will show us in our viewer right in the middle there. Now, each of these will correspond to different points that I have within my studio footage. Let's go to this first one and let's see what I'm talking about. Inputting something into Santa when someone gets you my cat, jumping the back. Anywhere in London influence. The piece of footage I want to use here is ideally someone putting in some information into a sack nerve. It just helps explain that concept a little bit more. It gives it some visual representation. I've got this clip here of someone putting it in on a satellite in their own vehicle. So these are varying length clips that I've got here. So we're going to use the same procedure that we did before, using in and out points to drop them onto the timeline. So he's obviously putting something in their map, type, anything, let's say there's a bit of a zooming. Zooming actually that's not a bad one. That's quite an active thing. We do the same thing. That's going to be the star of our edit. Press N. We can press Apply or, or sorry, Space-bar or L. Apply. That it seems about. And I think that's long enough that clip or component output. Now, if we press W as we did before, what will happen is that if you look at the timeline there, if we press W, that clip will appear in the middle of those two and the timeline. We don't want this to happen because of course I'll be talking, talking, talking. And then just cause to that third, we don't want that'll undo that. If we press the Q button, what Q does is it overwrite sphere on top of our primary story-line? This a primary story-line here. Q will drop that on top. Now, if you play that for you, what will happen is that important that we have some idea of the direction we need to go to London. The audio play underneath that footage. I think it needs to go a bit more over here so you can simply drag that over there like that. And they just don't get in the back and constraint could be anywhere. I think it needs to go inputting something. Okay, I'll go forward a little bit more like that. Actually. Number one is the actual inputting something into a sentence when someone gets in my cat. I think the same way we did before. We can shorten, we can play with the properties of this clip. So I'm just going to show on this download it by dragging the n handle there. That's a quick way of doing that. If we wanted to, we can adjust this footage in some way. Maybe we want to add a filter to it. Maybe we want a more of a tighter shot. Well, I can do is if I click on that clip, it will bring up all the properties over here in the inspector. There's a few different properties here. We're going to click on the film reel. Well, because that will show the video inspector. And there's some different controls along here. You'll see there's one who transform. And we can let, just let any one of these properties, it will change it appropriately. Looked at the scale. We can then scale this in a bit like that, but you can see our scale by n. So I can have it super zoomed in like that. Something like that. That's how it looked before hand. That's made after we've scaled it. We don't have to do anything cows, we just drag it on there. That whole clip has now changed. Perfect. I don't like that, so I'm probably going to remove that. I'm just going to undo that effect. The other cool thing about using b rho is that you can use it to mask some of your cuts in the studio footage. Let's see what I mean here. Let us look at point number three. Now this particular one I've actually screen recorded on my phone. I couldn't find any stock footage of anyone using the app ways. So I'll just use the on my phone screen recording or no iPhone. And I've transferred to my Mac. That will be in that same folder as before. We go to Import Media. We will go into their screen recordings and I've got a few screen recordings there. Just press the button by accident. There we go. So our screen recordings are in there as well. So this is one particular one I would like to use. I'm going to go with the last part of it. So I think if we select from there, you can use now in around pointed in. You'll notice that in the viewer actually, I can't really see where my play head is, is how this clip is really small. Cylinders were selected in that view. Just use Command and plus, you can zoom in and you get a little bit more of a view there so you can see exactly what you're doing with this clip. I've already put main point n. Want a particular part. That's the part I want here. In fact, I'm going to put my endpoint there and then go down to leave it there for a bit and then cut that out the rest of the church. This, we're gonna find the point in my idea of what I want to drop it. Using the main rights already problem with white. White, white, whereby more people following numbers get jammed up. Best route, if no one else is gonna come in about that, we're gonna use Q to drop that clip once the time, not at this particular point, because remember, W will put it in-between a clip. We don't want that, we won't cute. It's gonna write it on top. The timeline that will appear just as it is like that. Obviously, as I recorded this on my phone, this is your portrait orientation, but it's covering up my face. It's not ideal. So what we can do though, is using the inspector, we can play with the properties of this particular clip. The length of it, of course, means it's applying for however long it needs to play for. But I want to move this out of the way ideally and occupied it over on the right are put on the left. You just click on the clip, come up to the Inspector tab here, make sure that you're on the video power of Inspector tab because you can also play with the audio properties if there are any, but we're on the video part and under transform, we can use this position that controls X and Y. In this case, we're gonna reply with the x-axis. Think about it, the skull. Remember that x is a cross, y is high x. We can then just drag it up and down to every want to put it so I can put it over on the left of frame. That looks perfect to me. Using that. Especially in somewhere. It's basically once you commit to one of these ways, you have someone come in like that, That works perfect there the only thing that don't quite like about this footage is that you might know it's in the top here, you've got a clear bit. The OCC shows is being recorded on my phone. We can zoom in on that. If we want to have a little look, we can go to a 100%. We can drag our way over there. You say that I've got a time up there showing that it's being recorded my phone. Let's get back to fit what you can do with this clip as well. Again, using the inspector proper AES is you can crop the video footage. So if you look at this crop type here, making sure that we started this clip selected because that's the one we want to effect the change. You can crop the left-hand side. Now come in like that. You can crop the right-hand side, top, bottom, whatever. In this case, we're going to crop the top so you just literally drag it until you start to see where do you want to say disappear. Which case? That would be amazing. Often, especially in somewhere more time on that. Now we have this little gap at the top and we can adjust for that as well by using the scale property. So we can scale our clip a bit bigger of since now cutting off a bit on the bottom so we can use the y properties and move that up and just play around with it until you get something like that you'd like. Now remember, you can also do the same with clips that you have on the timeline. So I didn't like the fact actually that now I've got this clip in place. When it pops up using that, It's kind of a bit, it's not balanced if you say what it means. So you can see on the right-hand side I've got all these empty frame and then it's all happening on the left-hand side. Or Robert, I was over to the right a little bit more and balanced out the frame. To do that. More I want to do is I want to find the point in my timeline, the clip, this B-roll that we have, all the screen recording in this case comes into play. And I'm going to zoom in on that point. We're going to put a car in that timeline using the blade tool. So we'll blade there. And if we go to the end of that clip, when I click finishes, I'm also going to put a blade that what we've now done is we've actually made the studio clip exactly the same length as the clip above it. The reason for this is that now we can affect change to just that duration of the studio clip. If we didn't put these cuts in, we would make a change to the whole length of the clip. We do the same thing again. We literally just make sure we select that particular clip. We can use the Inspector tab on the route there and weaken and drag and position how we want. Just be careful when you do this that you don't expose the edge of frame like that. Obviously that's the end of the camera going there. Also the end of the frame. I'm going to put it somewhere like this. Good morning. Airline might want to be a little bit lower grade. Now, what that's done is that as soon as that clip pops up, the studio shot then moves correspondingly. It, no one else is using that. Often, especially in somewhere. It's basically once you commit to one of these rates, you have someone come in the opposite direction using white, gotten the same why? That works, and then we can refine that a little bit more later on. But it gives you an idea of how you can manipulate your B-roll in conjunction with studio for H to kind of make them blend seamlessly. So let's put some more of these on top and we'll just do a few more here. And I'm sure you can do this for yourself as well. Let's add this red light. One of thickness goes next. Maybe variables in London. Perfect. This is the great thing with markers. I can go straight to the points that I made. Policemen puts his hand out and instructs you to stop. We'll have no clue. Is that right? Perfect. That's why I want if a traffic light turns red, we then go up into the browser here. We can get the clip as it turns red. I want a guy from grain fruit to read, so green. We put our endpoint and we wanted to finish on red Bosh. We've separated out points. We wanted to drop it on top of our timeline. We're going to press Q because that will drop it on top. There we go. I attended this a little bit too long, so I want to cut the beginning of I think we get the orange part and I think we're going to bring it forward a little bit. How will the SAT that it sits on orange for E2 loan, it's not got the pie, so I'm gonna drop it down again. We're going to make them a bit longer than. That works really well for me. I like that. So carefree a for each in the exactly the same way, drop more and more B-roll on just to ensure that the payroll that you do use doesn't have any audio with it. If you've recorded your own be rho again on your iPhone camera or whatever camera you might be using. Just be aware that it might have picked up some audio, in which case it's not a bad idea. For this one. You can see I've got this line running through it. Just to bring the audio down on all of those. You don't want any external audio that's not related to your production to come into your timeline in this way. You get home of that and I'll see you on the next chapter. 12. Pasting Attributes: Also in the case of the screen recording, I use, I'm going to be adding more screen recordings now to save me time and having to manually position, um, my footage in the same way as I did before, I can use the copy attributes function. I've laid this piece of, of course, screen recording on top. It's in the wrong place again, I don't like it. If we go back to the one we've already played around with and jiggled around width. Just select it, and then press Command and say, which we'll copy that clip. We come back over to this clip, we select that and make sure you press Shift Command and V will ask you what attributes you want to add to it. The volume one isn't a bad idea because I don't think I've duct the volume on this yet. I want to change the position because that will move it along on the frame. I want to change the scale because we zoomed the other one and crop that was when we got rid of the time off the top of the clip. So if I paste those attributes, make sure there's nothing else being changed. Their bush, it puts it in exactly where I want it to go. We can do the same thing with the clip of me underneath as we did before. We'll blade there, will blade there. And that just means that we have this isolated clip here. We'll find the clip from before, which was this one. Remember how we moved my studio shot over so it's more balanced on the frame command and say, make sure you've selected that clip. Come back over to the clip. We won't affect the change to select that shift Command and V. And again, just check which attributes you want. I'm going to de-select the volume attribute because I don't know if there was something called changed on the previous one. It just means it will leave the volume unaffected. But I know that I want to affect the position and the scale. That's perfect. Paste those and I press die. We then get the same matching shot. Here. We did the hair that we can go through and do that with the rest of our clips. 