Transcripts
1. INTRODUCTION: Hi everyone. My name is Camille and I'm a full-time editor who specializes in YouTube videos and I edit for a couple of YouTubers, I primarily edit on Final Cut Pro and have five years of experience on this software. So in this class I'll be showing you the tips and tricks that I've learned over this time and how I edit and organize my workflow in the simplest, easiest, and most efficient way in my opinion. So if you enroll in this class, I'll be taking you along my workflow of how I create a snappy unexciting YouTube video from creating and assembling your primary edit. Then we'll take it one step further by adding cutaways and B roll. And then we'll move on to the exciting stuff like the titles, simple effects and transitions and other aspects that come together to make a really nice and professional looking. Throughout this class, we'll also dip into the world of King masking, compound clips, sound effects, grading and much, much more. I'll be explaining all this stuff to you by showing you how to edit. One I'm trapped more Ross's older YouTube videos. So you can either download that class material and follow along, or maybe you even have your own video you want to edit and just edit a long-lost to watch the class. Or you can simply just relax kickback and just watch the class. And there we go. I won't ramble on too much because I think it's gonna be a pretty long course. I hope you guys stick through till the end and fingers crossed, you learn a thing or two.
2. OPENING FCPX & ITS INTERFACE: Okay, Welcome. This is going to be a really quick, quick one because all we're gonna do is open Final Cut Pro. You're going to have to excuse me, I'm completely new to there. So it's going to take a couple of lessons before I kind of settle in and not become so awkward. But yes, so let's go into our screen recording. So here's my lovely empty desktop. And we are just going to open Final Cut Pro here it is down here in my browser thingy. And let's open that up. It's going to bounce a few times. And there we go. We're are actually just going to close this because I just want to talk you through the interface or Final Cut Pro. So let's cancel that. And there we go. This is what Final Cut Pro looks like. Let's just quickly double-check. I'm using the version 10.5.4 at time of recording. So hopefully this course doesn't become too out of date too quickly. And, and yeah, so this is the interface of Final Cut Pro. This is a blank set up and I'm just going to show you a couple items in this layout. So first here, on the far left, we have what's called the sidebar. And this is where you're going to organize your projects, your libraries, and your assets. Everything goes here. And as you go across, you can see there's another icon here, and this is where the photos and audio sidebar is. So this is where you're going to have all your in-built Final Cut Pro sound effects. This is where you'll find your music that is linked to, I believe your iTunes. And then your far right one here is the titles and generators sidebar and that's where you'll find yes, all your titles and your generators will talk for all of those in more depth later on. But yes, so this is where your sidebar is. Next, we have the browser, and once you import all your footage into Final Cut Pro, this is where you'll see everything. Then this lovely darker gray box is the viewer. So everything you playback will be seen in this box. Here we have the inspector, the inspector of somewhere. You'll be a lot. So you toggle it on and off by pressing this little guy up here. So that's hidden inspector, and that's when you can see the inspector. These buttons here just let you see a different like layout of your project. And this is my personal favorite, just having the things set out like this. And let's just remove the inspector for now to give us more space. And then finally down here is where we are going to see our project timeline. This is essentially the area where you edit your film. And here on your right is your audio meters. And if you don't see that, you simply go up to window showing workspace and toggle audio meters here. So that's taking it off by like to have it there. So here it is. And then all these other buttons, we'll go into more depth later on. But essentially, here on the right is where all your in-built transitions are. And at a later video, I'll show you how to import those in. The next one along is the effects. Here you have both video effects and audio effects. Again. Later on, I'll show you guys how to add more end because at the moment you'll just have the inbuilt Final Cut Pro ones. And then these buttons here, we'll play with them a lot more when we have stuff inside Final Cut Pro and when we are playing on our timeline.
