Video Editing in Final Cut Pro - Beginners Guide | Jeven Dovey | Skillshare

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Video Editing in Final Cut Pro - Beginners Guide

teacher avatar Jeven Dovey, Filmmaker & YouTuber

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.



    • 2.

      Class Project


    • 3.

      FCP Library Setup


    • 4.

      FCP Layout


    • 5.

      Building Your Workspace


    • 6.

      Create a New Project


    • 7.

      FCP is Magnetic


    • 8.

      Importing Footage


    • 9.

      Editing A Roll


    • 10.

      Timeline Controls


    • 11.

      Audio Transitions


    • 12.

      Audio Clean Up


    • 13.

      Editing B Roll


    • 14.

      B Roll Transitions


    • 15.

      Adding Text


    • 16.

      Camera Motion


    • 17.

      Adding Photos


    • 18.

      Music Editing


    • 19.



    • 20.

      Color Grading


    • 21.

      Adjustment Layers


    • 22.

      Copy and Paste Effects


    • 23.

      Slow Motion


    • 24.

      Customizing Keyboard


    • 25.

      Exporting Finished Video


    • 26.

      Final Organization


    • 27.

      Creating Templates


    • 28.



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About This Class

Video Editing in Final Cut Pro - Beginners Guide

This class will teach you everything you need to get started with Final Cut Pro.  This course was created for anyone who wants to learn FCP to edit YouTube videos, work with clients or just create fun edits of their footage.  We go through my step by step method that I use on every one of my videos.  

  1. A Roll Edit - Step one is understanding how Final Cut Pro works and where all the buttons are.  From here we'll assemble the A Roll cut and figure out how to make videos flow while removing all mess ups and anything that doesn't belong in the video. 
  2. B-Roll - After our A Roll is finished we will move on to the fun part.... B ROLL!  This is where you'll be able to get creative and have some fun editing all the fun footage.  We'll dive into how to add this on your A Roll while also creating stand alone B Roll sequences. 
  3. Finishing Touches - After we have a solid cut of a video then we move on to doing a color grade and getting the video ready for upload.  

If you're a complete beginner to Final Cut Pro then this is the course for you.  We explore all the fundamentals and get you up to speed with the most important aspects so that you can start editing right away.  

Who am I?

My name is Jeven Dovey.  I'm an Adventure Filmmaker, YouTuber and I run a Production company based in Los Angeles.  I've been a Final Cut Pro user for most of my career.  

One of the most common questions on my channel is about what editing software to use and how to edit.  So I put together this course that is your complete beginners guide and will get you ready to start making your own videos!

Meet Your Teacher

Teacher Profile Image

Jeven Dovey

Filmmaker & YouTuber


Hello, I'm Jeven. I create travel, adventure and filmmaking content.  My goal is to teach you new skills and inspire you to get out there and shoot some awesome videos! 