13. Manipulating B-Roll: This is another cool manipulation that you can do to send me your footage. So this particular piece of stock for each I've got is of a man who's parking a car is quite relevant to what I'm talking about. The only thing is, is that the majority of my audience that I'll be sharing this video with from the UK. From this shot, it's very clear that this is a left-hand drive car. So I want this to be seen by my audience as a UK shop because we're primarily from the UK. There's a real simple way of doing this, and we use the scale transform from the inspector. In this case, we're gonna be doing it across the x-axis. Could see why we'll flip it up and down. Upside down. If we wanted a shot upside down for some reason, the x, we'll do it on its seeds x-axis. Across. The way you do this is you want to shrink it down. By this way I'm dragging my mouse downwards. You shrink it down. And eventually it'll go beyond the point where flip back around on itself. Just like that. Now to get the control is perfect. You can just type in minus 100. And then that will then fit perfectly in the frame like that. If your shorts a different size, you might need to play with the size of it. But that's a cool little trick to just manipulate a bit if your clips, in my case, on it this because then it looks like the man is with a right-hand drive car. It's not going to alienate my audience. 14. Applying Effects: Once we've added our b rho R Studio furnish the timeline. It's only in the right place. We might want to add some effects to this footage to help convey a bit more of a narrative. For instance, this clip of me on the timeline, I might be talking about dreaming. So I can add a dreamy kind of blur to this footage to help reinforce that narrative. I'll give you an example. We click on the clip that we want to effect the change too. And just above the timeline here in the top right of the timeline, we have a couple of toggles. We have an Effects browser, show or hide the effects browser. These two squares that bring up the effects. We also have one for transitions. We'll get onto transitions later, but that's how you can go from one clip to the other in a certain manner. But with the effects browser, you know, it says a whole range of different things, looks things like that. And we can pick something out of any of these. And let's go with dream. What this would do if I highlight over this, it will actually preview it on my clip. I haven't actually got applied to my clip to know how it's gonna look. I can scroll back and forth for various parts of the clip. And if I like it, mean shuck on it, I can just drag it onto the clip. I want to effect the change. There we go. That's our dream. Look. If you go into your inspector on the right-hand side, you will notice that there is an Effects tab that's appeared and you have your effect in their dream. So you can change the amount. Maybe it's a bit too strong. You can bring that down a little bit. You might want to add another effect on top. We can add. Let's go to Stylize. Let's get crazy. Let's add a pixelation to it as well. You can add a pixel layer on top. So you've got multiple effects on top of one another. So it's dreamy and pixelated. You can change the parameters of this plant back. That looks something like that. I don't like these sewing gonna move both of those taken us back to our original clip just to remove those you can untick, which undoes them. They still applied to the clip, but you're not actually activating them. Or we can use our favorite keyboard shortcut Command Z. And I will just undo all the actions that we've done. If you go back far enough, you might not ever use any of these effects, but they can be really effective when used correctly to help convey a little bit more to the story you're trying to achieve in your footage. Next, we're going to look at something a bit more versatile and that is masking. 15. Applying Masks: In the last chapter, we learned how we can apply an effect to our footage. Now, the only thing with that is that it will apply the effect to the entire frame of the clip. So it's not very good if we want to focus on a particular area of the clip, Let's say you want to blur someone's face. How do we go about doing this? And that's where masks come in. You can effectively draw or use a particular shape where you want the effect to be applied. So it doesn't have to be applied to the entire clip. I sometimes use this in some of my videos where I use passengers who I wanted to keep anonymous, I can apply a blur effect to their face. I'm going to do with me in this particular example, the prerequisites I want to do here. Firstly, I want to duplicate this clip because I don't want to affect this clip directly. I wanted to put another layer on top of that. I can apply the mask to. The easiest way we can duplicate this clip is if we hold down the Option K and we then select the clip we want. So I'm going to click it and I'm just going to drag it up like that and you'll see it just pulls a duplicate off like that and stick it on top. I'm going to pull the audio down of what we will get a double amount of Oddi I've been in play there. I'm just going to pull it all the way down. It can affect the audio balances. We're just going to be using this as a visual piece on top. If you've ever worked with Photoshop before, you'll understand how layers work and edit in this kind of working in layers, really, this top layer is just going to be used for our mask. Let's just say I want to blur my face out. Or even easier. How about we don't not like the look of this book, this book in the background there. It's actually the knowledge. It's a book that I've written, but let's just say I don't want to include it in this particular shop. We've got to do is find in our effects pain, there is something called masks. These different kinds of masks as an image masks is a big net mask. So that will make a big net shape mask. Drew a mask. A mask is quite good because you can do it around quite obscure shapes. You can put different points in. If it's quite a on an essay like a star shape, we want to cut around something, draw a mask, work very well for that. In this case, I can say that it's quite a simple shape. It's basically a square. So I'm just going to use a shape mask. We apply the shape mask to this top layer that we've made like that and you get this control frame that comes up. Now at the moment we've not applied an effect to it. So all it will do is just give us this control pain and this kinda does nothing at the moment to get a representation of what is actually going to be doing. We can also add another effect. In this case, let's go to the blur. Click on blur. I'm going to pick a nice Gaussian blur that will look something like that. Let's apply that into a mosque labs. This is our mass care. May scrubbing through this top. It will show you just what this top layer is doing. As soon as I pull away from it, or just hover above it, you will see what it looks like if I play it for a cool keyboard shortcut to see what it looks with and without the mask is another way to think of v as kind of view. Pressing the wooden disable that mask layer. Minimum. We just say the clip underneath. As long as that clip was selected, press play again, select that clip, that mass comes back up. It just makes it easier so we can see what we're doing here. Now. This mask as we've set up isn't quite in the right place because it's blurring my face as well as similar background. All we have to do is just play around with the control points to ensure it's masking the correct area. Click on this mask layer again, we come back over to our inspector, click on Shape mask. And that will bring up these control points. And we have to do, we can click and drag them here like this. Just bring it down to the correct size. Using the Senate face, we can drag it, right. I have read that book over there. Now. We can also use the viewer properties up here. We can zoom in a little bit further just to make sure it's covering the right amount of the book. There's also mask properties in the inspector overhead. Things like fever and fall off. Feather will affect how much of a hard edge that mask will have. If you have no feather on it, it means that mask will have a very hard edge on it. If you put more of February, It means that mask will gradually fade out, making it look a little bit smoother. I'm going to play around a bit bit more, just get bit closer. You notice if you come a little bit too far and you can still see the book. I just wanted to go completely or blurring out, something like that. Now, you can add any effect to this mask. So I might say, You know what, I don't like the Gaussian blur in the inspector, I'm going to untick the Gaussian blur that removes it. And maybe we want to make this look like a comic book. You can just drag the comic book or comic basic on top of that mask layer again. And that will make that particular part of the mask comic book. Finally, the other thing that you can do is that you can invert the mask. So rather than selecting an area that you want the mask to effect, you can say, I want it to affect everything outside of the mask. So in this case, if we invert it, this particular one, it will then make everything outside of the mask into a comic. Everything inside will be normal. To do that. This is the little tick box underneath the shape mask over here in the Inspector tab. Click that and that will invert. If we zoom back out again, you will see everything is a comic book. Apart from that one little thing up there, which is that book. As you can see, that's pretty normal. Now using masks in this way is perfect. If you've got a fixed shot and the thing that you are masking is not moving. What if you've got handheld footage or maybe driving footage? And the thing that you're trying to blur is moving around all over the place. Well, that's where keyframes come in, and that's gonna be on our next chapter. 16. Using Keyframes: So before we learn how to key frame masks and follow a moving object, we need to learn how keyframes themselves actually work. And quite a lot of variables and properties in Final Cut Pro can be key framed is a keyframe though. A keyframe is kind of like a set of instructions over direction of a movement of some kind of property within Final Cut Pro that will enable you to make an animation. For example, you can say, I want this B row to start on the left-hand side of my frame. And as five seconds pass, I want that piece of B row to gradually move over to the right-hand side of the frame. That is a keyframe of all action. What you would do is you would set a key frame or property at the very beginning of your clip, indicating where this clip sits at the very end. You then set another keyframe indicating where you would like this clip to end up. The job of the keyframe is the, it knows that if this is the start point and this is the end point, I have two across those frames go from this side to this side. A little bit complicated to explain, but it will come clear as we do this together, I'm going to apply a keyframe to this clip of me talking. What I want to do is I want to get a gradual zoom in. We've already learned how we can zoom in on a clip by using the inspector in Properties tab, but that will just affect the clip entirely. We want to learn how to gradually make that clip zoom in E star this size and then gradually ease in. Sorry. This is our clip. This is all about properties over here in the Inspector tab. I want this clip to stop this kind of size. And when it ends, I want it to be about that zoomed in. Let's just say, how would we do this? Sorry, It's quite simple. All we have to do is go to the very start of the clip. Make sure we activate on this clip here. On the scale tab or any tab that we want to be influenced by movement, we just select this keyframe button here. What this will do is now made a note of all the scale functions. This little yellow dominant here is basically saying, right, I have reference of that position. I know that you want to start at that position. We haven't put any other keyframes in yet. But if we drag to the very end of the clip, what we'll do is we'll just zoom in slightly. So we'll go we'll just drag that up. We'll go up to a 130. Now notice that all of these have now made that yellow diamond again. That's saying that there is now another keyframe on that, because we had a keyframe at the star, which is now going to the end. We don't need to put another keyframe in. We just change it to a desired amount like that. Now what will happen if we skim through this clip? We can press Play. I've gone back to the beginning. Can you see how this is like a very gradual Zoom there? You can do it. So you can have that Zoom finish at any point in that clip. So let's undo what we've just done, which was changing the very end. Nice paste there. There should be no keyframe there. Now the vacay frame at the beginning, which we can save it as no one at the end. Let's say we want that Zoom to happen very quickly right at the beginning. We've already got our keyframes at the beginning. Let's just go back and pretend we're starting this again. I'm gonna get rid of those brand new, fresh clip. I'll just Command and z that has undone, that will stick a keyframe for scale at the beginning. And then I wanted to zoom in relatively quickly. Both do it in the first, say, 1 fifth of this clip, right where my play head is. Ensure the play head is lined up where you want the zoom to finish. Zoom in to how far the Zoom needs to be. A 140 side. And that's now minus another keyframe there. See that basically means that that point, this is the final 0.104 years not going to go beyond that because that's where that keyframe ends. If we went to Zoom any further or later on in the clip, we'd have to then set another keyframe later on. But this is how it now looks. Right? Do you see that? It zooms up until that particular point in the clip where we set the key frame or where we zoomed in and it now stops. If we want it to zoom back out again. If we zoom in like that, then I think I want that to zoom back out again. Again. We've got a keyframe at that 0.140%. For instance, getting back out to a 100, we just zoomed in there, or sorry, put our play head. I'm just going to click in there and I'm actually going to put 100% Enter. We know a keyframe has been applied because we have these yellow diamonds here. Now if we play that through, let's see what we get. Right into. It. Just zooms