3. UNDERSTANDING LIBRARIES, EVENTS AND PROJECTS : Okay, So I edit for a YouTuber code trapped all over us and I have edited for him, for gosh, it's coming up to almost three years now. And he has very, very kindly let us use his, one of his older videos as the source material for this class. So I'm going to show you guys how I organize my footage and assets and everything at this stage, because the moment you get everything organized early on, it will make your whole work flow process so much easier and so much more organized. So it's important to just make sure it's all perfect at the beginning. And I've always edited like this. The guy who taught me how to edit, edit did like this. And I just think it's the easiest and most efficient way and everyone has different ways of doing it. But I'm just going to show you my way. Say, we're going to step out with Final Cut for now and I'm going to go to my desktop. So here we have the lovely raw footage of Ross just here. And here he is just talking in front of a green screen. We want with it. And what I do at this stage is when I have a new project, I just create a new folder. So here it is, and I name the project folder, the name of the edit. So this is the Georgia and Drake videos. I'm going to name this folder Georgia and Drake. I'm going to put everything on my desktop right now. I usually edit of hard drives just because I find it easier to then move between computers and everything. But let's just edit here for now. So within our folder now we're going to open this up and we are going to create two folders. We're going to create one called assets, and we're going to create one called project. I've always done it like this, written in capital letters and I'm just going to stick by it. And then we're gonna go one step further and we're going to go into our assets folder. And we're going to make a few folders depending on the types of assets we're gonna be using. So I know I'm going to have some video assets. Can't spell. Oh my gosh. I know I'm going to have some images. I know I'm going to have some music. I might have some After Effects, exports. I'm just going to put this because we never know for now. You can change this depending on what you want to use. Yes, So here we are, we are full folders and at this stage, I'm going to grab my raw video file of Ross, and I'm going to dump it into video because it's a video. And now let's go back. And if you want to be even more organized, you can create a new one here and call it exports. And this is where you'll put all your exports of your videos. So we have project assets and exports. And as you can guess, all our assets will be an assets, our project file or Final Cut project file. It's going to be in Project. And then our exports are going to be that. Now let's go into Final Cut Pro. And here's our Blank. Thank you. There's nothing, nothing's happening right now. This is where it gets a little bit confusing because there's three things in Final Cut Pro. There are libraries, there are events, and there are projects. And I know it can get easily confusing as to how to use each of these, but I'm going to show you my way and I just think it's the easiest thing to do. So let's go File New and we can go to library, as you can see here, Library Event Projects, that's library. And it's just going to open up this window of where we want to store our library. So we're going to find the folder we created just a second ago and we know it's on our desktop and it's this Georgia and drink folder. And we want to save this library into the one I've named project. I know it's confusing, so I've named that project. But what creating a library, but Just bear with me, we're creating a library at this stage. And this library is going to be our Georgia and Drake library, which we're saving here. So if I show you, I hope you understand a bit better. So that's press Save. And it's just created this. But quickly, let's jump into our finder, going into Georgia and drag. And we can look here that our project here is the Georgia and Drake library. So as you can see, the little Final Cut Pro icon is here and we're only creating one while creating one library per like edit. So this is our Georgia and Drake edit what? So we're creating this library. I hope that makes sense. Premise, you're getting your head around. Libraries, projects, and events is just like the hardest thing. But once we get past this will get onto the fun editing part. But say yes, look here we have created a library. And essentially within a library you can have multiple projects and events. So I'm not really going to tell you to just delete this smart collections thing because I just want to make things as clear as possible. So just right-click on this and delete it. And this little thing of a star is just an automatic event that's being created by n Final Cut Pro. So we're going to rename this event and we're going to name it assets. We basically want to follow along the same structure that we did in our folder at the beginning. So this is assets. And to create a new event, we are going to go File New Event. And this one we are going to call it project as we did before. And we make sure it's in Georgia and Drake library. So there we go. I think this is a lot visually more pleasing. So a project event is where we are going to store all our edit timelines. So this might be like your version 1, version 2, version 3 and so on and so forth. And your assets is where you're going to store all your assets. So in the next lesson, I'm going to show you how to import your assets into the assets event. And in the lesson after that, I'm going to show you how to create a new project in this project event. So all in all, the library is the Georgia and Drake. And in the library you can have multiple events and projects. And then the next step down is the event. And this kind of works like a folder. You will, everything that you have within the event you will see in this section here. And yeah, you can just store so much stuff in here. And then so this is why we have created two events. One way we're going to store our assets, and one way we're going to store our projects. So it's in theory following along the same structure of what we've done here. Me personally for every video that I'm editing, I like to have one library and then two events if that makes sense. And then this will always be this tidy. And I personally think it's the best way to work.