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Level: Beginner

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1. Introduction : Welcome to your complete beginners guide for Final Cut Pro. Now this course is geared towards creators, freelancers, or those of you who just want to make cool videos out of the footage that you've been shooting. All the skills in this course are all the basics that you need to have a clear understanding of how Final Cut works and how to actually go from raw footage to a finished product. So in this course, I'm going to go through my step-by-step method, which starts with cutting your a roll, then getting into your B-roll. Then we'll go into music, sound effects, graphics. And then I'll talk about how you do a color grade. And finally, how you export that and upload that to wherever it is that you want to share your video. So if we haven't met before, my name is John Doe v, I'm an adventure filmmaker. I'm a YouTuber, and I've been working in Final Cut Pro for a very long time. So we're going to break down how I edit my videos. And you're going to pick up a lot of different tactics along the way. All right, so there's a lot to unpack in this course. So let's get into it. 2. Class Project: So let's talk about your project that you're going to do at the end of this course. Now, whether you are a YouTuber or creator, or you're someone who just wants to make fun videos. This exercise is going to help you learn how to edit. So the project that I want you to make is five things you need to know about X. So if you're someone who's gonna do product reviews on your YouTube channel, let's make a video around five things you need to know about this product. If you're someone who's interested in doing tutorials, give me five steps to make something happen. And if you're someone who is working for clients doing commercial work, or you're just having fun with your camera. Make a video around five things you need to know about, say overland and, or snowboarding or mountain biking. This type of video is going to incorporate everything that we're going to talk about in this course and just gives you a way to play with all of the different elements. Now if you're new to filming, just use your smartphone, make it super easy. This doesn't have to be a super overly complicated video. You just need to have a project to work with that incorporates both a role and B-roll. So think about something that you can create an either edit along with me as we go through all the different modules. Or you can wait till the end, do the edit after you've learned everything that you need to know about Final Cut Pro. All right, so let's start learning. 3. FCP Library Setup: So let's first break down the structure of how Final Cut Pro works. Now there's two ways that you can import your media into Final Cut Pro, and it's going to change how you want to edit. So Final Cut Pro will create a single project file. It's called a library. Now this library can house all of your media in it. So on your desktop, you'll have this icon of a Final Cut library and everything can be in there. Now the other way to edit is to keep all your media outside of this file. And you can actually have it organized by folders. And there's advantages to both and disadvantages to both. So the reason that you might want to keep everything within the final library is to keep it simple. You just have this one file and everything is in there, so you import your media, it goes into this file. You bring in your music, your assets. It all goes into this file and you never have to worry about files getting misplaced on your computer are being mixed up or being in your downloads folder somewhere else. But the issue for this method is if you have two libraries and you want to use the same footage in both libraries, well, that footage will be duplicated to the second library. And so what will happen is if you're making a ton of videos over time, you're going to be duplicating your footage over and over. And I know on my channel I use a lot of the same footage for my videos. I'll go back to old videos and I'll pull some of the drone footage, for example. Now if I was to keep all my footage within the libraries, will every library would have the same drone shots. And then eventually it gets to the point where I have the same shot 10 times across a bunch of different libraries. Now the second method is to use a folder structure and keep all your footage and your assets outside of your library. Now this is the way that I use Final Cut Pro. And the downside is if you don't stay organized, it can get messy really fast. Now you can keep multiple projects in one library. However, the issue is if that library gets too big, it could start slowing down and causing some problems. So what I do is one library for every project that I'm working on. And a project might be a few videos, but I don't have a full years of content into one library, outbreak it up to what makes sense. So if I'm working with a client, all of that clients work will be in one library. But then I'm going to make a new library of first, second client. And if I'm making videos for my YouTube channel, typically each video will end up having its own library unless, for example, I'm making a bunch of videos out of one batch footage. So I did a project where I went to Thailand and I went and filmed with an elephant sanctuary and I made like five or six videos out of that footage, and all of those lived in one library. However, as soon as I moved on to the next project, I made a new library. Now the way that I do my organization or my computer is fairly simple. I do it by date and then project number. And the reason for this, I actually have a Notion setup that has all of my project numbers and all of my information for each video. This makes it easy for me to go back and find things if I need to find it. And it's just a system that I've built that makes sense for me. You could use something like a Google sheets or you can just do it by folder structure. But having some sort of organization that keeps your videos in order is going to be a huge help, especially when you want to go back and find different assets. Let's take a look at my structure. This is one of my hard drives and you can see I have the date and then I have a project number. And so if I want to go back to something I know a shot in November of 2020, I can easily find that by the date. If I know it's this project, I find it in my Notion or your Google Sheets or however you haven't organized, you can then find which project it's associated with. And so I'll open up one of these folders and you can see I have my final cut file, that is the main library that has all of my edits, but none of the footage or assets is actually in this library. All of my footage lives in My Media folder. And you can see in this master file that I've created, I have a bunch of different folders. I have exports, I have some lots that I developed for this video. I have my media photography and my thumb, no assets. Now if you're someone who's making YouTube videos, you know how important the thumbnail is. So I'll either create different variations or have different assets to build my thumbnails. And I just keep them all here. So I've ever want to go back and reuse some of those assets or look at some of my old thumbnails. I know exactly where they are based on the video. Now let's go into My Media folder and you'll see in my folder I have all my footage, I have my graphics, my music, my screen recordings, my sound effects, and my voice-over. This video had a lot of different assets. And so I just make sure that I organize this in a way where I know where everything is and it's not just all dumped into one folder. So when we go into the footage, you can see that I have a bunch of different assets here. So I have my A7, S3, my GoPro, my instance 360, my instance 360 Export. And then I have iPhones from the other people that I was with. This is an easy way that I've found to organize my footage so I know which camera sources coming from. And all of this is important to do just so you have some sort of organization on the front end. You can come up with your own method with which makes sense for you. But I highly suggest you have somewhere with all of your media, all of your footage, and then you make this master folder that's going to have your library, your exports, your photography, basically everything associated with this project in one place so that you don't have all your media and assets and multiple places. You don't want to have it on a hard drive, your desktop, your downloads folder. As soon as you start mixing all these up, it's going to be hard to find different assets. And if something gets moved, it might not be linked in final cut anymore and it's going to be hard to find that asset. And as I said earlier, if you don't want to deal with this folder structure, you can just bring all of your assets into your Final Cut Pro file. 4. FCP Layout: So let's go over the layout of how everything looks in Final Cut Pro. So this is just my empty desktop. We're going to open up Final Cut Pro. And if this is your first time opening up Final Cut Pro, you're going to end up with a look like this. So you'll probably have a library that's untitled, that's just the basic one that comes in. And there's going to be nothing on here. So I'm going to actually open up one of my older files and I'll show you how to do this so that when you get to that point of opening up old files, you can find them. You can go to File, Open Library, other. And then I'm going to locate this file. It's going to be on this hard drive with all of these projects. And you can see when you start making a lot of projects, it gets really busy really fast. So having a folder structure is going to help you. I'm gonna go to Mount good climb. I'm going to open up this library. So you can see in the upper left-hand corner, now I have my MT good video and I have this untitled. Now we don't need this untitled so you can control-click and close that library and it's just going to close it out. You don't need it, That's just the default one. So when you open up your project file in Final Cut Pro, you're going to see this information on the left-hand side. Now this area right here, this big box is called your browser. This is where you're going to see all of your media, and this is where your libraries are going to be shown. So if you have multiple libraries open, you'll see them on this left sidebar. So the folder structure goes like this. The top is your library. That's just what you see on your computer, on your hard drive. That name will be reflective of what you see as that project file or the library. Now underneath that you're going to see smart collections and you're gonna see what's called an event. So an event, think of it like a grouping of footage and in that event, and you can have keywords and folders. So I have keywords which are the same keywords that you'll see as my folders on my hard drive. And then I have this folder for cameras. And you can open this up and you can see I have all my cameras as keywords. Now, any asset can be in multiple keywords, but can only be in one event. These shots from the A7, S3, they can only be in this one event. And if I was to have multiple events, well, you can move footage between events, but you can only keep it in one event. Now you can have your assets in multiple keywords. So I could have it in A7, S3, and then if I had something location-based, I could have it in, down here as well and here and here. So keywords are just a way to categorize your footage. Whereas the event is like the big grouping folder where everything is n and smart collections are just smart keywords. So an easy one to see right away is all video. It's going to show you all of your video right here in your browser and nothing else. If you do all audio, it's going to show you only your audio clips. So this top smart collections folder is basically pulling everything from this library, so all the events. Whereas if you create a smart collection in this event, it would only apply to the footage and assets in this one event. So smart collections are advanced keyword tools and it might be something that you want to use if you have bigger libraries. So next in the browser window, you're going to see all of your footage. And I'm going to just click onto my A7 S3 keyword. And you can see everything in a list format. So if I click on a shot here, you'll see the footage pop up in the film strip. And I can just use my cursor and scroll alongside it. And I can see the footage playback in my viewer. Now what you see at the bottom here is your waveforms. So that's your audio. So you're getting a visual representation of everything that's in the shot. And then you can see it playback on the viewer. And if you want to play this clip and watch it, just put your cursor at the point you want to play it, click the space bar, and then it will start playing, and it will also play your audio. Now the other way that you can view your clips in your browser is clicking this icon right here. And this is going between filmstrip and list mode. This is called list mode. You click this, it goes to film strip mode. So all you're seeing is the footage in a film strip representation and you can scroll through each shot. Now you can change what you see here by clicking this little icon. And you can change the duration. So I want to see every two seconds or I want to see every 10 minutes. So you can scale up how big the footage is being viewed in this viewer. And you can also change the size so you can make them smaller or you can make them bigger. And you can also group your content. You can show your wave forms or you can hide your wave forms. And then you can also click on continuous playback, which is just going to keep playing back your footage as you flip through your shots. So I use both the filmstrip and the ListView. It just depends on how I want to see my clips at that point, I used the film strip view if I want to see all the different shots that I have and just scrub through them quickly. And then I'll use my ListView if I'm going shot by shot and I want to see that film strip at the top and grab a specific section of the shot to use in my edit. Now a couple of things on your viewer. Right now you're seeing full screen, the entire clip. You can click this button here and actually zoom in. So let's say we want to see the shot at 25 percent. It zooms out a little bit and let's see, at 400%, it zooms in and you can grab this little box here and move around your shot. Typically you're going to want to edit in the fit mode, which fits the video to the same size that you see this viewer, and it always will see full screen. Now if you wanted to make this viewer a little bit bigger, you can grab hold here on these lines and change the different sizing of your windows. So this is the typical layout that you're going to see when you're working on a video. Your timeline is down below. That's where all your edits are going to happen. And then on the right-hand side is your inspector, and this is where you make all your modifications to your footage. So you can do things like zoom in, zoom out. You can do your keyframing, you can change your opacity. And then up here you have different options. First is your video Inspector. Then you have your color inspector, which is where you're gonna do all your color grading. Then you have your audio inspector, which does all your audio edits. And then you have your info about the clip called your phone spectrum. These are the four tabs that you are going to use when you're editing to make changes to your clips or your audio. And if you add any effects, they're going to pop up here in this section. Now to see your audio meters, you'll see them represented here. And you'll also see them here on the side of which you can change the size of. Now if you don't need this side meter yet and you're just doing visual, you can close that down. A lot of these tabs will open and close. Now, if you want to use some video effects on this footage, use this button here, which is going to open up your effects browser and you have all your effects to work with. So this is both audio and video. The next icon to that is your transitions. If you want to do like a dissolve or a WIP or any type of transition from one shot to another. This is the button you'll use to open up your transitions browser. Right up here above your timeline is your tools. And you're gonna be using different tools depending on what you wanna do with your editing. And we'll go over some of the ones that I use most often. But if you need to change your tool, you can click it here or you can click the keystroke that's on the right-hand side here. Most of the time I'm using my select tool, my position tool, and my blade tool, which is API and beat. And so I'm going to be using keystrokes when I'm editing. And we're going to be talking about keystroke editing throughout this course. So you're going to learn different keystrokes to use. That's going to make your editing much faster. And if you don't know what keystrokes are, it's basically just the key commands on the keyboard. So you can click a button and it's going to do an action rather than having to use your cursor to go to a menu, open it up, and then do the selection. Now the last thing once you finish your project and you want to watch it full screen, instead of exporting and watching a full-screen export, you can click this button here, which is gonna give you a full screen view of your video. And you can stop it. You can reverse things. But it gives you that full screen view so you can watch it back to make sure that everything is cut properly and you're ready to do your export. Now you just hit the Escape key and it will go back to your Final Cut Pro window. That's the basic layout of Final Cut Pro. This is what you need to know right now. And as new things come up, as we're getting through the editing process will go over different menu items and different buttons that are going to help you along your way. 5. Building Your Workspace: Let's talk about customizing your Final Cut Pro Layout. So right now this is pretty much the default layout. However, everything is adjustable to a degree. Now you can't completely take windows and swap them like this. However, you can open and close different aspects of your viewer. So when we're looking at Final Cut Pro, if you don't need your media browser, you can click this icon up here, which is going to hide the browser. Now it's gonna make your viewer full screen. And the same thing with your inspector window. If you're not doing edits and you're not doing modifications to your footage or audio. You can click the Inspector tab and slide that over. Now you have a full screen viewer to work off and just your project down below. Now if you don't need audio waveforms, you click your audio wave forms right underneath the viewer. It hides those. And now we have a perfect example of a great way to just do visual editing once you have footage on your timeline. Now let's say we want to add a shot. Well, we'll open up our browser window and we'll be able to go through our shots and add them down below. And then we can just close it out if we're not using it. All of these have keystroke commands. So your browser, for example, is F1, so you can open and close using F1. Your Inspector tab is F4. So you can open and close using F4. And if you want to see what any of the keystroke commands are, you can find them by going up to window show in workspace. And here's all the different options that you can show or hide. Now, there is some workspaces set up for you already, and that is in this workspaces tab. Right now we're on default. We can click the