in and zooms back out. We've manually put that KQ key frame in ourselves. Now as you add more and more keyframes, it can get a little bit confusing to see exactly what's going on. This particular clip. I know it's got some keyframes applied. Who we have to do is just right-click on this clip and there's a little tab that says Show video animation. We'll do that and it shows you exactly where that keyframe is applied. So I can see here there's free keyframes and they're applied to the transform tab. We click on those keyframes. That will actually take us right to the point. If we learn our playhead up with them, they should snap. See your key frames like that. If your play head isn't snapping to the keyframes or the end of a clip. Just press N and is the key for snapping. You might accidentally turned it off, but by day four, which should be turned on. We can see that exact keyframe there. Now you can remove keyframes. You can just click on this little disclosure triangle and press delay. You can right-click here and go to Delete key frame, delay, keyframe. Delay, keyframe. Keyframes just give you a little bit more. Keyframe, delete keyframe, and we're gonna hide that animation now. Keyframes just give you a little bit more control of your media rather than just putting an effect or a transition on top. And the cool thing with keyframes is that you can key-frame just about anything inside of Final Cut Pro. Let's do it with an effect. We can open up our Effects tab again, our effects browser. And let's go with so much fun here isn't. We'll go with, Let's just say we want to add a Gaussian blur, which we do radical motion blur. But as we know it before, it just, it just appears. So if we play the first clip, just appears, I don't like this. I want it to gradually fade in. The best way to control that is for keyframing. So we've already applied the Gaussian blur to the entirety of the clip. But let's just say I want it to stop clear, fades to a Gaussian blur. Majority of the clip stays blurred, and then it fades back out again. How would we do this? What was exactly the same as what we did with our position in before. We've got a Gaussian blur up here. We've got a few controls here. Horizontal, horizontal, vertical, mount. You notice if we drag them out down to 0, it removes the blur entirely. We know, and there's also this little key frame attached to the side here. We know that we can keyframe this action. If we go all the way up, we can increase the blur, but 50% midpoints, pretty good, but we need to start on nothing. All right, let's start on nothing. You will notice if we play scheme for the entire clip, none of it is blood. Beginning of the clip. Make sure I clip is selected. We've got 0 amount of blur on our coercion. Coercion is already there. You just click that keyframe there. That's now set an instruction that the keyframe is at 0 rack alone. To where we want the blood to be blurred, like the point where it can be from maximum blur. The play head in that position. And I'm going to drag the amount to 50% of 50 is not percentage, but you can also type in this box here. Just click on it, 50 and just hit Enter. We know that keyframe has been applied because that little disclosure, sorry, that little diamond will turn yellow and we can preview it gradually appears. And you also know that it's working because when we start, you'll notice in the Inspector tab, the amount is 0. As you press Play, you will actually see that amount gradually ramp up to 50. Then, you know, when it gets to 50, then we wanted it to ramp off at the end. Same thing again. All we have to do is go to the end. We can do it backwards as well. In the two examples I've supplied, we apply the effect, whereas this way works, you're going to be reducing F8. So this is the point where I want the blur to stop being removed. Let's say that if we have to do is select the keyframe, that amount, because that's the amount is going to start at. Drag my play head right to the end. And at the very end, I don't want any blur on it. So we can either drag it all the way to 0, we can just type 0 in. We know a keyframe is applied because they'll get that little yellow keyframe that we know there's a keyframe there are now playing it for the Troy blur. We can skim phrases, blood all the way through. And then the last part, we doing this, well. 17. Combining Keyframes and Masks: We've learned how to add an effect to our clip. We've even learned how to keyframe our effects. So that comes in at a certain time. You can add more and more key frames on top of one another. You can influence possession shape, the amount their effect is applied. But we want to combine this with masking and particularly blurring someone's face. You can use this in whole manner of things. Maybe you're filming something and there's like a product featured in the background and it's written in a TV advertisement issue and you can see someone else's products in the background. You need to have some sort of wherever moving it. We're gonna apply this guy's face because other than maybe I don't want him three featured in my shoe. What we need to do is way, first of all, we need to make a mask. That's the more important thing. And as before, we're going to duplicate this layer because I don't want to apply a mask directly to this holding down option. I'm going to click and drag that clip up. That's now made us a duplicate on top. So it's exactly the same. Necessarily. There's not any audio associated with this, so I don't need to pull in the audio down. I can see that there's no line there. We're going to bring up our effects browser again. So just by clicking on those two rectangles, and we're going to apply a mask. So I think the best mask for us will probably be a shape masks because its shape it roughly to his face. So I can go like that. Let's actually move it forward a little bit. Let's move our shape mask like this, like this. Just drag around. You can also change like using this like the roundness of it so you can make it more face-like. We've got to do is find out blur and Gaussian blur like that. That top layer and Bush, his face is blood. You can change the amount of blur by using the Amount controls here in the inspector for the blur boost. Want actually a one we're hoping. I can still see his face a little bit. So if we click on that layer again, click on the Shape mask here in the inspector. Make that a little bit wider. You can increase the amount of February, which basically means how hard the edges will be. Something like that. You can even change the direction. Rotation rather. That looks pretty good. I'm pretty happy with that is if we click on the lower clip or one of the clips. Sorry. That looks pretty good, but you'll notice that as he moves around, He's no longer being blurred. So it's kind of pointless. I've made this mask. I want to blur that particular part. How on earth am I gonna get it to match his face? Not necessarily the information itself fits perfectly there, but it goes over there. Why did he do that? This is where key framing comes in. And the coping with key framing is that you can do individual movements frame by frame. Ideally, we want to start either at the beginning, beginning, or the end. You don't want to start keyframing from the middle, especially in this kind of mask because you'll miss our power. You got to go through the whole thing, like scan through the whole footage effectively. Let's put that in risk face correctly. Let's make that a little bit bigger. I think I might change that actually, I'm going to disable the Gaussian blur. I'm gonna go with the pixel array instead. So I'm sure there's a pixel where you can search the browse tab, pixelate. Apply that, take its time and I'm just going to make sure that pixels is enough. I'm going to pick out a bit more historic, recognizable. Maybe you can use the amount change how much he picks like by perfect, click on the Shape mask. Is it favored enough? Pick slaves. Not gonna be nice, but you have a salt that's a pixelation, they're wicked. The thing we need to control the control points for a keyframe is going to be the position of our shape mask. Sometimes if a subject comes forward a bit more in camera on, if I come forward like that, my face off, she gets bigger. You in that case, you would also need to put keyframes on the scale, on the size of the mascot and bigger. Because if you just key frame the position, the size of the mask will stay the same. Whereas if in the forward, It's always something to bear in mind really. In this case, I don't think he moves forward too much, but we can go through it and see and change it as we go. So we're here now, we've got our masker up perfectly. There's a little disclosure triangle in the Inspector tab of the shape mask. And it's called Position Rotation scale. I'm going to, in fact, it doesn't actually matter if you select a keyframe for scale and don't use it, we'll just stay the same size. So at the beginning of our clip around the mask layer and we're going to select position, rotation and scale. That means that as we go through this clip, we can change any one of those transforms and it will set an instruction on each frame. Now, I'm going to zoom in a little bit. We're going to go to say 75%. I can use this little tool here to make sure we're in the right place. And that just means I've got a real nice close-up with phi so I can show ensure, like get all of it covered. Right. Now what we're gonna do is ensure that we're on this layer still. We're just going to move forward one frame at a time. Move forward. So that was another shot. We're going to go one frame at a time, so that's lined up. That frames, good. That frame you can see it's just spilling out a little bit there. Let's get that back. Just spending a little bit there is always coming through because we've already selected our key frame here. We've already settler. Note the beginning position. If I drag this, that it's then put set another keyframe. No, It's only for the position though is not put another keyframe info scale or rotation because I have not scaled it nor have I rotated it. It's only gonna be minor, but you will see this as we start scaling for, so that's the first frame. If we press right, nothing happens. It just moves enough with his face. We haven't gotten that far yet, so it's not going all the way over. It's just a case of pressing the right K and going through and making sure it aligns with phase. Just escaping off his face again. If we just drag that back into place, that will set another keyframe. You can see a little bit intelligent and sometimes starts trying to pull it in the direction that thinks it's going to go. But you can just keep putting it frame by frame. Press right, and then just drag that across h times. You can see that the keyframe icon is becoming yellow, showing you that a new control point is coming in. We're gonna come back over that. It doesn't matter too much if you skip ahead free frames and you don't keyframe every single frame, you can just put a keyframe in and it will jump between those two. But it's always worth checking out where it says, let's just say it's phase coming in. A couple more per shares is phase comes in their faces that we just dragging it across to make sure his face is always covered. Have to do it every single frame because the keyframe will a plot between your keyframes. So kind of fill in the gaps. Can be laborious task, we're just going to move up, you're over so we can see what we do in. All I'm doing is pressing the right K, which is the advance in frame-by-frame, maybe a couple of frames, they're pulling this mask over, dragging it using my left mouse k. Because we already set a keyframe at the beginning. It knows on lightly, as I said, more keyframes towards the end and that's why it's doing for us. You don't have to be too precise here because you can't go back and edit it later. Then we know that he picks up an ingredient or something and he starts heading back. I'm gonna go back that direction. More frames. It jumps to that. I'm going to pull that that way. Obviously, the more you do this frame by frame and you move every single frame, then your mask will be a lot more accurate because you have physically put your mask in the correct place for H frame. You can be lazy and say, do I write ten frames at a time? So I'd press right on my keyboard ten times. Then I just move the mask, that next position. But this could be a likelihood that it might not be in the exact correct place. His face might move faster than the keyframes I have placed this in. Marries again. Looking down in my timeline, you'll see my play head is very nearly than in this clip. We'll know it's the end of the clip because as I keeps given for it and eventually it will just come off this clip. And then we know that we've animated the entire clip. This is why it's important to ensure that you get your exact length of clips correct, before you apply any effects like this? We know it's in the clip because I've just clicked off and it's now gone to match Studio clip underneath. We're going to zoom back out and we'll go to Fit, which you can see if that online's up. That shape mask is a little bit distracting sienna there. So if I click on this control point, a Gaussian Blur, we're just gonna apply it from start to finish. And we're gonna say, if this is all in the correct place, not necessarily the information itself, but he's held well, there was a little bit there. I'm not too happy with. I could just see his face clicking for depends on natural perfection SUR with this. Let's see if we can find it. It just comes for me. It was when he leaned over to carbon ingredient Bosh to the other, it just says nose and his eyebrows stick him for probably didn't. Controllers points enough, but it's fun to do is just zoom back in, look about a 75%, okay, that in frame, click on our mask layer and click on the mask itself, and we just drag it. Because it's still applying those keyframes. We can go back and forth. This will just apply additional key frames in-between the keyframes we've already got. See how much it's moving back over there. I think that might be enough. That was probably all it needed. Let's go back to fit way. We'll click off of the shape mask or we don't have that distracting red ring around the outside and hit play. He's not necessarily the information itself, but he's perfect. I really enjoy that. That looks perfect. And the cool thing with these masks, you can do so many different cool things with this. You could really get niche and zoom in on a particular part of the video. You can also invert the mask, get creative with it. You can add a lot of transitions to this. This is just a brief overview, but you never know when you might need this tool in your projects. 18. Adding Titles and Text: Okay, so we've added our bay row. We've maybe apply the mask or some effects to Eclipse. Now I want to add some titles, maybe some texts, maybe some numbers just to help visually represent the information that I'm trying to convey. Again, as we Final Cut Pro, There's many ways you can do this. There's lots of templates already built in. You can also buy additional plug-ins from the Internet. You can add into your templates for use again and again. I generally like to use the most basic things in Final Cut Pro and animate them myself. We're going to have a little go with that. Now, the text I'm going to add in is the individual points that I talked about in this video. I talked about eight reasons why London cabbies don't use SAT nabs. Each time I introduced the point, I'm going to number it and then put a brief description of what the viewer can expect in that point. We're going to go back to point number one, which is over here somewhere. If we go up into a browser in the top left, you have the sidebar here. So this is where our clips are stored in this little clapper board here. You also have music sound effects, not using any of those. And you have titles, titles, and generators. What one I generally use because there's lots of different ones in here. You have some that are over the top like Star Wars and stuff like that. A lot of them just screen template at you. I really don't like using certain templates because it just looks so obvious rarely. So I'd encourage you to definitely just develop your own style, use your own fonts wherever appeals to your brand or whatever kind of production you're making. In this case, I am going to use this custom title here because it's just plain. You can change the phone on it, then you can key frame it, change the sizes and stuff like that. So I'm gonna put that one in. We're going to apply it in exactly the same way that we applied our Eclipse that's online before. I don't want it to be written onto the timeline because that will disrupt my clips that are already there. I want it to go on top of my clips. For it to go on top, we press the Q and Q wouldn't allow that to stay on top, just that custom text, something like two generally time these width, the length of the clip, the clip changes, then the text then appears. And then when the clock changes again, the text and dissipates. It means you haven't got a B. So reliant upon a transition is a natural in and out point to bring this in, you'll notice it's come up, but it's just a general title just in the middle there. You can drag it around to wherever you've got these handles to show you when it's in the middle. I'm going to just make this into a bit of a font. I've got a pre-installed font, but you can change your fonts over here in the Inspector tab, as you can imagine, I think it's Helvetica standard impact because it stands out quite a bit. So I'm going to number this, this is all textbooks, we can do that. I'm going to put one, and my point is lag time, so I'm just going to write that out. Lag time. I'm going to use if you guys this video effects part of the inspector, the video inspector. And you can drag it to exactly where you want it. You have your X. Which one I want to do the y axis number one, lifetime. Number one is the actual length of time in putting something into the center. When someone gets a simple number, one is the actual length of time inputting something into Sentinel. Now you can put, we've not used transition jet. You can put a transition on the beginning and the end of this. Where our effects browser is next door to where is this weird little triangle? It looks like a one on its side. You click on that. And this is our transitions browser. You can add stuff like dissolves, cross dissolves and stuff. You could apply these to the beginning or the end of a clip or both. We can go with a cross dissolve so you can put that on top like that. That will then let you give you these drag handles at the beginning and the end. And it looks like this. Number one. That's quite nice. I like that. Number one. You can make it a bit Sure. So it comes in quicker into the center. As I'm making this video for YouTube, I think it's a little bit of a boring way of introducing that title. So I'm going to just come on and Z and just undo all those changes. I pulled in that transition. One I quite like using is one called spin. Spin is not why? Because it, it some movement, isn't it? So you've got flip. Slide spin. If we go, I generally like to put it on at the beginning so you can delete the second half and spin does this. Number one. I'm going to put that in line one side electron. It looks like it comes on my mouse and actually inputting something into the sentence. With these transitions again, the inspector is our friend here. You can change exactly how you want to come in, the angle of it. You can change the angle so it's more upside down. You see a spin. I just added that just by changing the angular there where the center is. I'm more than happy with that In direction you can have it in or out. I didn't want definites that mix. That's quite cool. Something into the second. One other thing I like to do if YouTube videos as well, is to add sound effects. This just helps. Just add a bit of energy, a bit of action to what you're doing. So I'm gonna go to file import because you know, original media file. I do have some sound effects. And I've got a pretty good one called a wash sound pack. So this wash hair. Quite a few of them in there. All right, That last one quite a lot. I use them a lot. Just zoom in using the Command and plus, make sure that we're in the right place. And we want to stick an endpoint. And I loaned out with a star of our clip and just press the Q k because we're gonna be right onto the timeline. It doesn't matter this underneath the clip because it's audio. And what I'll also do whilst I'm here is I'm going to click on that and I'm going to change the audio role of it. Now the ODI row will come into its own element a bit later on. This is something for the future, but I'm gonna change this to an effect. The moment it says dialogue, which is a blue box, I'm gonna change it to effects. And that's now made it this kind of light, light greeny color. And I'm just going to make sure that that lines up with the texts coming in. Ironically, there's a light on it. I think it needs to come forward a little bit now we can drag it. But any poem we're tracking it is, can be quite hard to precisely get it. We're going to introduce two more Keyboard Shortcuts, and that is the comma and the period case, or open and close triangle brackets. Now, I think it needs to go back a little bit. I'm going to zoom in on the timeline. So I've just clicked into the timeline Command Plus Command and plus, and ensuring that you select that sound effect. If you use the comma k or the open triangle bracket less than sign, that will actually move one frame left and the period K or the clothes triangle bracket will move one frame right? So you can really optimize where that effect then appears and just trialing it, making sure it works. Like I said, that's how we heard the effect before the movement came in. So I think it needs to go write more. I think if the transition it will have a bit more of a, more of a web. It's not going quite fast enough to match that width. That's good. There's something not quite right there. I think it's coming in off to the actual effect, so we'll go forward a bit. That's close enough. I would say, let's go one more time inputting something. That'll do it me, I quite like that. This is my transition. I said about the because the sharp changes, we get rid of the text. When someone gets him, my cat jumps, that's not too bad. I can live with that. And now we just need to apply these to all of the other points that we have in the video. So just make sure you select all of this clip hold down Command. You can then select that sound effect command and C is copy. We'll go over to point number two, which was here. This time we're not going to do Shift Command and Shift Command and V is pasting and attribute. We're not pasting attribute, we are going to be pasting the actual clip itself or duplicate in the actual clip command. And you will notice the drop down there. And that's just going to copy exactly what we've just done. Super simple, but this time must retirement little bit and we're just going to change that title to wherever the second is when it comes in a little bit too quickly. But point number two is value from it. I'm just going to call that one of buying instructions, number two. Instructions. You might notice that now I've done this, this title is fully out of shock. We can change the size of the text, the inspector, like that. The other key consideration as well, whenever you put tidal zone, is to remember your title, safe and action safe zones. This is kind of like a formality really, and some people don't really pay attention to this, but this goes back to the days when you're making something for TV. Knowing wherever phone or text you put there, It's ensuring that gets seen because in some displays it my warp, your content might be appropriate or a different display, you might lose out in your text being saying, the way round that. The viewer tab up here, there's a little disclosure triangle. It says view. You can click on that. There's a few options in here. Let me the one I'm gonna be using is show title action safe zones. And you get this outline here. Now, ideally, you do not want your texts to come outside of this most lower extreme line. So we'll go back to the video inspector. We can send it as a little bit more. We can bring it down just so it sits neatly on that line. You don't want to outline that because the whole idea of that title, safe Action Safe Zone is the EU. The innermost square is your Action Safe Zone, and the outermost square is your title safe side. So long as you're on that line there, you're gonna be fine on most displays. We're gonna get rid of that as well. You know, like when you're watching something on YouTube on your phone and you do that thing when you zoom in so it fills out the phone. This is kind of what it's covering you against. Just as another little bonus, I've found a really cool way to display text on the screen here. It's because I'm quoting someone a bit, a bit of a verbatim, rather than just having a title flash up, I think it'd be much more effective if I have a stream up word by word, you'll see what I mean. Let's play the clip. I always say that sat nabs, knowledge redundant. Bit like saying, we don't need professional because we've got cook. I think it's just that first part. I won't paper lw say SAT now is my knowledge, redundant? Knowledge. I'm going to have those words all flash up to do that, It's really, really simple. I'm going to paste the text that I've made before. I'm just going to very slightly get rid of the swish thing. And I'm just going to type the words out SAT nabs. Just make sure it all lines up. And then just trim it down to when I finish saying that, then I copy it, I'm going to paste it again. Make the strands knowledge. You can also use your wave forms here you can see when the wave forms spikes up and down, the, I'm probably bringing in a new word because of how we project makes the knowledge and you can see on the waveform. So that's quite a good thing to line up against. I'm gonna make it. And then that's going to be knowledge is always capital a, capital K. Sat nabs. Knowledge redundant. Redundant afterwards. Set nabs. I want to bring that in a little bit closer. Knowledge. The knowledge and then it was redundant Odin, once a sudden there's no dun. Dun. Dun comes up a little bit lighter just by what that wave form is. Knowledge. It doesn't quite come in. Let me go. Yeah, K12 say and that's why knowledge redundant. Bit like saying I'm even going to zoom in there as well, but it comes up in the next chapter. 