organized and it's going to set up your footage to organize. So this means you're just looking at your footage versus actually doing editing. So if you notice the timeline has gone or what's called the project. Now let's go up to Window, let's go to Workspaces, color and affects. Everything is going to pop up that you're going to need to use to be able to add effects and do some color grading. Let's go back to the default. And this is the default. And I'm going to close the inspector and this is just a great way to edit. Now if you just want to close down your sidebar, you just want to look at footage and you can click this button up right here. And it just makes your media browser full-screen for whatever you've selected. This button here will go to your titles and your generators. This is all your text, animations, your motion graphics. And this is also where you can get custom full-screen colors. So if you just did a black screen, you get that in this generator tab down here. Also, if you end up getting some plugins for Final Cut Pro, which I'll talk about plug-ins a little bit later. This is where you're gonna end up finding them. So typically when you download and install plugins, they're going to pop up under your titles or your generators. But sometimes they'll also appear in your effects. So you just have to figure out where it's at depending on which plug-in you've downloaded. Now, like I said in the last video, you can grab any of these bars and move them around. So if you want your viewer bigger and you still want to keep these on screen, you just slide the bar over to the left. You can change all of these window sizes. If you want to see more of your edit, you can slide your project up and see more of your edit while you're working. And now on your project, you can make changes to see this view. So up here, this button is going to show the appearance of your timeline. The first is going to be you're zooming. So you can zoom out to see your full timeline or zoom in to see more specific things. And this allows you to do more precise cutting. And this is something that I do a lot of. I zoom out, see the full picture, zoom back in, but I don't use this button here. I'll use keystroke commands. So I'll use Command Plus and command minus. And that's going to zoom out and zoom in. Right now I'm seeing a filmstrip view with a little bit of waveform. I want to see more wave form underneath my shot, which is the audio meters. I can change that view here. So let's click this one. It's going to show more of the audio waveform and less of the video. And you can do all audio wave form, no video. And you could do the reverse, which is all video film strips and not any audio wave forms. Typically I add it with one of these two modes so I can see both my audio waveforms and my video film strip. Now you can also change the size of this filmstrip look and you can make this bigger. Or if you have tons of layers, you can make the smaller. It all comes down to personal preference and what you need to see when you're editing. So the last thing I want to show you is when you go to Windows, Let's say this is the layout that you like working in. You can go to Window Workspaces, save workspace as, and you can create a custom workspace that's a default for you. So if you have different ways that you like your windows laid out and you have one for color grading, one for editing, one for organizing, and you want to customize it. You can save those and then they'll be here in this list so that you can just automatically go to those whenever you want to change your window layout without having to do each window independently. Okay, So we've done a lot of talking about how Final Cut works and how it's laid out. Let's get into actually doing some editing. 6. Create a New Project: So the first part in your editing process is going to be starting a project or a timeline. So you can see I have some footage pulled into this library. And what I'm gonna do is start a project so I can go to file new project, or I can use the keystroke command in. Now your project's settings will pop up first. So we're going to call this alaska helicopter. And so I want to set my custom settings. Now if you want to use automatic settings, you can click this button down here. And all it's going to show is that your video settings will be based on the first clip added. So if you're using one camera, you can just use your auto settings and then it will automatically set up based on that first clip that you add. Personally, I like to do custom settings, so I use custom settings. I'm going to set this video to fork 2997 because that's my output that I want to finish the video. And if you wanted a 1080 video, set it up to 1080 PhD, set your resolution and set your frame rate. So if you're using 24 frames per second, you can do 23, 9, 8, or 24. If you're using 3997 or 30, most cameras are going to be shooting in 2003 and 98 or 2997, that's the standard if your palate is going to be 25. But there are some cameras that shoot true 24 and true 30. So you could set that here. I shoot in 30 frames per second or 2997. So I'm going to use that option and I want to shoot edit and for k because that's what I upload to my YouTube channel. So now all those settings are set. You don't really have to worry about these settings. This is for your audio and your rendering. Apple ProRes is what you're going to want. Stereo 48 kilohertz and that's fine. So click Okay. And your project is going to appear down here in the bottom. It's just a blink timeline. And now you can start adding clips. So if you drag a clip down there, you'll see that your footage will now be added to this timeline. And just as playing your footage back up here in your browser, wherever your cursor is, you can hit Spacebar and it will start playing your footage back. Now the last thing I want to show you is where this project file lives. So in your events, if you go to your ListView, you'll find your project right at the top. Now, if you have multiple events, you could use your smart collections. Click projects, and it's going to show you all your projects from all your events. Now just as your assets, your project file can only live in one event. 7. FCP is Magnetic: Final Cut Pro uses what's called a magnetic timeline. Basically everything is going to go together and there's not gonna be any breaks between footage. Now you can add breaks in, but the way that this works is everything magnetized. So right here you can see we've added the shot from the last video. Now if I was to go through and add another shot, and I wanted to say add it over here. It's automatically going to snap back together to the main clip. So everything is built from this starting point, your first shot is built, and then anything you add after that is going to continue on in this magnetic way where it's all going to be attached and there'll be no breaks between the footage. Now if you wanted to bring the shot and add something on top, add a layer on top. Well, it's going to magnetize down, so there's no timelines above each other. Other editing softwares will have timelines and you can position footage kind of all over a checkerboard fashion depending on how you want to edit. But in final cut, everything sucks down to that main timeline. So just think of the first timeline as your base and then you can build up and down from that base. Anything above this timeline is going to show in front of this footage. So you can see here's a shot of me. And then next there'll be shy the ice cave that pops up. And because it's above this shot, you're going to see this shot instead of this shot. Now, for audio, these just combine. So one audio is not going to take over the other. You have audio on this clip and you have audio on this clip. And both these audio tracks are gonna play when the cursor's at that point in the timeline. However, any video on top is going to play above the video below it. So when you're editing, you're just going to start from your beginning point and you're just going to build your timeline from that first, initial clip, and it's going to expand in all different directions. So here's a sample of a finished timeline and you can see how this main master timeline is, where everything is built from. And I have footage on top and I have, and I have audio and different sound effects down below. So I'm going to be using a mix of working off this main timeline and then adding things above and below to craft my final edit. And if we zoom in, you can see how everything is just linked together and there are these gaps. And I'll use them to either break up the footage and have a blank space or for example, this shot, I wanted to overlay it a little bit further. So they, there is some audio crossover between these two shots. And this video plays a little bit longer. So I just create a blank space and put that clip above. And so if you're coming from a different editing software, this magnetic timeline will feel a little odd at first. But once you get the flow of actually working in the space where everything snaps together, it's actually a much faster way of editing and it works super well. 8. Importing Footage: All right, so the next section we're going to get into is how you edit your a roll. But before we get into that, I need to show you how to import your footage and bring it into Final Cut Pro. So there's two ways to do this. When you have a project open ends new, you can just click this Import Media button or click this arrow up here. Both of those are going to import your media. So when we click this import media, it's going to bring up your import window. And I'm going to go through and find footage from a project that I worked on recently. And we're going to cut some of the a role. So I'm going to go into this folder. I have my arrow labeled right there. I'm going to click on the folder and that will bring in all my clips from that folder. Basically everything in here will be important. Now you can go shot by shot, and when you click on a specific clip, you can actually scrub through using the filmstrip here and see what's in it. Now I want this whole folder, so I'm just going to bring that in and I'm gonna say added to existing event. So if you're in the current event, if that's what's highlighted, it'll pop up here. But if you want to be in one of your other events or another project in a different event, you can select which one here we're doing the arrow edit, so I want that footage to end up there. Now here's where you can either copy your files to the library or leave files in place. As I said earlier, I'm going to leave all my files in place because I want to keep my files outside my library. However, if you wanted to copy them into your library, you can click this and then everything is going to be brought into the library. So I'm going to leave files in place. Now. I'm going to add keywords from finder tags and from folders. So I already have my folder setup in my folder structure that I've built for projects. And so when I import it, all of those individual folders will become keyword tags. Now there's options to analyze your video and do some transcoding and analyze your audio. And so depending on your project and as you get deeper into Final Cut, you might want to use some of these options. The one that I've used in the past is creating proxy media. So when I'm working on a slower computer, I might want to proxy that footage so that it's easier to edit. But right now, my computers fast enough, I don't need a proxy it, so I'm just going to leave all of these options off. I don't want to balance the color or fix any audio problems because we're going to do that manually a little bit later. And then I'm going to import selected. So click this button and you can see in this event my arrow edit dropdown menu. There's the folder that I imported. It's now a keyword, and all my shots are imported from this shoot. Now the other way to bring footage into your library is just to go to your Finder. So let's go to my Finder. Let's find a different project. So let's go to this pumpkin patch folder. This is just some footage that I have and we'll go action too. And I'll just drag this into my event. And you can see I'll highlight the event that I want and brought into. And if you already have keywords setup, you can bring it into a specific keyword. But I want this to build a new keyword. So I'll just drag and drop on the event. It's going to import the media. And now it's a new keyword. And it's also all the media in that keyword. Now if you want to make sure that this doesn't import into your library, and you just want to reference the files on your hard drive. You need to go up to your preferences and you need to go to your import. And so this is your master import settings. And make sure that leaf files in place is selected if you don't want to copy them to your library. And this means anytime that you import footage, whether it's drag and drop into your library or you're using the Import window automatically, the leaf files in place is going to be selected versus copy files to library storage. And when you're first using Final Cut, by default, it's going to be copying the footage into your library. So you want to make sure if you want to leave files and place that you change the setting so that you don't actually import a bunch of footage into the library. And the same thing goes with all of your other settings. If you're someone who always proxies your footage, or you can click this and every time you drag and drop, you can proxy your footage. So this is the settings that I use and the majority of the time I'm dragging and dropping my footage just into the event. And it automatically creates the keywords because I have the folder structure are a built out on my hard drives. 9. Editing A Roll: The first thing that I do when I start my edit is I cut the a role. A role is the talking head bits, or it's the parts where you're explaining what's going on in the video. If you're doing like a documentary or something, that might be the interview, that a rule is all the main aspects. And then B-roll is the additional footage that you use to help enhance your story. So think of it as a role is the stuff that you need to make the video. If you don't have the role, you don't have a video. And the B-roll is all the additional footage, all the cool stuff, the fun, stylish shots, the slow-mo shots, and all that footage that you add alongside the role is your B-roll. So we're going to talk about how you edit your a role. The first part I want to get into are the two ways that you can start cutting your a role in the timeline in your viewer here, I already have this project setup and I have the shot that I want to start working with. It is my introduction to video that I did around this drone. Now the first method is to use this window up top here and then find it in and out point and then bring it down into the timeline. So I can watch my clip back, find my endpoint. I'm going to use the I button to create my endpoint. And then let's find the out point. And then I'll use the EE button and it's going to drop it down on my timeline. Or I could drag and drop. And now this clip from The point I set my endpoint to the point I set my out point is brought down onto my timeline. Now, I'm going to zoom in and I'm going to look at this edit. And let's say I cut this a little bit too early. Well, I can grab on this edge once I have my select tool selected and I can pull and you can see that the footage is appearing beforehand. So I want to start before I actually start talking. And you can see as I zoom in, I can even just go right before where I start talking because your audio waveforms are down here on the bottom, which is a visual reference of what you're saying. So if this is extended, you can see there's blank space here. And then I start talking. So I can drag this over. Start the clip there. And I want to, in the clip here, drag that back, zoom in. And I could even just clean this up a little bit more. So now from here I could just keep doing that over and over. Find the clip that I want in my browser window to set an in and out point. Drag that down and it'll snap on. Or I can click E and it will do the same thing. And you can build your timeline in that fashion. Now when I'm doing my a roll for a talking head like this where we're just sitting down in my office. I don't personally use the media browser to look for the shots. What I do is I grab all the footage from that shoot and I'll just drag it into my timeline first. So now you'll see that everything is on the timeline. Now instead of using this filmstrip to look at my footage, I'm just going to start cutting in my timeline and I've found that this method is much faster. So I'm going to use my select tool, go to this beginning point, drag it over to where I actually start talking. And that's where I'm going to start my edit process. Now if you want to move back and forth on your timeline, I'm just using two fingers and swiping across and that allows me to move back and forth. I'm using the trackpad. If you have a mouse setup like this one here, I have my side roller setup to moving back and forth because I'm going to be moving around my timeline a lot. So I like using this Logitech mouse or just use the trackpad and do the different motions to swipe around. So as we're watching this, this section here, I need a cut out. And so what I'm going to use is the Blade tool. So I'm going to go to my tools, I'm going to click the blade and I can make a cut of this clip. And I'm going to cut here and here. And then I'll press a which brings up my select tool. I'm going to select this clip, hit delete, and it's gone. So now I have a hard cut. So I need to cut out this section because I actually repeated myself again. So I'm going to use the Blade tool, which I'm going to click B to bring up my blade tool. Click that, click a, bring up my select tool, click Delete. So you can see how key strokes are going to become super beneficial when you're moving fast. I click a, B, delete AB delete, space bar AB delete. So I'm constantly going between those as I'm moving around and cutting my a roll. If you have to go to your tools every time to select this, It's gonna take a lot more time. So I'm going to zoom out. I'm going to look at my clip. I'm going to zoom back in. I'm gonna do some more editing and I'm going to cut here. Here. Take a delete that be cut, cut a Delete, be cut, cut a delete. And you can start see how I'm cutting super-fast and this method. Now when you're cutting your a roll, what you're looking for is getting rid of mess ups. So if you repeat something multiple times, you want to find the best take and use that take. And if you have OMS or big long pauses or just things that you don't want in your video. You're going to want to go through and cut those out. I'm not going to say that you need to cut your video fast because some people do like slower paced videos. You need to find what works best for you and the type of content that you're creating. However, you don't want a bunch of stuff in your video that's distracting. So if you had like a pause, your thinking, and then you go back to what you are saying. Well, you're going to want to cut that section out so you're want to go through and trim that. And a lot of times with things like ums and uhs and I like that kinda stuff you're going to want to cut out because it's distracting. Ideally, when you're creating a video, you want to keep the pace moving forward. So I typically cut much faster. I like to get rid of all the garbage and just keep in the bits that I need. And I'll paste my video by using music or breaks with B-roll versus big long pauses of me just sitting here. And you'll notice as you're watching this course, this course is going to feel very quick and it's going to feel very snappy because I went through and trimmed it and made it much more concise so that it's only the information that you need and not a bunch of pauses, ums, and stops and breaks. Each section of this course is trimmed down to essentially what I need. Now what you don't see is that there is big long pauses between trains of thought. So I might do a section of a video and it might say it all in one go, but I might go back and repeat some are. I'll take a second look at my notes, see what my next point is, and then go back into it. But I then go through and chop all those sections out so that the video feels super fluid. So if you are someone who is going to be doing in a row where you're talking on camera and talking to camera. Don't get all up in your head and worried if you're taking long breaks and you have to pause the camera because it's natural for all of us to do that. It's not something that comes natural to just do this in one take. I have my controls for my camera right here on my phone, so I can stop the recording and start the recording. And I can actually take breaks and think through things and not have to worry so much about trying just keep going. So there are times where yeah, things will feel more fluid but don't get all up in your head and worried if you can't get it out in one take, just know it's not easy to talk on camera at all times. And even after creating 700 plus videos on my channel, I get choked up all the time and I have to go back and redo videos or reduce sections. So it's natural to take pauses. It's natural to think through what you're going to say next. When you're cutting your a role, you're going to be getting rid of all those empty spaces and you're gonna make your video feel much more fluid and much more concise. 