19. Adding Zooms for Engagement: In my edit, I've added B-roll, I've added some sound effects. I've even added some titles as well to help visually represent my edit. But it still needs a little bit something more. And especially on sites such as YouTube or Facebook, where people need more engagement with the video. One thing I like to add is zooms and just these little Zooms or frame changes just to kind of engage the viewer that little bit more. This will vary depending what you are making your content for. If it's for T V, then you can have much more slower, more engaged and shirts. Even documentaries can have a slower visual piece because it's designed to make the view of think about the show. But on YouTube or even Facebook might be even worse. And Tiktok or course pin, the fastest of all, you need to hold people's engagement their attention. So the idea of having a Zoom or a quick cup, like inwards the edges keeps some kind of action inside of the video just to keep you engaged. Or maybe if you're talking about a particular point and you want to stress the importance of those little zooms will help communicate that. Let's go find some in my edit. Let's grab. You generally know when it needs x if you play this firm, is going to be the point where not much happens is another way of adding that little bit extra because there's only somebody's height, which you can add the 70 beats so much B-roll, you can add, just adding something else to it to give it that level of engagement. Take that information in and then next day. Whereas in the calf within knowledge in my head. All right. I'm going to try. I'm thinking I want to say right, because it's quite a good action like hand actions make the perfect transitions. If you have some kind of action going on in the frame, That's a really good point. It's a car or move on to something else. So when I say Right, Why not on my head, right about there, I'm going to blades to right. I'm gonna tell you Brian, inside of the PlayStation, etc, etc. I think that'll be a good, good one to zoom. All we got to do is just zoom in. I'm going to get about a 125, so it's an extra twenty-five percent. And you just want to make sure that your eye line lines up. I mentioned this earlier, your outlines got be fairly the same in the screen because people look at your eyes habitually when you look at these kind of videos. Let's just line that up. As you can see, my eyes jump up quite a bit there. I'm still lined up. I'm just pushing the left and right K just to toggle back and forth between the two. I'm going to do this visually. I'm excited to visit a better way of doing it, to be honest, but this is just the way I've always done. It. Just jumps up a bit. So I will bring that down a bit more. Still jumping off of it. That's quite good. Sometimes you might need to vary the left and right as well because I'm sat per center in the frame. I don't need to vary that. This looks pretty good for me. I'm just going to run it to make sure it all lines up knowledge in my head. I'm going to place that makes sense. Your executable jumps back to the next clip. What we're gonna do is I'm going to copy this clip because those attributes are pretty good. They're pretty much spot on command and say, I'm just going to go through my edit and just find any points where it's just a little bit boring and just do a little bit of a zoom. Is using all the available when I go all the available because I put my hands out in a funny way like that. You've got to work out the best. In the ovaries. The motorcycle, Google Maps and they could points come back, I think because instead of contrast and opinion, that's an advocate time to cut as well. If you're introducing something new. If you say, but if you say and then kind of converse in your point, your edit them reflects the fact that you've gone from 1 and you're moving on to another point. So good, good little trick to put in there. I've selected that point. I know exactly how long I click needs to be. Shift command and we will paste our attributes. Just want to make sure that everything is okay. Perfect paste, brush and just make sure it all lines up using a valuable streets around. I haven't put one in when I came out of this clip here. So if this is my clipper, I've got a screen recording. And the reason why I've not put zoom in there is because we're already semi Zoom. They move this clip. If you come from a zoomed-in clip to another zoomed-in clip. It doesn't work. It's a little bit jar and you need to go wide, close-up, wide close-up. You can't do close-up, close-up because it just doesn't feel right. Ways cannot possibly account for all of these endless variables both. You could still put a Zoom on occupies the payroll because I think that stays on for too long. Most stick his name on there, I think because it just makes it that lines up lately. Want to laser off the frame that we'll just do this throughout. It just keeps some kind of action and energy to every shot. I'm going to add some more zooms to my edit. But next chapter, we're going to learn how we can add even more engagement to our edits. 20. Adding Soundtrack: So our AD is shaping along very nicely. We've added effects, we've added zooms, we've added titles. It still needs something else. What can we add? Well, let's add a soundtrack, let's add some music. You might notice this across some of your favorite YouTubers, they'll often use of instrumental music and noise be in the background just to keep the pace of the video flowing forward. I sometimes will use a different piece of music for a different point in the video, then it creates these nice natural breaks when you start a new song. You know, there's a new part of the video coming up just to keep people engaged and flowing through the content. We're going to add some music to our edit. Now, let's have a little look. We're going to import our music in exactly the same way as we've done with all of our other media. We just go up to the File Import Media. We find the folder where we stored it. Oh, I've put mine in a soundtrack and I've got quite a selection here. I use a source could Epidemic Sound because there's some awesome Bates. There's lots of different genres in there so you can convey emotion really, really well for the music in your edit is a monthly subscription, but it is entirely royalty-free, which if you submit to YouTube, you will need this as by using copyrighted music, you can get strike against your account, which eventually can lead to your account being terminated. Also, if you're a monetized channel and you use copyrighted music, again, you'll monetization rights can be revoked on those videos. So that's a big no, no. I'd highly recommend something like Epidemic sound. If you're gonna be putting some kind of music on YouTube, I've important to them, you can see there's a few different tracks here. I'm just going to zoom out a little bit. You can still say in and out points on music. You can use keyframes on music. We have learned in this course. What I'm generally going to do is I'm going to drop one or two of them onto the timeline. I've already gone through them and know that they're good for me. So I'm going to do one that we're going to use q to drop it on the timeline. Because remember if we use the W k is going to drop it onto a primary timeline and that will upset our main studio shots. So Q will drop it underneath, just like that. Let's go for another one. Let's go for another one. Just enough to kind of fill out our timeline like that. Now you'll notice they don't fit in there. And if we got rid of the last one, then we don't have enough music to get all the way through. But we can change the properties of the music, change the timing of them, so they come in at certain points. Maybe when you start the video off, you want it to gradually build in. And when you finish the video, you want it to end on a nice note to about keeping that energy flowing. Remember, you want to use the music as a tool to keep people engaged with your content. Before I go any further, I'm just going to make sure that the audio configurations are all set to music. These green ones, if we look over in the inspector will say they are set to music, that's good. And this one, it says dialogue for some reason. This is probably just to do with the metadata that the person who made the music is assigned to the strike. We're just going to manually put this to music. And that will become evident later on when we do our final audio mix. It just helps us separate the different types of audio. Sound effects, additional audio recordings, music, all those kinds of things, each have their own audio configuration mean, and we can independently control them for one another, but that will become obviously wrong. So we've got them. And I'm just going to have a little lesson through here. Ideally, when you're doing anything with audio and final cup, please wear some form of headphones. You just get a lot more linked into it. Your external audio might be inaccurate. There might be certain bass tones that are being conveyed through them. If you get a nice pair of monitor headphones, which I usually edit with, then that enables you to be able to really monitor your audio really well. That's when you'll notice. The music is too loud in comparison to our studio shots, and possibly comes in a little bit too soon. Now these are set by 0 dB as default. That doesn't mean that the music track is 0 decibels. That just means that we have not applied or put any of the decibel up or down in Final Cut Pro, this could be the loudest pacing music. It might, could be the most quietest piece of music. What we're gonna do is we're just going to pull this down about minus 30. And once we've got this week and then apply this to all the other clips, all the other piece of music copying, which are attributes again, we do commanded, say we're going to do Shift Command and V, that's gonna apply volume so that one that will bring it down. Exactly 30 decibels, decibel. And we can take both of these in one hair, just drag and decibels. You can do them all in one go if you wanted to, just saves your time doing that shift Command and V is the k. Now, we want to make sure this all times in, okay, so let's have a little less than half of London. Reason. Knowledge is still, I don't know the audio track at the beginning on one side, a bit more engaging. Why use white guy again? But I did listen to some of these I did probably know about you want to pay just to kind of lie. That one that was like this little drop and then it Belgians the video. So it's not just the constant beta, it just starts and continues, is just pulls you into it. So I'm definitely going to put that at the beginning. I'm just going to drag this out of the way for now. Very bad editing. I know this will snap against each other. You can get them on roughly the same length. It doesn't really matter. The same time. It doesn't matter. I'm liking that that works. Well. Don't worry about the exact audio level at the moment. We're going to do our levels at the end just what matters is roughly the timing of them. So we'll see how that goes. Sometimes I put different tracks of music for each point in the video. Or sometimes it might be to convey a certain emotion. If you're talking about maybe co-morbid topic, then maybe the music should reflect that. Or if it's something more upbeat, bit more of an upbeat track on that, you don't want anything to distract him, but you do want some kind of a b. This is all personal preference, of course, tailor this to your content and what you enjoy. Let's just make sure this all lines up. Why is why you get me wrong? It's using the person who's made this piece of audio content. Obviously the audio fades out at the end. But if we zoom in here, I mean, we can't see the rocks are pulled the audio down a bit, but you can just say that y form starts to finish hair. There's nothing that goes on here. So we have this point of silence. There's no music being played there. So what I want to do is start the next track, just about over that. And this is where a set of headphones is really important because you can see a list here where that music is coming in. It's more of a fill. And that's one of the cool things is a video at it and it doesn't necessarily have to be what this is telling you. It's just more how does that make me feel as I'm watching this, it really is an art when you think about it. Using tweets. I've just roughly assembled days, you know, where the artists kind of fade out at the end. I've pulled the next track in just, you can say about the waveform here. There's no music there, so I pulled the next track in. Sometimes a little bit of silence is good that can emphasize your speech or wherever you are talking about. Sometimes you might have a gag or some kind of funny thing that you really want people to pay attention to. So you can cut a bit in the audio, say the gag, and then restart the audio. This is all down to interpretation. This last track, of course, is very long. I sometimes like to introduce a new track for the very end of the video where I summarize, maybe not summarized by just say look, this is the end of the video. Thanks for watching. What I'm gonna do with this one. I'm just going to cut it using our applied about that. We can overhang it a bit and we're going to use the transition we used earlier on our text, which was command and T, which is a gradual fade out, super easy way of putting a phosphate on. You can draw the length of that theta up. Just extends over. Bet. That's quite nice. I like that. That's it. We've liked the music onto our timeline or edit. This is largely down to what it feels like TEA, we all have our own different music tastes and styles. Don't worry about the levels just yet, so long as they're all even with one another, we're going to do a final master audio edit later on. But as long as on the timeline for now, That's perfect. Next chapter we're going to go into color grading. 21. Color Grading: Our edit is really starting to shape up. We've got a screen recordings, we've got B row. You might have even added some of your own images. There's music, even sound effects. We just want to make this as awesome, as amazing as possible. This final touch is super fun. I could almost make a video entirely about this in its own right. And that is color grading. This is where we make your studio shots, your images, wherever you've got this visual, really pop. This is amazing. It is an art in its own right. You can also use it to create a kind of style or brand in future videos. Certain films, for instance, will have different color tones in different hues throughout that film. And even cinema itself. It's not by accident that they have these kind of hues and colors. And the great thing is with Final Cut Pro and a bit of experimentation, you can do your own thing here. Before we get started with color grading, just remember that there is no set rule on how you do this is entirely an artistic expression. You can do this however you like. You can create your own styles. Go crazy with this. You can download your own LUT packs online, which stands for lookup tables. And this is certain color grades and effects that are kind of pre applied to certain cameras, certain settings to get a specific kind of look. I'm going to show you what I'm gonna be doing with my clips now. Generally good to start with your first clip. When you do color grading, you're doing it on a per clip basis. If you know your lighting doesn't change. When I filmed my studio stuff, the studio light and didn't change. It was the same lighting throughout. There was no external lighting sources. Therefore, I can copy and paste my color grades to every single Studio clip I have in this. However, it might be rho is all entirely different, different levels of exposure, different levels of color already applied to it. So I have to do these clip by clip. But don't worry, it is really worth it. And you're going to love the results of this. I'm going to start with my studio clips first. So this is my first clip. Here. We click on it. If we go over to the inspector tab and we've mainly been operating within this video Inspector, but The next to it is what's called the color inspector. Now there's lots of different ways that you can color grade. Some people work on like a histogram chart where you can see represented as values from 100 different color values and brightnesses. Some people work on color whales. You have a little play around, see what you think. This is a little bit of a confusion screen. I don't really like using this particular way of modifying color, but I'll go for it anyway. So this dot here represents global. So any change I do here will be applied to the entire clip, highlights mid tones and shadows. Then you have highlights mid tones and shadows. And the way of thinking about this is that shadows are kind of like your dark corners and things. So how much light we can get out of, say, particular parts of my t-shirt. Maybe in the corner of myself are there or in the mirror, there's like a desk in the background that looks a little bit dark. That's what shadows would be doing. Highlights are going to be like the final touches of like, you know, like even like right now what stuff that's glowing on me will be what's affected by highlights. The mid tones is kind of everything in-between. We also have color saturation and exposure. So this color will actually punch more color into it. So we can toggle this if we wanted to say a bit more yellow or green in this case, you can see if I go into the green slider, more green gets added to my shot, like over into the blue, more blue gets added into my shop. We're going to do that. Saturation is just the amount of color that is already there. By using this global one where you can punch up the colors that already exists there. You'll notice that my face goes really, the bricks behind me. I really am a cushion goes really blue. And if we go the opposite way, of course we remove color, we can create a more subdued look. Exposures, of course, the amount of light, again, globally that will apply it to every part of the clip. If we use this black hair that will apply it to just the shadows. Remember the shadows of those really dark corners. On my share. If we go up with the exposure on the shadow, you'll notice that the dark corners starts to come a little bit more to light. Highlights are those bits that are already very old, highlighted. So you'll notice that my forehead, which is probably a bit overexposed at the moment, even brighter. So we can probably use that to bring down the overexposure on my forehead. Mid tones is just everything in-between. It's kind of a nice middle balance. Now, I like to do this represented as a color wheel. Gonna go at page this Corrections, positive no corrections and we're going to go color waves. Then we're going to be working with the color wheels because I find these a little bit easier to get on with, but I'm gonna put something else in my workspace that helps represent what these changes the color are doing. And it just helps understand the color process a little bit more. If we go into a window of its four pair, and you'll have this physical workspaces. And there's color and effects. And what it would do just changed our workspace that's more prioritized for color gradient. You can do this throughout your editing process. If you're working more on sound, you will set this up more of a sound. If we're working on color, you'll notice that our browser of clips is gone because we don't need to put any more clips and we're already pretty sad this point in our edit. I'm going to remove the effects paying. We don't need not too bothered about the timeline of the moment. And I'm just going to narrow this view down to two items just to make this a little bit easier to say, we've got the luma down here. I'm going to put waveform, the top head. Now this is a visual representation of sharp. Once you start seeing it's really quite cool and clever. This blob in the middle is me basically, and 100 represents white. Why is the brightest object that then becomes 100? If it was entirely white, That's than a 100, whereas 0 represents blank. The lines down the bottom here represent how much or how much information is. On the bottom of this scale represents how much black is in the image and the narrative. The top, the more wide erase and there's not a lot of pure whites in there. You can see a few other things. This is presumably my bookcase. You can see even colors are represented in here as well. So you can just make out the blue books in the bookcase there, the red books, they're a little bit lower down. Quite fun. This blue here presumably is going to be my, my cushion that sat there. And these waveforms at the top here just tell me what colors are present in this image. You can see the fairly well-balanced. It's not too much green or too much red there. About even. Now, what, what happens if my globally introduced too much red in this image? So I'm over on the color wheel here. You've got global which will affect shadows, mid tones and highlights are simultaneously. Watch what happens, but this little hair which adjusts the color, watch what happens to our wave form either on the left. Notice how the red starts to rise because I'm physically putting more red into the image. And the blue conversely drops because as I'm putting more ready in, the blue is the opposite color. We're not quite opposite color, but there's going to be an absence of blue, so blue begins to drop, red begins to go up. And it's just a visual representation of what's going on inside of this image and then remove that. Notice how my luma has turned a lot more red as we've introduced right there as well. The same thing will happen if we adjust our brightness and exposure levels to our shadows on midterms or highlights. Because I'm gonna be working with shadows. Remember that black is represented by 0, the bottom of this chart. If I bring the blacks right down, so I'm gonna adjust the price level. We should see that lowest point drop quite a bit. So I'm going to bring these blacks down. Are you ready? Look at that. This is what I call or no, as crushing the blacks. And in televisions. And when you go to cinema and stuff, the mark of a good camera or good television is blanks because blacks are quite a hard color to represent. If you've ever had a cheap TV, you will know that black is in black. It comes out like a gray. So that's what we can do to this image wherever is kind of technically gray here. We can bring it down and make it a bit blacker. And I'll just leave it there. We can toggle the color effect that we've just done there by turning this on or off. It's a little bit of theory into color. You don't necessarily need to use these charts or know how these charts work. You say that anything that goes way below the 0, which is probably this area here underneath my armpit. Yeah, definitely That's the bound if my armpit there, that's when we've crushed the blacks to match. That might be because of how we filmed it. If it's underexposed, then we're not going to get that data out of there. It's just the nature of it rarely. And conversely, if we go up with the highlights, you will see why as we get more white, you get this point above 100. Which is my forehead right there. You can just say that we don't necessarily need to work with this. As I say, it's just good to understand what's going on. And as we skim through Eclipse, you will actually see where my hands come up like, Well, I'm going to put my hands up. You can see that on the luma chart is just a visual representation of color and light. That being said, all the changes that we're gonna put to our color are entirely orange choice our own tastes. So I'm going to remove this window. This is just so we could see what was going on here. We're gonna go back to our default workspace, a little bit smaller. Also remember your monitor. The calibration of your monitor to get actually calibrated monitor costs a **** of a lot of money. This is good enough for me, but always worth checking it on different monitors as well. Because if this monitor is calibrated incorrectly, it's gonna look entirely different on someone's phone, on someone's video, whatever. Also, if you use programs like I think an apple, you have night shift or flux that will put a hue over the top of it. And of course, your color adjustments are gonna be inaccurate. Something worth bearing in mind. Now, I'm just gonna go with this visually so I think we can get a little bit more color in there. I'm globally gonna do the color this side with the brightness. This side we'll do the amount of color, so I'll pull that down. That's gonna remove color. If I pulled it up, it's going to add color. That's our starting point. I want to pop a little bit more in there. Remember when you're making these videos, if they're gonna go on YouTube or Facebook or Tik Tok. You want this to look really quiet, nice and bright and vibrant and inviting. So I'm going to put a bit more color on there. And I'm going to possibly bump up my midterms a bit because I think we can get a bit more out of that and possibly going to bring the highlights down a little bit because I think definitely overexposed my head when we show that I've already done my shadows. That was a conservative color grades. And we can toggle that on and off here by clicking on and off with this tick, color wheels, this is worth the grade. That's about the grade. Just now is just go back a little bit more of a punch to it. You can go as mad as you like. You can shout loud as a color in polos, the highlights out polish. Let us write down mid tones up and that's not see about whatever I quite like that. It introduces a bit more green in this shot. You can go the opposite direction of grain and put a little bit of green out. But then that gets a little bit more complicated. Just have a play around with this. It's coping today. Now that we've got a grade applied to this clip, I quite like that's the difference. Big difference. I quite like it. We can then command and see on that clip. And then we can apply it to all of our other clips. Awesome. Now we can just drag through like that, that will work. And then we can do the command shift in V, which will paste the attributes. Or we can do a really clever way of doing that. And then we go to index. I'm going to start over this clip here. This is called synchronized clip. We're on synchronized clip. And if you type in the search sing colonised clip that will only show you all the clip names that are called synchronized clip. This is why it's really good to actually name eclipse. You can call this student 1234, whatever. That's only going to show me what I synchronize clips. And this line at the top, I believe is represented in that first clip there. If I click this next one, description highlight, next one, next one, next one. So I don't want to apply the grades for that first clip. I'm going to apply it to everything but that first clip, I'm going to scroll all the way down, hold down my Shift key, because that's going to select a range, Come all the way down, Shift and then click down there. That's going to slit every single clip that's called synchronized clip, which I know is RStudio shop. We synchronize the earlier. Remember, yours might be called something different if you didn't do an audio synchronization by the way, because I know they're all selected. We just do Shift Command V and we can paste the attributes on that. Now, before you select Paste, do you remember that for our edit, we've been changing the size of our clips. We've been changing how much Zoom there is. It's very important that you de-select scale, position. Volume shouldn't matter because we haven't applied with the volume on RStudio clip. But color Wales is just what we want to apply here and applies it to over 114 clips. Paste, brush. With that point. It's worth going through just having a bit of a skim through the fridge just in case there is one anomaly, either you're lying changed or something happened because that's going to affect your color grade out a bit. But as long as everything's consistent, absolutely fine. Now the artery is part of just doing it manually on some measure of Eclipse. If you've got stock footage website, they might already be graded, but That can be good or bad because you might want to grade it in your own way. This one looks really flat. It's not too much going on here. I'm going to add some color wheels and brings play around with it. I mean, it's not bad actually, I can bring the blacks down a little bit more. Bring those highlights. Don't bring the highlights up too much. I want to keep the black dashboard. We just chucked in a bit more shadows on farming that this one in London got a good punch of