10. Timeline Controls: All right, so let's talk about timeline controls because it's important to understand how to move around your timeline and some keystrokes that's going to make your editing much faster. So your spacebar will play and your spacebar will also stop. That's something you're going to use consistently. Now you could also start and stop by using the J, K, and L keys. So you use L If you want to start plane and use K to stop. Now you can click J to reverse. So if you want to move backwards and you can click K to stop. Now if you click L and your plane, you can click L again, and it's going to play it two times. And you can click L again and it's going to start playing at four times speed. When I'm editing. A lot of times, I'll play back at two times speed just to get through the edit it a little faster and find the next cut point and something that you're going to learn with time that you might want to watch sections and two times speed just so you can quickly get through it to get that first cut done. Because typically what I'll do is edit my a roll first, get that done, and then I'm going to go back through it again and clean it up and then do my B-roll. Sometimes I'll just watch a video in two times speed just to get the main bits cut. So I know all the pieces that I have. Then I can go back and then do more of that fine tuning to really clean it up. And then I'll use j to reverse. And the same thing happens with the J button. You can click it twice, it's going to go 2 times. Click it again, it's going to go four times speed and so and so forth. If you want to speed up moving forward or speed up moving back, you just going to click the J and the L key multiple times. Now as I said earlier, if you want to zoom in, you hit Command Plus. And if you want to zoom out, you want to hit command minus. I use this tool all the time. So you're going to want to get comfortable with. Now another tool that's useful is your arrow keys. So if you click up on the arrow, it's going to go to your previous edit. So the next point where there is an edit and your video, and you can see I'm skipping through to all my edit points. And if I click the down key, you can see that it's moving forward. And so if you want to quickly go to the next edit, you can use the up and down keys. Now if you want to go to the next frame, you just click the arrow keys and that's going to nudge your cursor one frame forward or one frame backwards. And the last thing I want to show you is snapping because this is something that's super important when you're editing and it has to do with this magnetic timeline. So automatically snapping is going to be enabled. And what that means is you could see as you drag your clip, it's going to snap to an edit point and you can see that yellow line appears. And so you don't have to be exact with where you want to drop this clip because you know that it's always going to be latched on to that edit point. You could use this icon here, or you can click the End button in turn Snapping off. And now those lines won't appear. And you can move this clip anywhere without it's snapping to an edit point. Now you might want to use snapping off if you're trying to do more specific edits where you want to nudge something, a frame or two. However, if you keep that on, it's gonna make it much easier to make everything line up perfectly and there's no additional frames or missing frames and shots. So for example, if I was to grab this drone shot and I want to add it to this point here. Well, if my snapping is turned off and I drop it, it might not be perfectly at that moment. Let's zoom in. You can see that it's a few frames early. Whereas if I turn on Snapping, I can bring it exactly to the edit point. And this is going to come into play a lot when you're working with your B-roll footage and you're going to sometimes want the snapping turned off so that you can move things around without having it linked to something that is already on your timeline. But most of the time I found that I want to use snapping turned on because I'm trying to get it exact and I don't want extra frames being left on one of the tail ends of the shot or the front end of the shot. 11. Audio Transitions : So let's talk about a few ways that you can make your audio sound fluid when you're cutting your a role. So we're gonna go back to this project of the talking head. And let's make a few cuts here. Now I actually just disabled these two clips to highlight this. And you can disable clips, which basically just means turn it off by clicking the V button. And so if you just want to audition something or you just want to turn something off and not use it in the edit, you can click V and the clip will stay there, but nothing will play back. So these are the two edits that I have. Now, if you want to clean up this audio and make it sound better, you might want to do a fade so that one fades out while the other fades in. This is going to be important when you're in situations where there's some ambiance and the background here, my studio, the sound is super clean, so I don't have to use this method. But there are a lot of times where I do use this just to make the arrows sound fluid, especially when I'm like outside and there's some ambiance like wind or just different sounds like traffic or whatever's around me. You'll hear hard cuts and you don't want to hear those hard cuts, you want to hear it kind of blend together. So what you'll do is fade out this audio when this audio is fading in. And to do that, you can just grab on this little icon on your audio waveforms. So you have to see these audio waveforms. And then you can pull this over, and then you can pull this one over. Now what this is doing is it's slowly fading out and then it slowly fading in. Well, you're going to hear a dip if that happens. So you're going to want to overlap these so that one's fading out at the same time as one's fading in. So I'm going to highlight this first clip. I'm going to hit Control and then click. It's going to bring up your menu of what you can do with this clip. And I'm going to detach audio. So now I've separated my audio from my video clip and now I have both individually. Once you've detached, they are separate. And so you can move these around independently and use them independently. Now the other way to do this instead of detaching, is to expand audio. And when you expand your audio, It's almost like it's detaching, but you're not actually pulling them apart. You're just expanding them so you can edit both the audio and the video separately. So I have a detached clip on this side and just a separated clip on this side. So what I wanna do is pull this first side over so it's overlapping and the second clip back so that both of these are overlapping. And now you can see that this one's fading out. Well, this one's fading in. And so there'll be a super clean cut there where you won't actually hear an audio change. It'll sound like one's moving into the next. Now if you're using a detached audio clip, this is now just going to be detached from the rest of the video and you can actually move this around if you wanted to. However, when you do that, you're going to lose sync with whoever's talking. And then the other way to use with the separated clip, you can hit control click and you can collapse the audio. And now it looks like it's back to one file and that clip is still overlapping. You don't see it because of the way that final cuts displaying it. So if you want to make sure to see where that overlap is happening, make sure you have that expanded and that's always going to be there. However, now when you click this audio, it's connected to the video clips, so it's never going to lose Sync and lose that video. But you are able to actually control both these endpoints independently. But if you wanted to move the video, for example, you could slide the video over and the audio is not going to move. Expanding the audio allows you to control video and audio endpoints and out points independently of each other while still staying connected. Or you can detach and work with them independently. Now another way to do this is to just use a fade transition so you can detach both of these clips, grab this cut point where they're both snap too. Command T. And it's going to create a transition. And this is a cross dissolve, so you could shorten this. And basically it's doing the same thing where it's fading out and fading in. Now, this method, I don't typically use a lot of the times because you have to detach everything and then create these cross dissolves. So if I really need to use this kind of crossover fade to make my audio seamless. I'm going to expand my audio and do it that way. And it's going to be a lot easier to work with in the long run. Now one other editing technique that is used to move the story forward and make the audio sound cleaner is called a j cut, and this is where you have the audio start on the second clip a little bit early so that it overlaps. Let me show you what I mean. So here I have these two shots. And so if I wanted to do a j cut, I want this audio to start here. So you're seeing the last bits of the first footage and you're hearing the audio of the second clip. And what that does is it moves the story along faster. And so I could do that either by expanding or detaching audio. I'm going to expand the audio and I'm going to pull over the second shot. So the video of the first shot is going to play and boom, the audio of the second clip is going to start plain wall. That first shot is still on. So what this looks like is this super portable drone, the other major difference. So it has a little bit of overlap where you're going to start hearing it before you're seeing it. And it's a psychological thing where it moves the story along faster when you use these kinds of J cuts. And so it's something to play around with, especially if your videos are feeling like they're slowing down a little bit too much. So next we need to go over some audio editing. And I'm putting this a little bit earlier in the course because I typically do my audio edits, especially for the a role early on. And the reason for this is I can do all of my audio edits at once for all of the a role shots. And I don't have to go clip by clip and then re-edit everything later. Once I get my video and audio all done and finished and cut for my a roll. Then I'll get into adding the B-roll and all of the fun footage. 12. Audio Clean Up: So first we need to talk about where your audio levels need to hit. So when you're doing audio editing, you want to bring up your audio meters. That's by clicking this button right here, it's going to pop up. So now when you play back, you'll see that your audio is bouncing all around. And if your audio was recorded too low, you'll see your audio wave forms really low on the video. And they're going to be bouncing somewhere down here. Whereas if your audio was recorded too high, you're going to see it hitting the red. And that's a bad sign. If your audios hitting into that red and the orange, that means it's too loud and it's actually peaking. And when your audio is peaking, it's going to be sounding kind of distorted. So ideally, when you're recording your audio, you want to make sure that you're not peaking. And so you want to be recording somewhere in the middle. Ideally, I tried to record between negative six and negative 12 because if you record too low, you're going to add a lot of noise. But when it comes to audio, your voice is going to fluctuate and go up and down. So you're going to want to level out your audio and make it sound a little bit cleaner. So this is what the audio sounds like before I do any editing here in my office. Now here's what it sounds like after I add a few simple plug-ins to clean up the audio and to level it out. There is a difference. And when someone's viewing your content, they're going to hear that difference, especially if you have highs and lows and they can't hear parts of your video, but then other parts are like so loud that they have to turn off the video because it's screaming at them. So you want to level out your audio and make it consistent. So that is a good viewing experience for the viewer. So the first thing I want to show you is how you change the audio levels. You can grab onto your audio waveforms right here. And 0 is what your audio clip is going to come in. And you can raise the volume by increasing the decibels, the DB. You can lower the volume by decreasing. And when your clip is highlighted, you can go up to your audio inspector and do that right here with the volume. It's the same thing as just grabbing onto this bar here and raising it up and down. You're changing the volume. So if something is recorded super low, you could just bring your volume up. Or if something's record a little bit too high, you can bring your volume down. That's going to help just give you some initial edits to clean up the audio to make it sound consistent from clip to clip. Now as you can see here, I have some peaks and then it gets lower. So I'll want to even that out. And there's a few different plugins you can use. So it's a find your effects, you're going to click this icon here, affects browser. Go down to your audio and you're going to have a bunch of audio tools. It's going to be a little confusing if you just start going through these. So let me point out a few that you might want to work with. The first one is under the voice category, and it's called VoiceOver enhancement. Now when you drop this on, you can see that the waveform changes, all of a sudden it's completely leveled out. And when I play this back, the audio is hitting all around negative six, which is a good sign. You want your audio to be mixed at around negative six for a finished video. And you want your music, if there's audio talking at the same time to be mixed somewhere, negative 20 to negative 12. Now you can bring your audio up into that negative 6 range. That's going to give you good consistent sound for your entire video. If you're using music and you want to lay that underneath your audio talking, you're going to mix that to negative 20 to negative 12. Now if your music's playing with no vocals over it, you can mix that hire up to the negative six as well. But you wanna make sure that you have consistent audio and that you don't have too many audio components competing. So if someone's talking, don't have your music up at negative six because it's going to be competing with the vocals and you're not going to be able to hear one over the other. So when you drop on an effect like the voice over enhancement, it's going to show up here in your Inspector. Now my inspector is pretty small. I can double-click this and it's going to create the whole right of the screen as my inspector. And this is something that I like to do when I'm doing a lot of edits and my inspector window, the voice-over enhancements going to add a compressor, a DSR, and a channel EQ. So a compressor is going to level out all those peaks when something's really high and then it goes low. A compressor basically brings those two differences and brings them closer together. A DSR gets rid of the sound and voice. And so if you're having a lot of S's are harsh, you'll hear it in your audio and it's kind of ear piercing. So the DS or remove some of that. And then the Channel EQ will clean up your audio and might raise the lower range or might bring down the higher range. I'm going to be a little bit of an edit to make it sound cleaner. So this plugin voiceover enhancement is built for voice-over work and it sounds pretty good just bringing it on. And that's what I'm using right now for this course. Now you could dive deeper into audio editing and use some of these same tools and really dial this in yourself. So if you don't want to use this preset, you can highlight it. Click Delete. It's going to delete it from the clip. So another tool that I like to use is under levels and it's the limiter. You bring that on, your limiter will pop up here and you can see that my audio looks the same as it did before. However, if I pull this over, you can see in the audio waveform, the lower sections are now higher and matching the higher sections. And I'm going to pull this volume down because all of it looks like it's peaking. So I'm going to bring this down to a negative four dB. Bring this up, and you can see that the whole clip has leveled out. So your limiter is basically picking a decimal and limiting all your peaks to that decimal. So when you bring up the slider, it's taking your lower regions and bringing it up without taking your higher regions and bring it up like those are going to stay at that limit. So it's going to even out the audio. Now you could do an entire course on audio editing because there's so much that goes into clean up your audio. But just to make it consistent and clean, try these two plugins and work with those. If you're having any major spikes or anything like that, you can go through and actually manually adjust the volume at that 1. So if I wanted to say bring down this section, maybe there's a point where it got really loud. I can actually key frame my volume. And so what keyframes are, are points where you want something to change and you can key-frame a lot of different effects in Final Cut Pro. So I'm going to just show you a quick volume keyframe. So let's say it's playing normal here, and then I want it to say dropdown here. Well, I would click this little icon here, which is a keyframe. And I would reverse a little bit, click another keyframe. So now I have these two points and I can make a transition so I can bring this down. Let this section Play, click a keyframe, play again another keyframe, and then bring this back up. And so now you can see that the volume plays at negative four. It drops down to negative 12 for this section and then goes back up to negative three for this section. And if you want to go to any specific keyframe on this