color, but it looks a little bit muted, might be the fact that it's only ten ATPase, so it's got less of a color range. We can chuck a bit more color in there. We can add some highlights, I would say. Although if we do the highlights, notice how the sky then disappears. So we don't want to go too much with that. Rabbi. She's bump up the mid tones and just the overall warmth of that, bring it a bit shadows to need too much. This has been shattered quite a bit. And that's our difference in that clip. Just much more bright and really inviting traffic lights. This can be quite nice. Remember as well that when you come to color grading, you can mask any parts. So if I said right, I wanted to make this green light very, very bright, but I don't want the green of the trees to be very bright. I want to leave those as they are. Then you can mask that green light. You can punch more gradient to it to make it much more effective. In this case, I'm not too bothered. I just want to make this traffic light look at a little bit more black. So I'm going to cross those blacks were coach the shadows and bring those down a bit. As I do that, notice the mid tones are probably gone down a bit, so I'm going to pull those up. Just gets rid of that kind of folk that haze on it. And you just want to go through all your clips and do this. This one looks like it's already got quite a bit of a grade on it, putting a bit too much color. So I probably want to remove the cutter on that one. We're going to color Wales. I'm going to bring that down globally x, it doesn't really match the rest of my edit. Bring up those mids. And that's my before and after. Subtle, but it's good enough for me. This one's could be a cool one because there's quite a lot of darkness going on here. If you wanted to, again, you can mask off this man here to bring up his brightness. You can bring up the shadows or print up the midterm is just to make him stand out a little bit more. It makes a big difference. I think It's a bit more color in now let's say, I see it, That's the fundamentals of color grade. And remember that you can copy and paste those attributes onto your other clips. You can mask out color grading. You can also key-frame calibrating. So if you want to color grade someone's face and they go across the frame, you can key grader and apply all your color to the mask that you've set around, that keyframe mask on that person. I'm gonna do the rest of my clips now. I'll let you get on and do the same trend for the next chapter because we're gonna be doing our final audio edit. 22. Mastering Your Audio: Edit is nearly there. We've got everything in terms of media and content onto the timeline. I'm almost ready to export it. But there's one really important tasks that we need to do that is mastering our audio. Now, the moment we're all a bit all over the place with our content, that stuff up on different heights and staff is fine. Let's just help these projects eventually end up looking. But what we're gonna do is we're going to press Command and I. You can drag everything if you wanted to, but just make sure you're in the timeline and press Command and I and everything highlights like this. It just means that sometimes if you drag, you might miss some things. The command and I select everything. And we're gonna go to File and we're going to go new compound clip. Now what this is going to do is is basically going to put everything into one joint clip. We're going to call this ICT reasons YouTube. I'm just gonna call it compound clip. You'll notice it just becomes one gigantic clip we can apply all the way through. Now, the way we can master audio, and this all comes down to the fact that we put different audio configurations on our audio earlier. Things like sound effects, music, dialogue. So on depends how many different audio things you have. Even when we go through our edit, you'll notice as the spikes of audio, I presume that's going to be the sound effects in whereby when I've been listening to this back through my speakers, it sounded perfectly fine. But if you put headphones on, you really know is a variance in my dialogue, in the sound effects, so on and so forth. But now that we've created this compound clip, this is probably one of the most easiest and effective ways to edit all of our audio simultaneously. What we need to do, first of all, is right-click on this clip and go to Expand Audio components that will split it into all those audio configurations that we had. This blue one was the dialogue from the studio shot. This turquoise yuan or the blue y1 is the sound effects. And the green one at the bottom is the music. To get them separated like this, you must ensure that all of your audio is configured to a certain track. You can make up your own audio designations. But if you've accidentally put the music in dialogue, you know, if music track was blue, then this isn't going to work for you. You'd have to ensure before you get to this stage, before you create your compound clip, the all of your audio as it's designated routes. From here, we can now mass change things. So we know that this light blue one is the sound effects. So if I pull that down, it's going to remove sound effects. And we know this green one is music. So if I pull the audio bar down there, we've just silence them to now if we apply it, it's just gonna be the dialogue that's with the camera that we synchronized in the very beginning. What we're also going to need is we're going to need the audio meters. So we're gonna go to Window workspace or showing workspace, the amateurs. And I'll bring the ODM is for that. We can make them as wide as wave-like. Now, in terms of dialogue, we're going to add some effects to it. This is just going to sharpen the audio and little bit in the same way that we've applied a color grade to a video footage, we can apply some effects to our audio just to make it a little bit better. Now I'm not amazing with audio, but I can go over some of these fundamentals that I've learned over the years in our effects browser. If we bring that back up those two little squares there, you've got to ask the bottom and there's a whole list of audio effects, things like IQ. You can apply echoes and things so you can go right, one minus Alpha Echo. Tell me that makes an echo, right? You can have a large rooms. You can make it sound like I'm in a hotel or something. These are all fun things you could do in the idea as well. I should have possibly brought them up earlier. But what we're more concerned about right now is firstly something called a compressor. You can search these. Remember there's a little search bar at the bottom of the effects browser. We can compress up. And I'm going to drop that compressor straight onto my audio. You want to know as much of a difference. There we go. There it's done. Welcome press it does. Is that in your audio recording, if there's too much peaking, the audio spikes too much. If you shout into the microphone, then that's going to be quite high. And of course when you are a bit quiet, then there's gonna be some lower points in your audio. So the idea of the compressor is to kind of balance those out. It brings the highest stuff down a bit and it brings the low stuff up. At this, you've got a more consistent audio throughout. That's a great thing to add on there. Maybe just have a little listen through it too and just make sure it's correct. All right. Sounds right. How will the SAT that evidence? In this piece of diets and its satellite, here's the most really important is when I'm looking at these audio May is here, we don't want to see any peaking will not have its peak in because if I drag this up as appropriate, stop taking now, we know it's peaking first because you'll notice that we get these yellow and red spikes in our audio waveforms. If I play it, it was, this looks dark red at the top. Rooms didn't get jammed up. It's the best. When I say best that you can hear that audio. Just pick there. We don't want that. We're going to bring that back down to 0. We'll come back to order level later. That's gonna be one, a lot lighter things to do, but I'm just observing it now. Those groups didn't get camp. We want it to be hovering around the minus six months. You don't want to take out to 0. You kind of want my order to be bouncing into the minus six marks. You can go minus five, minus four, but if it's hovering around minus six, that'll be good. Before we do that though, I just want to add an EQ to the next. Now AQ, remove our search item from the effects browser or at this channel AQ on that, an EQ when you add it doesn't do anything. But the way of looking at an ICU, it's almost like color grading, but for more detail, There's gonna be certain characteristics or frequencies to my voice. The iconic send you right? Or I can dull. If I have like a particularly Basie voice, you might want to remove that, bring that down. If you have a high voice, you might want to extenuate it, whatever it may be. Again, it's entirely open to interpretation. Depending on the space that you film in, you might have a bit more of an echo going on. An IQ is a really good way to remove some of those unwanted frequencies. That is acoustics to your room or your environment, environment that you're filming in. I've added my EQ. We click on the audio clip and we got to the inspector and we go this time. So the audio inspector, let's move this stuff out of the way so we can have a little battle. We don't need so much of the difficulty of viewers browser relevant. Let me love you. I ever, just like before when we added effects to our video clips, when you add effects to your audio channels, you will notice that they appear here in the Inspector. We've got our compressor that we added before. There's a few different things that you can do for compressors. We've got our Channel EQ. Now, this has done nothing when you added the e cubed doesn't do a thing if you add it in it's naive state. But you'll see there's this thing called preset. I've already put a few presets in here. You can do different ones like voice. Or if you've got a myo lead vocal, you can add a particular AQ, a particular convert way. Q is the equalizer, but you get the setting unlike Colorado and stuff, If there's a certain characteristic of audio you like, be that base b, that more mid tones, maybe what more vocals you can then change your audio. So I've got my pre-made ones and I'm just gonna show you exactly how this works. Let me add one. I've got road room expenses. I think that was a good one. I used movie. Maybe. They get jammed up. No one else is using mountain. We know that from using this particular a queue before, it actually removes a lot of the kind of echo in the room. The way that I've done this, in the way I set this up is by using this little panel here. So you've got to IQ. You will see that there is this, this is like a bunch of knobs and things. I'm going to reset my AQ to default, so it'll be nothing going on there. And when I click on this Advanced effect editor user interface, it will bring up this box here. What this is displaying or what allows us to manipulate is the frequencies of the audio. Again, if there's unwanted echo, maybe there's a background hum from an air conditioning unit. You can appropriately adjust and sometimes remove these from this, I'm going to go into a little bit of detail here. The key thing to remember is this all down to personal interpretation and taste. Really good reason why you should put your headphones on and really listen into this. If we turn on this button in the bottom left, it says analyzer post. What this will do is that as we play our clip, it will actually show you what frequencies are more prominent than others. So let's give you a supply network. Usually sticks you on the main roads. More people take numbers, get jammed up against the best route. If you can see certain frequencies that are coming through that lower frequencies, of course are going to be much point AICPA. And then the higher frequencies presumably are gonna be your high frequency, high-pitched noises and stuff. So one way of doing this is that you can alternate for analytics that can be a bit distracting. You can just leave the audio playing in the background. What do you invaluable streets around you to work out? What I like to do is I pull up these points here. If I pull this, I've just picked a random point on here. But the idea is you move it to whatever frequency you want. If I pull it up, that's going to exaggerate more of the characteristics of it is echoey. I'm going to put more echo in it. If I pull it down, that's going to remove it. But it all depends where along this frequency scale you did it, remembering that the deeper tones are going to be in the lower frequencies or a membrane. Hi Paige noises are gonna be in the high frequencies. One way I like to test for this is I will scan for whilst it's playing. So we apply it. Just scanning all these little grooves that time it's kind of like myself see a higher frequency, but it's like a enormous nasally ness to my voice. Doesn't go into that network, usually sticks you on the main road. More people take liberties. Groups didn't get jammed up. And you can hear if I go down this end, that's more the base end of it. It's the best route if no one else is using them. So it's extenuate that bass notes. If I bring that down, that's gonna theory remove a lot of those deep low frequencies, often, especially in somewhere as busy as lambda1. Now you only really want to go down to about eight decibels or so because you want to be subtle with this and you can make the spikes little bit more pronounced, something like that. You'll find that once you commit to one of these routes, you have someone that's if you didn't like the bass notes, for example, or the lower frequency, should we say? I'm not an audio engineer, so I can't go into this with too much detail, but by