clip, you can highlight it in the volume. Here's your keyframes. Click the arrow and it's going to jump between. And you can go both directions. Now this applies to anything that you do. If you have any effect in your Inspector, you can keyframe changes in that effect, the key when it comes to editing audio, you want to make sure it sounds clean that there's no major jumps in your audio edit. The reason is if you hear a weird jump, it's going to pull the viewer out of your video. They're going to notice that edit. So ideally you just want to make things flow as much as possible and you don't want any crazy interruptions that's going to draw attention to the fact that there is an audio issue in the edit. 13. Editing B Roll: Let's get into some fun when it comes to editing, and that is cutting your B-roll. So we talked about earlier B-roll is that extra footage that you get in a lot of times this is the fun B-roll. This is like getting the drone shots or the slow motion shots or just anything that's going to help enhance your story. So what I want to show you is how you actually add B-roll to your a roll. So I have this timeline built and this just has two different sections where I have a role. I'm talking to camera, I'm standing in front of a glacier. And this is after we got out of the helicopter and we're doing a little wrap-up, me and my buddy jake Sloan. And we're talking about the helicopter adventure that we just went on. So as you can see, there's just a black section I put in here. I just used a solid. This is from my generator tab. So I click the generators, go down to generators, click solids, and I brought my custom down here. Now this custom generator is just a black screen, but you can make it any color that you want using the color wheel, you can also just go to the elements and use a placeholder. And it's the same type of thing. It's just a place holder for where you might put footage later on. So I just use a generator and it just gives me empty space. And the reason for this is I have two sections of a role here. I'm going to do a little B-roll transition, UX or getting fancy now. But your role transition is basically a set of B-roll shots that I'm going to use and I'm going to add music underneath to transition from one scene to the next. And you might want to create these gaps in your video if you know it's a section where you're going to have B-roll and no a role. So first let's zoom in to this section over here. Now, I'm talking about the fact that we just flew over this amazing glacier. So I want to grab some footage of that and show what I'm talking about. And I'm going to go up to my browser. So I'm gonna go in my library side panel here, find my event, where in this event, and I want to find the GoPro Hero 10 because I had some footage from the helicopter as we flew over the glacier. So I'm going to go through using the film strip view. And I'm going to find some shots from this experience that I want to use. Let's grab that looks cool, flying over glacier right there. That's what I want to use. So I'm going to play this and this section where we come up and over the glacier, I'm going to set an endpoint clicking. I play through double time. Cool. I'm going to set an out point there. Now, I'm going to use the keystroke command queue, and I'm gonna make sure that it's where I want this footage to start. So I'm talking about this glacier here. I'm going to put my cursor right at that moment. And q. Now what that does is it adds the footage on top of my timeline. Using Q, brings it on top, using II, puts it at the end. So E is when you're doing your a roll edit and years building out that main timeline. And q adds things on top. Now, as you can see here, I have helicopter noise, a lot of it and it's going to be loud. So I'm going to take this B-roll and I'm going to drop this audio, just 0 it out. And now it's just a B-roll shot over me talking. And the audio that you're going to hear is this audio underneath. And so when I'm messing around with this B-roll, what I wanna do is find where I want it to start. Right there. I'm going to have it play. Now the B-roll is going and I'm going to have the B-roll extend until this next shot. And right there you can see that I hit this cut. And that cut makes it feel more seamless. So you can use B-Roll to hide your edits of your a roll. And I will make it feel like it's one continuous clip versus having a bunch of starts and stops. Now let's say I want to have a grouping of shots. So I have this shot from the helicopter. I'm going to go to my magic three and I want to grab, and let's say I want to bring in this shot here, which shows the glacier from a wide view. Now instead of using I and O to set my in and out point, I could use the cursor to grab by clicking into my trackpad hold and pull across to where I wanted to end and let go. You're basically setting you're in and out points by just using your cursor grabbing and dragging. Now instead of using Q, I can just bring this down and add it next to that shot. So you can either use Q or you can just drag and drop whatever makes sense, It's easier for you. Now this shot looks super long. I only want about this much. So I'm going to use the Blade tool B, I'm going to cut it, use my selection tool a, delete it. And now I have this shot and the helicopter and then the shot of the glaciers. And it's covering these two cuts of the a role. And then once that footage is gone, it goes back to me. Now something interesting. You notice that this footage doesn't fill my frame. There is some footage of me popping out underneath. Now this will happen if you're using cameras that shoot in different aspect ratios. And so the way that you fix this, It's either going over to your video inspector, clicking on this tab, and zooming in using your scale. Now I can reset that parameter or going down to what's called spatial conform and clicking Fill. And that's going to automatically fill your frame with the shot. So there's not going to be any open spaces underneath. That's a very useful tool to use if you're using cameras that shoot in different aspect ratios. So now I have these two shots over my footage. I'm talking underneath it. And when these shots are done, it goes back to me. So I've added two B-roll shots on top of my a roll. Now something pretty cool is you can create a second magnetic timeline that's floating above your main timeline. Let me show you so I can grab these two shots, control-click. And then it brings up this whole menu. And right here creates storyline. And you'll see this extra bar is added. And so what this is doing is creating a second timeline that, that's similar to this original timeline. So this timeline is like think of like a second project, but it's just put on top of your project. Now, these clips will move together when you grab this bar. So if you want to move this whole section and slide it, say forward and put them over these two edits. Well, you could do that all at once. So it's now a independent magnetic timeline. And let's say we want to add a shot to this. So let's say I want to add this shot of the helicopter landed, and I want to add it at the end here. Well, I could grab this shot. Let's do some in and out points and out, grab this, put it right there and it's going to add into this timeline. And now these are all moving together when you grab this, what's called a storyline. Now let's go back to this helicopter and let's say I want to add a shot of us taking off before we show the shot of the glacier. Here's at the airport. So let's grab this shot of us taking off at the airport. And let's say we want to add it here at the beginning. So I'm going to grab this shot and put it here. And you'll see that when I add a B-roll shot into this additional storyline, it's slides all the other shots forward, but keeps the same point on the timeline for where the storylines started. So you can use these secondary storylines to basically create a container and then you can build your B-roll within that storyline. It's a super useful editing tool that I use all the time. So I'm going to trim down some of these shots. I'm going to use the blade tool and then I'm going to use the selection tool and delete. So be cut it a, delete, B, cut it a select Delete. And then now I have a B-roll sequence in the storyline that I can now shift depending on where I want it to play. You can see that one I need to do the spatial conform to fill. And now we got all of our shots. 14. B Roll Transitions: Okay, So let's add some B-roll as a transition with some music. So this is something that you're going to use to create passage time moved from one scene to the next. Or if it's just a scene that you want to show some really cool footage. Well, using one of these B-roll transitions kinda scenes was a great way to do it. So remember that section I had That's just black. Well, that's where we're going to build this B-roll scene n. And I'm going to bring some music and I'm just going to go to some music that I've downloaded from Epidemic sound. That's where I get all of my music from. And we're going to drop it underneath here. Audio all goes down below and video goes on top. So let's just listen to this real quick. So what we're gonna do is add some footage over this. We're leaving this glacier and we're moving on to a mountain top. So I wanted to grab a few shots of us leaving the glacier and flying up. So here's a lift-off shop will grab that, will add that here. I'm going to mute this clip because I don't want to hear the helicopter sounds and we're going to let that start. Great. Then we're going to cut into a shot of us flying. I'm going to mute this clip. I'm actually going to turn this into a storyline because I want to have these just automatically to link up. So right there is where I want this clip to start. And I'm just going through and cutting and making my edit. So I'm using the blade tool to cut a, to select, then delete, and then let me grab my magic three footage. I'm going to grab some shots of this helicopter taking off and landing. Okay. So this is the shot. I want the helicopter coming into the lake and then I want to grab a shot of it landing here, endpoint there, drop it in, use my cut tool, cut, boom. So now I have this 4 shot sequence. I'm going to extend this just blank clip a little bit further. And I can always be using the edges to drag my clips further one way or the other. I might overlap this just slightly. And I might bring the music a little bit earlier, just so that it's a little bit blended and then bring down the audio from that clip. So let's just play this real quick. And you can see the black bars. So I need to make sure that these clips are formatted properly. And then we can keep building out this B-roll sequence. And you can add shots on the storyline that I built above. You can add them down below here. Instead of this blank clip, I could be adding shots down here instead. And then you can keep just compiling this and building this up and just playing around and finding the shots that work best to create the sequence going from one scene of a A-roll footage to another scene of a A-roll footage, or just if it's something that you really want to highlight, you don't have talking bits, but you just want some cool music and some cool visuals. Well, this is a great way to do it. 15. Adding Text: Let's go through a couple of ways that you can add text on screen to just add something a little bit more to your footage. So in your browser window, you're gonna go to this tab here, the titles and generators. Now Final Cut comes with a bunch of titles built into it. And if you just want a basic text on screen, there is a basic title, labeled basic title. So you're gonna pull this down onto your footage. Now you can grab the end. It's shortened it up to the clip that you want it to play on. And then you can see it just as tidal in the middle. So you highlight this clip, Go to your inspector window over here. Click this paragraph icon that pops up, which is all of your texts settings for this text clip, I'm going to double-click the top here to expand all my settings. I can see everything. And then I'm going to type ice cave because we're in an ice cave. And I'm going to change the font. So a font I use is this helvetica new. Make this bigger by using this scale. So you could scale it up or down. And then you have all these other tools to play with your settings. Now if you want to adjust this, you can change your position down here using the x, y, and z rotation and scale if you wanted to store it. But you could also just grab the effect if you're highlighted down here using the selection tool and you grab this text, you can move it around on screen and you can see guides will pop up to show you exactly where center is. You can have both top and bottom. So now I have that dead center. It blends a little bit with the white onscreen, so I want to add a shadow. Well down here you have some extra options. You have 3D text, face, which is the color and how it looks. So you could change that to red or something. And then you have outlined glow and drop shadow. So I'm going to add a drop shadow to this and play around with it a little bit. Bring up my opacity, bring my distance, maybe blurred a little bit. So now I have ice cave with a shadow on it. Just a quick way to add some text to your video. You can add this anywhere in your frame, make it different colors, different sizes, and it's just, that's how you work with text. Now if you want to change your text, you can either go up to your text box up here and you can expand it using these three dots. Or you can actually just double-click and go in here and say, I want to change this to Alaska. So you can just double-click and chain make changes right here on screen. So let's say you want to add something more dynamic, maybe a lower third where flies in. Well, you can get plug-ins for Final Cut Pro, and that's the way I work when it comes to anything with motion graphics because there's lots of options out there and they all make it super simple to be able to edit faster. So one of the companies, I get plug-ins from motion via effects. And you can see I have a few of them installed here, there underneath the titles and they appear right here under him, tuber him travel, et cetera. So I'm going to go into my end tuber three, I'm going to find one of these lower thirds. This one looks good. I'm going to drop it on top of my footage. And then when I select this and I go to the T icon, I can change everything about this lower third. And the good thing about all of these plugins is they're super easily customizable. So I'm going to go Jake Sloan, I'm going to turn off the text to I'm going to make his text bigger. I'm going to center it by bringing the text offset down. Now that looks pretty solid. I'm going to scale it up slightly. I'm going to add it over here. Maybe I'll just add it there. Now this is a pre-built animation. So when I play it back, you can see that lower third pops up with his name. Super easy. Like I didn't really do that much. I just added a few things and tweaked a few little settings. But instead of having to build all of this in Final Cut and learn that process, I can just get plug-ins that do all that work for me and speed up my editing workflow by just using different plug-ins for the different types of tools that I need when I'm editing. So anything motion graphics or texts related, there is a ton of plug-ins out there online and there's also a bunch built into Final Cut Pro. So if you go in your titles, all of these are pre-built in Final Cut Pro. There are some that are useful, but for the vast majority of what I use when I'm making my videos, I go to motion via effects. And I'll include a link to their website in the resources section of this course. 16. Camera Motion: Now let's say you want to do some motion on your video. So you want to like slowly zoom in or slowly zoom out. What you can do that pretty easily using keyframes in Final Cut Pro. So I have this shot of me sitting here at my desk, same shot as this one. And I want to just zoom in slightly on this section. So there's two ways I'm going to show you how to do this. Let's zoom in on this clip. Let's go to where we want this Zoom to start. And I'm going to go up to my inspector, and I'm going to start a keyframe. So right now I'm at a 100 percent, I want to zoom into a 100 and 20 percent. So I'm going to find the point where I want to be zoomed in at that full amount. I'm going to click another keyframe here. I'm going to put in a 120% or move the slider over. Now when I go back to the start keyframe, you can see it's highlighted here and I hit play. It's going to slowly move between a 100, 120% between those two points that I made. Now if I want to shift these around, I can go here. I can click this yellow icon again. It will get rid of that keyframe. And let's say I wanted to move it a little bit sooner. Click the keyframe button again, do 120. Now it's going to be a faster move. So you can do this with zooming in, zooming out, moving the frame around, basically any motion that you're adding into your video, you can add keyframes to and actually go from one position to another position. And so you have all of these controls to transform your footage and move it around. And then you have your keyframes here on the right. Now if you want a visual representation of these keyframes, you can control click the clip and expand video animations. And it's going to show you in a visual way, there's the two keyframes. And so if you want to actually slide these around, you can grab them and move them. So if you want the zoom to happen later, just move it this way a little bit, and then it's going to move faster between those two points. Let's say we want this to not be zoomed in that much there, all the way to the right here. It's going to be a much slower Zoom. You could also go to that key frame, make sure you're on that specific frame and your video and change this value. So maybe it's a 170, but also now it's cropping me weird. So I want to add a keyframe to move my position. Well, to do that, you have to add a keyframe at the beginning too. So let's go back to this point. Add a keyframe. We have now a keyframe in both position and scale here and here. Let's go to the second keyframe. And let's grab the y-axis to bring me more into frame. And so now it's going to zoom while also tilting up slightly to keep my head and frame. So use keyframes to be able to adjust the framing around. Now let me show you a really cool plug-in that I use all the time, which simplifies this process. So I'm going to bring up my browser. I'm going to go to my title generators and I have this camera Zoom plugin, which does all of this for me. And I don't have to deal with keyframes. So I'm going to grab zoom in linear, add that on top where this is, it's going to zoom in so I can add the percentage, let's say five. Now it's going to zoom in this amount without doing any keyframes. And if I wanted to say zoom in closer, let's say here, and now it's zooming in much faster. But it does cut me off weird when it gets to this section. So I can just highlight this plugin. It has this little target icon. Drag it up to where I want the end frame to be. Now it's doing the Zoom and also shifting the frame. So I'll include this plugin and the resources as well because I used these Zooms all the times in my edits. And I don't like dealing with the keyframes because a lot of times I just need to just put a quick little zoom on something. And so having a plugin that does all that keyframing for me just simplifies the whole process. 17. Adding Photos: So what if you want to add a photo into your project? Well, it's pretty much the same way as adding B-roll. So I have some stills here from a mountain climb I did. And let's say I want to add this still over what I'm talking about. Well, you could drag and drop it on to your footage and you're going to have the same issue as you had when the aspect ratios or wrong. You're going to see all of this footage underneath. But what if you don't want to zoom in on this? Let's see what happens when we add two spatial conform. It fills the frame. But let's say I wanted to see that vertical photo. So let's go back to spatial conform fit, which means the entire photo is going to fit in frame. And what I'm gonna do is I'm going to add a generator underneath this. So I'm gonna go down to my generators, I'm going to go down to solids. I'm going to use this custom one and I'm going to put some black underneath it. So when I'm talking, it cuts to the photo with black underneath. Now if I want, say white, there's an option for white. And this option when you click it and go into your inspector has a few different versions of white setup already. And so you might just want like bright white, which is super wide, or maybe you want a little bit of a tent to your white. It's very easy way to do some different looks quickly, but I want the black, so I'm going to keep that underneath. And let's say I want to zoom in slightly on this photo wall, it's on here. Well, we could do the keyframing that I showed you in another video or I could use the plugin. Then I also showed you, I'm going to go to my camera, zoom in smooth. I'm going to add it over the top of this. And then I'm going to set this to say 20. And now it's gonna do assume that has a little bit of feathering on the front and back of it because I'm using the smooth version. And now I have a photo over my footage that I'm talking about. You can put photos then you can move the photos are round. They work just the same way as any other footage that you're adding into your timeline. 18. Music Editing: Okay, so now let's add some music to the project could because music is always going to enhance your edit and make it more dynamic. I'm going to use this little sequence from Alaska. I recount the B-roll and what I wanna do is layer on a little bit of music underneath the a role. And then as soon as we get into the B-roll transition, I want to have the music come up louder and actually cut to the beat of the music. Now one technique that I like to use when I'm doing music sections in my videos, it's cutting to the beat. So every time that there's a major beaten the song, I'll make a cut. This actually enhances the visual experience because you feel every time there's a cut, if you have a song with every four count, there's a big beat. Well that's a good point to cut your video and go to the next shot. And it actually flows super nicely when you're cutting to the beat, rather than just doing random cuts throughout the song. So first, let me just show you this clip. Let's play it. Let me turn up this audio for you to do that. We just got to the Columbia Glacier, flew through a little bit. And now we're like, and there's beach watching it from a distance. But this is like go to Alaska to test out the magic three pro. I mean, this isn't saying. So a little bit of everything that we've been talking about. I did a cut with some a role. I covered those cuts with some B-roll on top of it. And then I also did a fade transition here into the sound of the maverick three taking off for a flight. Now I have some B-roll that I want to use coming up, but I want to select my music first before I cut the sequence. So let's pull in a music track. Let's pull in to music tracks, one ambient music track, and then one that's going to have more of a beat for that bureau sequence. Now I get all of my music from Epidemic Sound. I've been using them for years and it's a great way to get royalty-free music that you can use anywhere. One of the big issues that's going to come up when you're using music for YouTube is that license content is going to get flagged. And so if you don't want to have your videos taken down or you don't want to have some issues. You want to use royalty-free music. And there's a bunch of websites out there. I've used them all, but my favorite has been Epidemic Sound. And you could get a ton of music from this one source that you can use basically anywhere. And then also they have a lot of sound effects available. I'll include a link to Epidemic Sound in the resources section, but let's find a couple of tracks and I'll show you my process when I'm looking for music. This is Epidemic Sound and I'm going to just go into the music tab and I'm going to go and genre and I want to find something ambience. So I typically go to the electronic ambient section and I'll just start listing for the different songs. Has a nice sound to it. It's just an ambient track. I'm going to be putting it pretty low over my a roll and a download that one. Now let's find something with more of a beat. Let's go back to genres. I know there's some good stuff in future base and let's just find something that sounds great. So I like this track because it's a little bit slower and I know I'm going to be cutting shots of the glacier and I don't want to be going boom, boom, boom, boom. But I still want to cut to the beat. So let's download this one as well. Great, I got to music tracks. So in my event, I'm going to make a new keyword for music. Now what I'm gonna do is bring these into this project. So they're on my desktop here. And I'm going to just add them to this keyword by dragging and dropping them in. So there are both of those. I'm going to use my ListView. This one is the ambient track and you can see as I scrub through it, you're going to hear it. I'm going to use this section. I'm going to drag it and drop it down here. I'm going to cut that first section. This is kinda what I want. Okay, So if I just want to hear the music without anything else, I could click the headphone icon here, and it's going to solo this clip. So I only hear this track. Now I'm going to do a little bit of fade in on the front half, play it. And let's pull up our audio meters. And you can see this is hitting negative 12 ish. I'm going to drag it down slightly lower. And then now we're going to have the shot where I'm taking off. I'm actually going to cut the music there, delete that section and I'm a soil at that, just fade out and you can hear it just slowly fades out in this section. Because I'm going to start bringing in some other music. So let's turn off the headphones, which is the solo. Find that song that has the beat. Okay, So that's where I want that first clip to drop for this B-roll sequence. It's kind of a buildup and then boom. I want that first shot to hit. So I'm going to drag this down. I just set an end point to somewhere around there. So you see this point here where it's steep. That's the first beat of the song. I want to line that up with this point here. So I can even put my cursor there as a line so I could see where I want to shift this. And let's put it right there. So let's solo this clip. Turn on our audio. So as soon as it hits that beat, you see I flip the camera. Now. This music is really loud. It's getting around 0. So I'm going to bring sound to mix with the other audio that I've been working with. Somewhere around negative six makes sense for this edit because the rest of my audio has been mixed around that level for a role. Now let's listen to what happens before that beat drops. So I want to fade this and it's some chimes. I'm going to have this other ambient track fade out. I'm going to have these chimes fade in. And then I'm going to have that beat drop, right when we start the B-roll sequence. All right, so let's take the solo off. This shot here is the drone audio of a taking off. I'm going to use VI. Just silence that because I just want to listen to the music or I can highlight both of these and isolate just both of those. So there's different ways that you could do the same thing in Final Cut. Just comes down to what makes sense for you while you're editing. So I just solo just these two music tracks because I want to hear how they blend. So let's listen. One fades out. Maybe I want a few more times. But I want to change this. So this down here, it has this kind of arc, so it gets quiet and then gets louder quicker. Well, I'd like that to drag out and be quiet or longer and then ramp up. So I can Control click this point and you can see I have these different types of curves. I like using the S curve. So it takes a little bit longer to get louder and then it kinda goes up at a steep angle and then tapers off for this kind of a transition. I like using that. Okay, cool. Alright, so we have a great little transition there. We have some music ambiance that's going to be underneath me talking into this little transition section where I take the drone off to me flying the drone with the beat. Now let's figure out where the points are going to be for the music track. So I want to find the beats and I'm just going to listen to it. And I'm going to use my marker to be able to mark each one of those beats. Now the marker tool is M on the keyboard. So every time you click it in, you're going to create a marker on whatever shot is selected. Now this marker is just what it sounds like. It's just a marker so you know where that point is. And you could use those to snap different things to a marker or just so you know where things are. So I'm going to delete this control click Delete. And let's listen and set some markers. So just by listening and listening for those beats, I set markers where I think my edits are going to be. Now I could go through and just cut my B-roll to hit on each one of those edits. So let's just do that real quick. So I just did a quick cut using markers only and just grabbing some shots and throwing it in. Let's play this back and see how it cuts together. So that's enough shots that I want for that sequence. And now I want the music to taper off. So one of the things I like to do is change around my song. So I might only want that one section, but then I want the end of the music to come a little bit forward. We're going to use a storyline and we're going to cut this music up a little bit. So the first thing I wanna do is find where this beat is. So this last markers on a beat work goes into another verse of this kind of harder hitting beat, but I want the softer beat that you have at the end of the video. So I'm going to find this. So first I'm going to highlight this music selection. I'm going to Control click, Create storyline. I'm going to zoom in. I'm gonna make a cut at this beat. I'm going to go find where I want the end of the song to start playing. Right there. So I'm going to delete this section. And then now I've seamlessly cut the tracks so that moves a little faster and I don't have more of that heavy beat. And on that beat, I want to add another shot that we just flew in a helicopter. Response, Jake's like, you know, come up to Alaska, we'll do some cool stuff and I end up in a helicopter flying to these peaks. So what I want the music to do it this section is play lower and then slowly fade out. Because from here we would go into a whole section about talking about this experience. So I'm going to un-solo that a role. I'm going to just turn off all this. We're focused on one thing. And I want this music to drop down lower. So I'm going to change the volume. I'm going to go to my inspector, it's at negative 6 for right now, let's bring that down to like negative 16. And I'm going to do a transition phase between the two music points. So I'm gonna do apple t. It's going to create this fade. Just flew in a helicopter. Response. Jake's like, you know, co-ops and Alaska, we'll do some cool stuff and I end up in a helicopter. So I'm going to cut out some of that music. I'm going to fade this out from the right side by just fading it that way. So now you get a clear picture of how my music is built into my video. My lower music here, which goes under this a role. I slowly ramp that down and slowly ramp up this song. I cut to the beat of the music and then I do a transition here. And then I do a transition here to this part of the song That's 10 decibels lower than this part, just so I can have it as underneath and a good transitional moment and then I fade that out. And so I'm constantly doing this in my videos where I'm fading in music, fading out, and I'm using it to create a flow and paste out my videos so that sometimes there is a lot of music and sometimes there's no music at all. And you just want to make sure that when you're using music, you're not just blasting your viewer with music. If you're doing review or tutorial, there might be times where you want to have music underneath. There might be times where you just want it quiet. Now if you're doing a story piece, There's a lot of times where yeah, you're going to want to be rolled transition and music is really going to help with that and really enhance the story. All right, so let's just play this back and you can hear how the music flows with this whole section of video that we just got to, the Columbia Glacier, flew through it a little bit. And now we're like on this beach watching it from a distance. But this is like this is why I came up to Alaska to test out the maverick three pro. I mean, this this isn't saying we just flew in a helicopter TO, I think five different spots. Jake's, I go up to Alaska, we'll do some cool stuff and I end up in a helicopter flying to these peaks. Like I think it's a great start. And you can see that there is a lot of issues with this edit. Like we need to go through fix on Eclipse. Obviously a lot of it's not color graded yet. And then there's just a lot of little tweaks. But the key thing is with any video that you're creating, you really want to get this down first. You want to just like put all the pieces there and then you can go through and do your little tweaks and clean up and make it much better. But the key is get that first cut done when you can get that first cut done. And that's the hardest part to do. The first cut is always the toughest to get out. But once you got past that, you can see all the elements and you can see where you want to add stuff for, take stuff away. 19. SDFX: All right, Let's talk about sound effects because you can layer in some sound effects to just give your videos that extra depth in the sample we've been working on. I have the shot of the drone taking off and I had some audio from the camera which I'm using for the shot. And you can hear it here. So you hear the sound of the drone taking off. So that's sound that is captured at the scene or wherever you're filming. And you can use this and bring up the volume, bring it down, play around with it a little bit to make it more impactful or make it more subtle. Now, you can also do sounds that you add an after. Now let's go over to Epidemic Sound and you can see they have a whole sound effects collection. So whatever you're looking for, let's say a truck sound, you can go through and find some sounds that might mix with your scene. So I have this shot here from the top of a mountain. It's from a 360 camera. And you can see that there's some heavy wind up here. And I just want to enhance this a little bit so I want to add some sound effects of wind and clothing rustling. Now let's look for some wind that sound effects. Let's go to when Arctic. Cool, Let's download this wind effect. So let's go to close flapping. Okay, So this is a flag flap, but that might work. So I have this new event made sound effects edit. I'm going to create a new key word for sound effects. And I'm going to bring those sound effects n. So I have this wind sound effect and then I have some flapping. So we could just add this underneath this footage, play around with kind of how it sounds. And then I wanted this flapping sound effect to come in when I point this way. So let's go find some music to put under this as well, just to enhance the whole thing. So I want to find a cinematic shot. So I'm gonna go to genres and I'm going to find something cinematic. And let's go to what's going to moods, and let's go to Epic. All right, Let's go with this one. Create another keyword collection music. I just like to keep myself organized, so I'm constantly keeping my whole library organized. And so now I have this music. Let's go to List View. Let's just drag this in. I'm going to bring the volume down. You know what? I don't want the flag flapping to come sooner. So when I turn, I want to change this a little bit down a little bit. So what I've done here is I have this strange wind and I've changed the volume as the camera shifts. And then I have this flag flapping sound effect and I have it shifts a little bit when the camera moves. So you can play around with how the audio comes in and out to change up the emotion. And then I added some music, some dramatic sounding music, and this is now the shot I have. So adding sound effects just creates more depth and you don't have to use sound effects that you capture when you're out filming. You can find sound effects in these different libraries. I use a bunch of sound effects from a company called visual tone. And I'll include a link to that sound effects library in the Resources tab as well. Because that company has built a lot of cool sound effects that blends a few together. So it creates like transitional sound effects and it makes it easy to just drop them on. But if you just want to layer on your sound effects, you can find different things that you think fit within the scene. And you can build out a whole sound landscape around the visuals that you're seeing. It's just going to add that extra layer that's going to make your video stand out. 20. Color Grading: Let's talk about color grading. So depending on how you shoot your footage, you might need to color grade. So if you're just using the standard color that comes in your camera or your phone. Well, you might not need to do a whole lot of color grading. And especially at first, it's definitely a skill that you're going to want to develop over time. And when you get into shooting and log profiles, more flat looking profiles, you're going to need to color grade. So let's walk through the basics of how you color grade in Final Cut Pro. So I have these shots from my drone that are all shot in dialogue. And these are very flat and there's no saturation. And the reason for that is it preserves the highlights so you don't have any parts of your image that are blown out and you can really make the shots look pretty good. So when your color grading and Final Cut, you can just highlight the clip that you want to work on and click your color inspector. Your color inspector is by default is going to show up the board tool. Now, the four tools that you have an accessible or the board, wheels, curves and hue and saturation curves. So the board has color, saturation and exposure. And it's using these little dots that you pull up and down to change the color values and exposure values in your image. Now, when you go over to the color wheels, it uses the structure of different wheels. We're all those tools that you just saw on the boards are on these individual wheels. So you have exposure on the right, you have saturation on the left, and then you have your color in the middle to change the color. And you have global, which is just all exposure and color. You have highlights, midtones and shadows. And so this breaks it up into a few different ways that you can tweak your image. And then down here you have colored temperature and tint and hue. Now if you go over to your color curves, this is a line representing all the Luma, so all your exposure. And when you bring down this top, it's going to bring down your highlights. And when you bring up the bottom, it's going to bring up your shadows. And