playing around with this, you can really get some nice audio. I'm gonna go back to my default I use which was the room. And you can see what I've done here. So mainly most of the audio manipulation you'll do will be removing certain parts. You don't really want to add too much into it. You can a little bit as I've done up here, and some of the higher-end stuff. And this will allow sound a bit like this. That network movie numbers get jammed up. If no one else is using that. I quite like this audio setup. I've had it well, I've set it up within this space and my audio requirements don't really change too much. The space doesn't change. My microphone and equipment doesn't really change. So I'm more than happy to go ahead with this. I'm going to apply that has now applied because I've now just picked out of the defaults that this is also where you can save the day folks that I've now done that onto my, my dialogue. Hey, let's remove effects because we don't need that anymore. I'm just going to play it through and just see where we pick on our on our audio meters. Because depending what we've done with that channel EQ and that compressor that might have bumped up the order level, it might have dropped it down. Let's lesson the main runs. Movie. One of those roots, they get jammed up. The looks of it. We've got maximum of minus 14 going on here. So I definitely, definitely pull that up. So I'm gonna just go, let's just go with that as a minus 12. See what happens. It doesn't look too much picking is a bit of yellow there. There's a bit of yellow there. And let's see what happens. One of these endless variables too high, we've already gone up into 0 straightaway. So we need to be about an I O would say, possibly even lower than that. Let's go for eight. Minus seven. Minus six is the best route. Is using that room more often, especially for the rest of Asia. Save As n If you take killer peaking, I think we can go up a tiny bit more. We just go up to nine times in London wherever I use a sentence, you want to tell me to go across optimum circus. And that's because currently, taxis and buses can go pretty cool with that. Okay, Right now we've got to do the same thing, but with sound effects, we don't need to put any channel EQ or compressor on the sound effects because they're just such short little bits of sound. I think that'd be really over the top, but we just want to make sure it doesn't come through and pick too much. So let's go to 0. And we shall see what happens. Number five is the fact. And then we can say by audio waveform, say where those sound effects come in. So let's have a little look on a given number. Five minus one is probably going to live with too high. So I'm gonna pull those down a bit. I can see there's a couple of other sound effects though the unquote the same level as the others. This is that swoosh sound effect I use quite a lot. This is presumably enough when I do, and I think that one was a cash register and that one was a different one. Now these aren't the same as you can see as the other ones. You can say these are almost not quite half, but quite a bit lower. So what we're gonna do if we go back into our browser, I've had. We're going to go into synchronized clip, sorry, not synchronized clip. That will be the compound that we made. The amount might be easier to find it. Be the compound clipping here that we made somewhere and you just double-click on that and that takes us back to our original view that we had a reason compound clip Bush tax by these original view that we have. So I'm just going to pull up some of that order, that building I did. I'm going to bring that up to minus six. And there was a cash register here. I'm gonna bring that up minus F3. We'll go back to our main project. This is now how the project looks. Maybe you stay tuned to that there. You can even pull down the minor, sorry, the nine decibel. Yours might be slightly different, but you can pull down your dialogue. Just see how it all looks. Just, just pings. That's minus 11. Minus seven scenario we're gonna be the same most whooshes because they were the same noises. I think we can get back up with those. The other is you don't want it to be absolutely loud. There's nothing worse than when you listen to the stomach online and just this random noise comes into our nowhere and it's exacerbated of headphones minus t. I'm going to bring that down, say probably about minus three, minus five. That is good. Let's see if that cash registers, good. Cash register goes to minus 7. First 1 was a pain, minus nine. We could bring up the cash register and the one a little bit more. That's going to be minus four. Remember, you can type these in as well. I mean, dragging probably isn't the most efficient way. But you'll find that when you want to get edits over the line, you definitely do compromise a little bit. Minus one. Go back to that. And I'm going to be happy that now because it was very close before. Then the final thing is just the music. So we know that is minus three, that wasn't minus nine, minus 99 dB or more worthwhile, at least down more than ever. We're gonna have a little look. Our music. Music can be entirely different because it's just gonna be a background thing. So the ovaries do math doesn't tell you is that usually sticks you going to bring the dialogue back down. Just see where it's hovering? Thus far is good enough. I think. Again, headphones, cans. I'm going to be reviewing this afterwards, but for the sake of demonstration, I'm not going to have headphones on it. Just remember to check all your audio tracks, not just the intro, check midway through the louder points because WE worst and you have one prominent audio track and then some expert quieter. It's just about balancing it all out. I can say they're all floating around this minus four, minus four, a minus phi. I think that means that whoever mix these when I got these, were pretty good audio mixes because I pulled it down by minus 30 once I've dropped them on the timeline. So that's a pretty good yeah, they're all buying online minus phi. So I'm happy with that, I'm happy with that. Pull that back up to minus sorry, minus nine, just knowing the bay personal use cases. And that is an edit complete look at that. We've just made an edit. Isn't it amazing when it comes over the line and look so perfect? But we're not quite done yet. What we need to do next is know how to render it. And depending where the video is going to go and how are you going to share it? There's a few different ways. How are we going to render this footage out? Be sure to check out the next chapter. 23. Exporting Your Final Project: It's pretty exciting times we've managed to assemble an entire edit. We've got it mastered, It's been colored, graded, it just needs to come out of Final Cut Pro and we can share it with the world, with the Internet, with your friends and family. This is what it's all about. Now, there's a few ways that we can do this. First of all, we just want to select everything we've got on the timeline. So we're going to use Command and as our shortcut to select everything on the timeline. And we're gonna go up to File now, file then you go to share. And there's quite a few different ways of sharing on here. Now, to be honest, the best thing you can do is just press Export file because that allows you to set your parameters. These other things here, there's like Apple devices than I pay Apple devices for k, save current frame as if you want to pull a still out and maybe use that as a thumbnail for a YouTube video wherever these other ones are just presets. You can set up a preset if you know that you always render out in a certain format, you can make it a preset and just makes it a little bit quicker. But I like to export it manually so I can make sure that it is all correct. Before we explore, we get this dialog box come up. Basically, you can do lots of different things here. You can add a description. This gets added to the metadata of the video. You can add tags as well. This is all to do with the Apple operating system because of course you can put lots of date certain things in here. If you explore a lot of videos, then maybe you would want to person typed in here. It just makes it a bit easier to navigate through all your files and different videos you might be working on my January Doug buffer with it. You can also see here as well exactly what our frame rate is and the size, the resolution of the video. In this case, it's free 840 by 2160. Very important because I shot this in for k, that is a 4k K resolution. So I'm happy with that. 25 frames per second. That is exactly how I shot it, so that it's also good to see stereo left and right. That basically means that it's not mono audio. It's gonna come out of both speakers, not just one are designed for one speaker. So in theory, we could have a left and right split in the audio channel. That could be some advanced audio you might want to look into on future edits. Tells you how long it's going to be. Ten minutes and 47 seconds. Always double-check that because sometimes you can have a little trailing bit of clip on the end here. It basically will just be black for like two extra minutes. You don't want that because you've uploaded that to YouTube and you guys extra two minutes that no one can watch. That's really going to affect your average view duration and percentage viewed and stuff like that. It's gonna tell you how big the file is. It was tells it as a mole and a mole of is the type of format we want more visit container file. We can rename this I reasons why cabbies never use SAT naps and output y t at the end In denotes that it's for YouTube. I might make an Instagram version. Whatever you can do, whatever you like here. We can go a little bit deeper and we can go into settings. And this just allows us to change things like codecs. By default, this should be H.264, which is perfect because this is a type of compression which is also a delivery format. So ProRes is actually an editing codec. Some cameras, some really high-end cameras actually shoot ProRes. But if you explore and one of the a's, just look how big the file size is going to be. 60 gigabyte is not designed for final render. Now, even get these lower ones are proxy ones that's still white UI, hey, H.264 is perfect. You don't lose quality. It's gonna be fine. That format video and audio, because you can just take out video or audio only you can even make it for broadcasts are certain broadcast specification. That's all fine from a, we just hit Next. That will render out just choose an appropriate place to save it, maybe on external drive, I'm just gonna stick it on the desktop for now and let that render out. You will see the progress of your rendering. In the top-left here, there's this little clock face almost. And this is a background task window will open up sharing. And that'll tell you how far fruits guy transcoding, the speed of how long it will take. It depends entirely on your machine. If you've got a much older Mac, let's say the processor is not as capable than it will take a longer time to render, especially if you're welcome. Okay, footage. I've got one of the newer Mac Minis with the M1 chip inside of it. So they do render out pretty quickly and it takes about ten minutes or so. Then from there you then have your footage. It will be an image of container format which is suitable for watching on QuickTime, but perfect upload straight onto YouTube wherever you want to distribute it. Thus, it, we've made ourselves a video. It's really for the Internet. There is also a feature inside a final cut where you can upload directly to YouTube. Although I wouldn't recommend this. It does take keywords and descriptions and things like that. But the only problem is, is that you don't have settings such as being able to make the video private before upload. Whereas when I upload, I get the video out. I will actually watch the video once I've exported it because it's a lot different from watching it in the editor to once you've exported out, you can go through, I generally get a pen and paper out and just go through the edit. Make sure that it is old tip top because you don't want a random clip to pop up or maybe some order that doesn't sound quite right. If you even just the general flow, just go through it, pen and paper just mark anything that needs changing. Come back to the idea that it is a bit annoying having to render out again. But at the end of the day you are crafting a piece of art. So just remember, you're the one who's got to live with it. If there's a problem with it, it's got your name associated with it rarely yet. Once, edit it out. I generally uploaded to YouTube, offset it as private until I know it's all uploaded. Everything's perfect. I've got my cards, descriptions, tags, title from now, everything perfect before I even think about launching it. And most times are generally schedule it. 24. Conclusion: Thank you so much for watching my Skillshare class on how to edit on Final Cut Pro X. It's a wonderful talent and it's relatively easy to get into. The more that you use the program, the more you'll get acquainted with certain shortcuts, you're asking yourself questions like, how can I do this faster? Is there a better way of doing this? And it's one of the joys of editing, is getting so much more efficient with your footage and being able to turn out videos quicker and quicker. If you have enjoyed this, please do share this with a friend or colleague who may get some benefit from it. You can also check me out on all the socials. I'm Tom, the taxi driver or would love to see you there, please do message me if you feel like this has impacted your life in some way. And also please do upload your videos that you make as a result of this course. I'd love to see what you managed to make and it also helps me know how effective this course has been. See you Bye-bye.