then you have your red channel, your green channel in your blue channel. And when you change these, it messes with your colors. And then last we have our hue and saturation curves. And this gives you a bunch of different lines that you can work with. So this one is Hue vs Hue. So let's say we use the eyedropper tool and grab the color of the water there. It's going to be this section of the image. Well, you can change just that color within the image. Right now it's very flat, so you're not seeing a whole lot of change. But this is for more specific editing them where you want to alter colors. But basic editing is just using a color board. So let's delete all of these because I just set them all up. And you can go back to your video inspector and any effect that you put on, you can highlight, click Delete, and it will delete it. So I'm going to delete everything that I set up and I'm going to do one color board. Color board is going to be easiest way to edit. And for, and for those of you who are just starting out, stick with the color board and then learn the other tools later on. As you get more advanced and color grading for exposure, you have your highlights, your mid-tones, and your shadows, and then you have your global adjustments so you can bring up your highlights, or you can bring up your mid-tones, or you can bring up your shadows. And the same if you bring it down, it's going to darken everything. Or you could do the whole global, which is just a complete exposure. Now the same thing with saturation. And then your color. You have your highlights, your mid tones, and your shadows, but it's on this visual representation of color. And then this big dot is your global adjustments. So let's say you want more red in your image. Well, you go over to the red and push up. Well, if you want less red, you pull down. So those are the tools that you're going to be using. Now I want you to bring up your luma waveform, which is a way to see all of your values on a graph. You're going to hit Command 7. Command 7, and you're going to click this little icon here, which is going to bring up your options. And you're going to want to go to waveform and luma. So this is all your exposure values from 0 to 1000 being black, 100 being bright white. And when I go over to a shot that has more exposure, something that wasn't shot in log. You can see that there's exposure values all through the spectrum. And when I make adjustments to this, Let's go to our exposure. Let's say I want to make adjustments to the highlights. Well, I can take my highlights exposure little dot here and pull it down. And you can see on this graph, they come down. And let's say I want to make these shadows go up. Well, I can bring them up and make the whole image less contrasty. Now if I want to go the other direction and I want more contrast, I'll bring the shadows down and bring the highlights up and you can see how contrasted this image is getting. But anytime you want to start over, you can just hit this tool up here. It'll just go back to 0. So for this shot that already has exposure and color in it, I'm going to just bring down these highlights because this looks overexposed. But as you can see on this graph, there actually is information there. If this was a straight line across, then that would be overexposed and you can't bring it back. There is some color value there. I'm shooting on the ACE Jimenez. It has some range. So I can bring that back and you can see some of the clouds are starting to have some texture. Now, I could use my mid-tones to bring up the midtones, like skin and our clothing, or I can bring it down. So I might shift that up a tad and then for shadows I might bring it down, attaches to have some contrast. Then I have a little bit different of a, so there's the before and there's the after. So I just cleaned up those bright parts in the sky. Now let's say I want a little bit more saturation. Well, I can go over to the Saturation tab and pull this slider up. And it's just going to give saturation to the entire image. Now if I want my highlights to get saturated, I'd pull up on this dot to the top. So you're going to play around with your contrast and your saturation. But the goal is to make your footage look neutral or clean or standard. And if you're shooting in a more muted profile, you're going to need to add contrast, and then you're going to need to add saturation. So let me show you this drone shot. There is no contrast and no saturation. So for something like this, I'm going to look at my graph on the left-hand side here. I'm going to pull my highlights up towards a 100, but not going over it because I can see that there's some spots here that look like they're towards the top of the spectrum. And then I'm going to bring my shadows down closer to 0. And then I might adjust my mid-tones up or down a little bit. Now I'm going to go over to my saturation and I'm just going to give a nice boost to the shot. And now when I play it back, you can see it looks like it was shot in like a standard profile. And you can tweak this further. You can keep playing around with these exposures to find a nice look for your shot. Now if you have some strange color casts, like say you don't want this to be so blue in the highlights. Well, you can go over to your color tab, find the dot that's for highlights, and then pull down where the blue is and you can see everything in the image is warming up a little bit. And you don't wanna do this too far because it just creates these crazy color casts. But it might be just slightly moving in one place, adding more blue, maybe adding a little less blue, maybe in the shadows. I want to boost the reds a tad. And now I have a much different looking shot than I originally had. By checking this box, you can see the original and you can see the after. Now let me show you a different way to color grade using lots. So in your effects window, you can just search for custom LUT. And you're going to drag and drop this on your footage. Now in your video inspector window, you'll see custom LUT and they'll say none. A custom LUT is basically a predefined look that you can drop on your footage. So for this drone footage, I have what's called a conversion that goes from this look to Rec 709 or like a standard look. And I didn't have to do any color grading. I just dropped on that what and it looks good to go. Now I can tweak it from here by adding a little bit of changes in the contrast and the color and the saturation. But a lot of times you can find lots that are convert your log footage into more standard looking footage. And if I wanted to go beyond just the standard look, the next thing that you wanna do is add a unique look to your footage. So you could go through and change up the colors and make it warmer or cooler depending on what kind of look you want to get out of the scene. And another way you can do this is using custom lots as well that are built to create some interesting looks. So I'm going to pull another custom LUT effect onto this video. And I'm going to choose a custom line. And I'm going to search for it in my documents and my lots. I have some droplets that I built. I'm going to bring these into Final Cut and I'm going to add my Yucca look to this. My Yucca look was built to show a little bit more yellows in the image. And look was designed to change the color and give it a different tone in the exposure. So you can see, and so you can see there's been a color shift and a little bit of change and the exposure that you could use lots to be able to quickly edit your footage. And this is just the tip of the iceberg when it comes to color grading, there's a lot that you can do with it, but the basic process is one, you want to fix your footage, change any imperfections, fix your exposure fixture color, fix your saturation, make it look neutral. And then from there you add on a look and do something creative. And so just getting familiar with these tools and playing around with it, and getting your footage to look more natural is going to help you in your editing process. And it's something that you're gonna want to practice and do more of. And look at other creators color grades and see how they're editing their footage. It's going to give you some ideas on where you want to push your colors and what you wanna do with your contrast to get the best look for the scene that you're shooting. 21. Adjustment Layers: So if you want to make adjustments to multiple clips at the same time, you can use what's called an adjustment layer. So these aren't built in the final cut, but there's plenty of them out there for free. It's just basically an empty layer that goes above your footage. And so I have one that's called base grade and I just drop this on top of my footage. When you drop this on, it doesn't do anything to your footage. It's just an empty layer. If I do any changes to my color grade on this base layer, it's going to affect everything underneath. So let's just make it super yellow. Well, you can see this shot is, and also this shot and basically everything that's underneath it will have that same color cast. So you can use an adjustment layer to do groupings, a color grades over multiple clips. And a lot of times I'll use these adjustment layers instead of just doing a color grade to a specific clip. Because the issue is if you have multiple clips that you have to do that same color grade 2, well, you're going to have to copy and paste that and add it to each individual shot rather than just doing it once on this empty layer. And then it affects all the footage that it's over. And you can stretch these out by pulling on either side. They worked just like a normal clip would when you're in Final Cut Pro. 22. Copy and Paste Effects: Let's talk about an important thing that's going to help you speed up your workflow and that's copy and pasting effects so you can copy and paste footage. So let's look at this timeline. If I wanted to copy this shot, I can use Command C. Go over here, Option V. It's going to paste that clip up top here. Or if I do Command V, It's going to paste it within the timeline. And then Command Z is undo so you can copy clips, music, sound effects, anything, but what if you want to copy and a specific effect. So a color grade or like a Zoom or anything that you've done to the footage. Well, you can do that and you can copy attributes and then you can paste attributes. So this is a tutorial that I did, and I have a bunch of shots where I've cut my a roll and I have no B-roll over this section. So what I wanna do is do a small color grade on this and then do some transition between the shots so that it doesn't just jump cuts. So it's not just one cut and then I'm in the same spot. Same cut. Personally, I don't like the look of just continual jump cuts. Some people will like using them in their videos, but I like to have some sort of change happen. So I'm actually going to do a jump cut, but I'm going to jump in. So I'm going to change my framing size. And so I want to do these two edits. And then I'm going to show you how I can copy these edits and paste them. So we only have to do it once and then we can add it to a bunch of different shots. So the first thing is let's just do a quick color grade on this. The majority of it looks pretty solid, but I might want to add a little bit to it. So let's bring down my mid-tones, bring down my highlights, a tad, saturation. Let's bring up the color in the room, all right, and then let's add an effect. So I'm going to go to my Effects window and add a vignette to this. And we're going to create an effect on this footage. So we go to our inspector and we're gonna go to our video inspector. And you can see I have my color board, which is the color. And then I have this vignette effect that I added. And a vignette basically just darkens the corners, but this is a little extreme. So I can change a bunch of the settings. I could change how dark it is. I could change the size, I can change the fall off, so how much feathering there is, and I'm going to do a ton of fall off. I want to really have you feather. I want the size to be pretty big because I don't want a huge effect and I want the center to stay pretty clean and I want to darken it. And so when I show this on and off, the quarters have just darken the bit, creates a little bit more focused in the center where I'm sitting. Now I've done this color and this effect, and I want to add that to all the rest of these clips. So you can either use an adjustment layer and put it on all of these clips or you can copy and paste the effect. So I'm going to Command C, this first video clip that I did these edits to. Now the videos that I want this attribute copied too. I'll highlight, I'll press Command Shift V, which is your Paste Attributes window. And you'll see these are the attributes that this first video has. It's got a color board, which is that color grade we did. It has a vignette and it has a voice-over enhancement. So that audio effect that I showed you earlier, that's what I'm using on this talking head bit. And now I don't want to copy this audio effect because it's already on all the shots. And if I paste this, now I'm going to have two of that effect on all the shots and I don't want that to happen. I'm going to uncheck all the audio attributes. I don't want any of that. All I want is the color board and the vignette, and I'm going to paste. Now all of these shots will now have this color board and this vignette. So the next thing that I want to do is create this jump cut where I'm going in and out. So on this first shot I want to keep it wide. And then the second shot I want to punch in because I want to create a transition where I'm not using the same shot twice. And so I'm going to scale up a 130%. And then I'm going to reposition. Now I don't need a key frame this because I'm using hard cuts. There's a hard cut on each end. I don't need to like keyframe in or out, nothing like that. So when you've watched these played back-to-back, I have a wide shot and then you cut in to that close-up shot. So it almost feels like there's two cameras. And, you know, if you've noticed on this course, I've been doing that a ton. This is how I break up my talking Bits and I cover aspects where I mess up or I just take along positive looking at notes or something. And then when you go to the next shot, it cuts back out. Now I want to copy this cut in on some other shots. I wanna do it every other. Well, I can do the same thing. Command C, this shot works punched in and then this shot's gonna stay wide. This one I want close. This one's going to say wide, this one I want close. So if I hold command and select the second clip, it will highlight both of those. So you can use command and your selection tool and you can select multiples. Now I'm going to use Command Shift V. It's going to bring up my Paste Attributes window. And now you can see there's more options. Well, I have these effects. Well, I don't want to paste those because I've already pasted them before and I don't wanna do it double. So I'm going to turn those off. I want to turn off my voice-over enhancement and my volume. The only thing that I want to transfer over is my transform, my position and my scale. And so I'm going to click Paste. So now when we zoom out hitting Command minus, you can see that the first shot is wide, the second shot is close. Third shots wide, forth shots close, fifth shots wide, six shots close. So I did a few different effects and then I punched in and out and I was able to copy and paste these effects and make my workflow much faster than if I was to go shot by shot and reframe each shot. 23. Slow Motion: All right, so let's go over slow motion because there's going to be a lot of times where you're going to want to use slow motion in your videos. Now, your camera's going to record in two ways. Either it's going to do the slow motion internally or it's going to shoot at something like a 120 frames per second. You're gonna have to edit that in Final Cut Pro and slow it down. So this is called retiring in Final Cut Pro. Now I have these two shots, both of these were shot at a 120 frames per second. But when you play it back, they look like they were shot in real time. They're not slowed down at all. And the reason that you might want to shoot in a 120 frames per second rather than say 30 frames per second, but slowed down in camera, that this preserves audio. So there might be times where you want to get that audio shoot in a 120 frames per second and then slow it down and post and remove your audio if you're using it as a slow-mo clip. So let me show you where the retiring tools are. So just under your viewer, There's this little icon that kinda looks like a speedometer. It's actually, you're retiring tools. So if you highlight this clip and you click, you're retiring tools, you can slow it down, you can speed it up. You can go at normal, which is what it's currently at. You can use a hold which is like a freeze-frame, or you could do a custom. And when you say Custom and you can click automatic. And it's going to re-time specifically putting one frame to one frame on your timeline. So if I have a 30 P timeline and I shot it at a 120 frames per second. Well, it's going to slow it down to 25 percent, so it's going to be four times slower. And you can see when I play this back, it is much slower. Now if I wanted to get rid of this effect, I either go back up to the retiring tools here or I can click on this little tab that's now popped up. And my retiring tools are now here and I can click normal. Now something that's really useful that I've found to make this process faster is to map out this automatic retiring tool to my keyboard. I've mapped it out to R because I wasn't using the R key for anything else. And for me that makes the most sense free time as R. So I'll click are and it automatically does that retiring. And it automatically does that retiring. So now it's at the proper frame rate. So now it's slowed down four times for the shot. And I'll go through how you can add these keyboard shortcuts in the next video. But what I want to go through next is a hold. So let's say you're watching this video and you want to hold right at this moment, well, you can click, you're retiring tool and click hold. And you'll see this bar popup with now this orange bar in the middle. So this orange bar is basically a freeze-frame. It's going to be normal. And then at that moment it's going to hold. And so you can grab on this tab here and change the duration of that hold. So if you need to use freeze frames in your video, a hold is a great way to do it. Now if I want to slow down the second shot using a keyboard shortcut, I just hit R because I've mapped it out. It automatically slows it down. And you can make these kind of edits while you're playing back. So as your video's playing back, if you want to tweak in and out points are like change little things, you can do that wall a cursors plane. Sometimes you might have to start and stop depending on how much it needs to render. But when I'm working, a lot of times I'm going to be making edits while I'm watching things. It just keeps the whole process moving forward and goes much faster. 24. Customizing Keyboard: All right, Let's customize some keystroke commands. So if you have certain things that you're doing over and over, map them out on your keyboard so that you don't have to keep going into a menu and clicking a button to be able to do that edit. So I use all the keystroke commands that I've been talking about in this course. But there's a few that I've added as well. One is R, so it automatically read times my footage for slow motion. And the other one I've set up to 0. And what that does is it takes me the volume of a clip and drops it to negative infinity. So when I'm working with B-roll shots, all a sudden the audio is gone so that I don't have to worry about bringing it down manually. I just clicked 0 and there's no more audio. So to change your keyboard commands, you go up to Final Cut Pro. You go to this Commands option and you go to Customize. Now when you're in here you can see all the keystroke commands that Final Cut has. And what you do is just find a keystroke. So let's just say R. And you can see all the commands are right here on the right. So no modifier, that means just clicking it without a Command and Option, a control or an fn. That's I've changed to automatic speed. So it's automatically going to re-time. Now if I go to 0, you can see that no modifier set volume to silence. And what's wild is on this one key. There's all of these options for keystroke commands. You could do no modifier, which is just clicking the key. And then you could do shift, you could do Control Option command. You can do option and command together, Option and Shift together. Like you can go wild and remap your entire keyboard to basically do keystroke editing. Now to customize one of these buttons, it's fairly simple. So let's say we want to speed up our shot by four times, and we want that to be a keystroke command. Well, we're gonna go to re-time and we're going to find fast for x, that's going to speed up our footage four times. So let's say I want to set that to keystroke command Shift 4. So I'm going to click the four on the keypad that shows up here in the command editor. And all of your commands are here on the right. Now, I'm just going to drag the Forex to that shift for slot. And now it's set up and use have to click Save. And once it's saved you can exit out. And now when you use that keystroke command Shift 4, it's going to return and speed up your footage four times. So it's fairly simple to customize these keystrokes. You'll see when you start going through all the keystroke commands, there is a lot RA setup and what I've gone through and done is removed some that I don't use, and then use those keystroke commands for the things that I actually do use. And it's something that I've been building over time. I didn't go through and set up my entire keyboard all at once as I've edited more videos and I figured out what things I use all the time. I go through and add a new keystroke command and add it onto the keyboard. So that can speed up my whole editing workflow. 25. Exporting Finished Video: So the last part of the process is exporting your video and you wanna make sure that everything is done before you export the video. So go through, watch it a few times, put it full screen. Use the little icon in the corner that allows you to see your video full screen. And you can watch it back and just see if there's any last tweaks. Now, let's export the video. So you're going to make sure that your cursor is down here on the timeline. You're gonna go to file and you're gonna go to Share. And in the share, you'll have all these destinations. And you can change these, you can customize these, you can go to Add Destination. Dvd is a default one. So I'm going to remove that and then export file, which is going to be your default. And this is what we're going to use. So I'm going to close that out. I'm gonna go to File Share export. And you can also hit Command E, and it's going to do the same thing. So it's going to bring up this export window. And you can see all of your settings here. Down here in the lower left-hand corner is your resolution, your frame rate, your audio, and your duration. In the info it shows what your title is, your description, your Creator, some tags. So if you need to change the title, change the title here. And that's going to be what your export is. Now this is the file format that you're exporting, and this is the estimated size, 59 gigabytes. So big file. Let's go to our settings and see why. Well, this is exploiting as source per has four to two. Personally, I don't need to export ProRes 422 files. I use H.264 and that's going to be a much smaller size, something that you can easily upload to different websites. So I'm going to use H.264, make sure everything looks good. Action after it's done, I'm going to save only. So you can set up an action to open and QuickTime or compressor or something else, but I'm going to just do save only. And now the size is 6.86 gigabytes, much smaller, and that makes sense. It's a fork. A file H.264, about seven gigabytes is right for this long a file. There's another Roles tab here which I don't ever use. So I just look at my settings, make sure that's good. Click Next, then it's going to find where on your desktop you want to save this. So you can navigate to your folder, make a new folder, exports, and then your title should appear here in the save as and then you click Save. And then it's going to export the video. Now from there, upload it, get it out to the world. And that is the entire process of using Final Cut Pro. 26. Final Organization: So the last step in the process after you export and upload your video is to go through and organize your folder. Now you can either backup this footage or you could just delete it. It depends on what you wanna do with your footage long-term. I personally keep everything. So I have a whole backup system and I have a bunch of hard drives that keeps all of my data. Now, you can also upload these files to somewhere in the Cloud. But before you get into the whole backup process, you want to make sure that you're not having a massive project file. Because as you're working in Final Cut, it's going to be rendering files in the background and the actual project file for your video can get super big. I've worked on videos where my project file has ended up being 500 gigabytes. Now, it don't have to keep a 500 gigabyte project file. It should only be a few megabytes if not a few gigabytes. So what you wanna do is delete all the rendered media, and that's not deleting any of the original media. This is just the files that final cuts been building in the background so that you're able to edit the footage. And so here's a project that I did around my M1 Macs. Now I just want to show you one thing before we get into deleting rendered files. And that is this little icon here, the little yellow triangle with an exclamation mark. That means that there's footage missing out of this project. So if you're working on an older project or you don't have a hard drive plugged in or you've moved media, you're going to see this pop-up and it basically means that the footage is missing. And when I go through this timeline, you'll see that I have these red sections that say missing file. And basically it's just saying that the path to the file no longer exists. If so, if you are working on an older project or this happens to you while you're editing, you just need to find the missing file. And so to do that, you're going to click on the file that's missing. You'll go up to File, reeling files, original media, and you'll go through and find it by hitting locate all. And it's gonna pull up your Finder window and you can go through and find where that file is. So now let me show you how you actually delete your rendered files. So when your project is finished and you're ready to put this on your backup drive, you'll first highlight the project. This top-level, you'll go to File, delete generated media files, and it will pull up this screen. And what you can do is delete files from locations both inside and outside the library. You cannot undo this commands. You're deleting files. So I want to go through and delete my render files, all of them. And if you have optimized or proxy media, you can also delete that here. So if you had to go through and proxy your footage to be able to work on it in your final cut, then you can delete all those proxy files. But it's not going to delete the original media. Same thing if you did optimized media at some point when you're working on your project, you can delete all the optimized files. Those files are huge. Your proxy files and you're optimized media or Apple ProRes, and they're going to make your project files super big. Now if you're just putting this project away for backup, just so you can always have it. I would delete all of this. But if you're going to be jumping back into this project very soon and you need these files. I wouldn't delete them. So it just depends on long-term what you're doing with your project file. And for me, when I'm done with the project, I usually put it on a backup drive and pretty much forget about it. So I'm gonna go through, delete my generated rendered medium and also delete my proxy and my optimized media. I have all of these selected and I'll hit, Okay, now there's not any processing window. It just will look like you go right back to the screen. So when we go into the Finder window, you'll see that when you pull up the folder with your project file, it'll now be much smaller. It's now at a 119 megabytes. Originally this project was a 100 gigabytes. So you can see how small it shrunk by deleting all those rendered files. So now this project is ready for me to put on my backup drives. So what I do is I basically take this folder that I've built for this project and then I will duplicate it onto my backup drive and then delete it off my working Drive. And in this folder I have my project file, My Media, then my exported file, which is the finished version. So at any point I can go back to this folder and I can have all My Media if I ever need to access that media again. Or I have my exported file, or I have the photos I used for my thumbnail. Basically everything's all in one and it's just all going to live on a backup drive. And you're gonna wanna make sure that you go through and delete your generated media files with all your projects that you're working on after you're done. Because if you don't do that, you're going to be using a ton of data that you don't need to be using. And you're going to be spending a lot more money on hard drives because your hard drives are going to be filling up much faster. So it's just a step that I always do. And then because everything's organized by date and project number, when I pull it onto my backup drive, it's automatically categorized from the oldest videos to the newest videos. And that's basically all I do when it comes to backing up my footage. I keep two versions of all my footage to different hard drives in case one fails. But as I said earlier, you could either do one hard drive, you could delete all this footage if you don't need it, or you could use a Cloud service. And depending on how much footage you're working with, you might get away with being able to use something like a black blazer or a Dropbox. There's tons of different plans and there's some of them that do have unlimited storage, but you will pay a little bit more. 27. Creating Templates: So I had a question come through in the discussion on this course on how do you deal with templates. Now this is something that I have two different methods on how I deal with templating. Some of my graphics are some of my texts that I use all the time. The first way is to basically create a Final Cut Pro project file. Build all the different graphics and text that you use in your videos and just put them on a template timeline. And what you can do with this project file is then just duplicate the project file every time you want to start a new project. That way this timeline with all of these templates will automatically be duplicated and that will be what you'll start with working on your new project. Now the other way that I've been able to do templates is through a process using the program motion. This takes a little bit more because you have to learn how motion works. But what you can do is open up specific graphics in motion, customize them, and then save them out as a preset template so that every time you use that template in Final Cut, it's going to have all the changes on it. So you're basically creating your own plug-ins based on other templates that you've been using. So let's go through this and let me show you how to do this. The first one is creating a project file that's just templates. So I have this blank project file. I just called it templates, and my event is templates. I'm going to create a new Timeline. I'm going to call this templates, and I'm going to use the frame size that I like to use for all my videos, which is 4,096 by 2048, I like that two-to-one aspect ratio, but it really comes down to whatever you're creating and the aspect ratio that you want to use. So I'm going to hit, Okay, I'm going to bring up this timeline and let's just build a graphic, something custom. I'm gonna do a basic title. I'm going to go over to helvetica, new LT. And I'm going to bring up the size because this is how I like to do titles. I'm going to center this and I'm going to do title template. Now I also like to use a drop shadow, so I'm going to add a drop shadow to this at a 100 percent with like 15 distance. And let me just put something behind this so I could see what it looks like. And there we go. So now I have a title template. So I like to use these big bold titles in a lot of my videos. And so I just made it a title template. So now every time I duplicate this project file, this is always going to be in there and it could be ready to go. So let's put something else in here as well. So let's say I want to use one of these motion graphics for lower thirds. Now I'll just add this on here if I want space between, what I'll do is go through edit, insert a gap, and that just gives you this blank space. And then I'll go through and make my customization. I'm going to take this graphic that I have for motion via effects, and I'm just going to customize it. Okay, So I've customized this automation and I have a name and where I would put a YouTube channel if I was working with another creator. So this is something that I might use every time I need to throw in a lower third. So instead of going through that whole process, changing the colors and changing the font of that plugin. I just made a template version of that. And it's always going to be in this project file, this template project file that I've made. So once I've made all of my templates, everything that I use, I'm going to close out this project file. Now I have just a folder with this template in here. And you can see that the project file that we're just working on. So what I'll do is Control click and I'll click Duplicate. So now it's gonna make a copy of that project file. And now this is the next project that I'm going to be working on. So I'll name this for what the project is. And then I'll take this project file and move it into the folder that I'm working on. So when we open up this duplicated project, you'll now see that the name has changed to what I named it too. But you'll still have this templates event, and you'll have this templates timeline. So from this templates timeline, you can start editing and all of your pieces are already here, your title, your lower third. Basically everything else that you might have for this project is already going to be built and it's ready to go. This is a super simple way to template your projects, especially if you're someone who's using the same thing over and over, you're always using the same Lower Thirds, the same opening title sequences, basically anything. Make these template project files and then duplicate it. And every time he raised her project, it's ready to go. You don't have to build any customization off of the plug-ins that you have. Now let me show you the second way, which is a little bit more advanced on how you can template out your projects. So let's say I just want to make a simple title that's going to be in all of my videos. So let's go to basic title. We'll hit Open and motion. And motion is a program that does cost some money. It's not free. So it looks completely different. This is not looked like Final Cut at all. So you'll have to learn a little bit about how to use motion to be able to make these types of changes. Just show you real quick. I'm gonna make a title. I'm gonna change the font and add my drop shadow at distance of 15. And then I'm going to click File save As, and I'm going to put it into one of my folders. So let's put it in my Jevons favorites. This is a category that I've built and I'm going to say title graphic. So now when we go back to Final Cut and you go to Jevons favorites, you'll see that that title graphic is now an option and you can just drag it down onto your video. So if you do want to dive into learning motion, this is a great way to build custom graphics, and then they're just a new plugin in your Final Cut Pro project file, you can make different categories with tons of different plug-ins that you use. But it's something where you're going to have to learn motion and you have to learn how these plug-ins work. I personally think the easier way to do it is to build your graphics that you're going to use and build a template at Final Cut Pro file and just duplicate it. Super-easy. Everything's ready to go and it's on the timeline. So those are two different ways that you could build templates for your videos. 28. Conclusion: So we covered a ton in this course when it comes to Final Cut Pro, it may seem daunting at first when you're jumping into the software, going through this process and learning all of these tools and where everything is, there's gonna make your editing process so much faster. Now I want to say thank you for joining me on this course and sticking through to the end. And if you have any questions or if there's any concepts that you want me to expand on, please reach out at anytime. I want to make this the best course possible. So if there's aspects that were confusing or you just need a dive a little bit deeper into, please let me know and I'll add some additional content to cover some of those different topics. Now in the next step is create your project. I want you to have some a role, some B-roll. I want you to try to use music sound effects. And I want you to try to put everything that we talked about into practice, into this one video. Just so you can play around with all of these different aspects so that you can understand fully how final coat works and actually use all the tools. So just as a reminder, the project is five things you need to know about X, whether that is a product that you're going to review. You want to do a tutorial five steps to do something, or you just want to talk about something you're interested in. So if you're into scuba diving, what are five things that you need to know about scuba-diving? So shoots him a role, gets some B-roll that you can over what you're talking about. And also get some extra B-roll that you can use for some transition segments and then put it all together with music sound effects and just have fun with it. There's no right or wrong way to do this. You just want to play around with all the different tools and just get all the basics down so that every time you sit down to Edit, you get a little bit faster and a little bit better at editing. It just takes time, It takes practice. But the more that you do it, the easier it will get. But soon enough, you'll be super faster editing and it's going to be an easy process. Now make sure you check out. So my other courses that I have available and make sure that you write this course and let me know if there's anything that comes up that you need me to expand on or talk more about because there's a ton to learn and Final Cut Pro. And I definitely wanted to go over as much as I possibly could in a concise way so that you can start editing and start making videos right now. All right, so this has been a fun journey, and I'll see you on the next one.