4. IMPORTING & ORGANISING FOOTAGE: Okay, so now we've got all this organized. I'm going to show you guys how to import some footage. And hopefully this kind of clears up everything between like assets, projects and libraries and all of that. So there are three ways you can import stuff. So here, Import media, or you can press this little arrow up here. Or finally you can just do Command I or I think you can even go here, yeah, like import media. So let's just do Command I. And here we go. Here's our folder on the desktop, and let's enter it and select assets. Remember, we have the drop-down of all these at the moment. Oh, these folders are empty and the only thing we have is that Ross raw footage, but it doesn't matter. Let's just press this because you'll see later on It's good to select assets as a whole because then you have the breakdown of those four folders within Final Cut. So that's select assets. And here we are going to look at this a little bit. So in this case, I do want it in my assets event because I've already created an event purely for my assets. So we're going to make sure that's selected, not project, and not create a new event because I don't want that. Then here we have a few options. I like to leave my files in place because unless you have unlimited storage, it's kind of good to just leave them where the original assets are, um, instead of copying them across to Final Cut, again, because in theory mean you have like two copies of each asset. But if you organize everything like we've done at the beginning, this is just like the simplest way to do. And then all the keywords don't worry, here as well. You can transcode and choose optimized or proxy media. And then we are going to just leave everything as is. You want me to ever go into more detail about this? Maybe I'll do a future course on it. But for now, I'm happy with the settings and I'm just going to press Import selected. And as we can see now, it is just generating the stuff in the background here. So let's just let that going. And as you can see, our inspectors repaired, I don't know why, so let's remove that. And in our assets we now have one item and here it is, Here's Ross. And you can see him up here and just go through this all. And he's looking rather lovely. And this is where I can show you guys a few of these buttons using this Togo clippy thing means you have your footage like this or like this. So let us go to this view for now. Now this is personal preference, but I hate having everything spread out like this. So if I go to this toggle thing here, I can decrease the length of my asset to literally just one thumbnail. And here you can change the size. I just personally find it so much easier to go through all your assets when every asset is just by one thumbnail. Because otherwise, if everything is like this, you can easily get lost and you're endlessly scrolling and you don't know where one asset ends or begins. So if you want to just see everything clearly, I personally like to have it set to one thumbnail per asset. And then to see a bit more clearly, make sure your assets selected and you can go into the other option and then you can see the breakdown of it. I just think it's so much simpler to see things like this. Once we have more assets in, you'll see what I mean. But so I'm going to keep it like this. And once you're in this view, you can easily go through it. Let's play a little bit. The little red playhead is where if you press space, it's going to start playing. So let's play. That song had a pretty from itself, had a pretty interesting history. But, but not only can you press Space, you can, you can also use J, K, and L to go through your footage up here, which is quite useful. So L is play together. But if you didn't, jello later went on, K is paused. He's gonna make a lot of mistakes at this point because it's raw footage and then J is rewind. No way on earlier. You can also do things in double and even triple. So you press either J or L twice for double speed and 3 times 4 triple speeds. So let's play that kind of thing that I just double-space. Triple. Again, I can't quite understand trouble speed, but depending on who's speaking, I can quite often here double speed. But there we go. So that's how we see Ross right now. And to just try and make things more clear if we now go into our project event, it's still empty because we haven't created anything here right now. And so in the next lesson I'm going to show you guys how to create a new project so we can start editing and cutting Ross.
5. CREATING A NEW PROJECT: So now we're going to create our actual project, and this is where we're going to do the main edit. So basically making sure we're in the project event, we are going to go File New Project or Command N. And here we have this little pop-up. So project name, I like to name this V1 because this is my version one. And then for everything else, Let's just quickly talk through it. So as we just said, we want it to be in the project event. I'll start time code is going to be zeros are reserved. And then I'm going to edit in 10 ATP HD, which sets it's my resolution of 1920 by 1080. This is just like standard 1922 frame. And because Ross of shoots his raw footage in 25 frames, I'm going to make sure it's 25 frames. And also that's just how we've always done it. We'd like to edit in 25 frames, which is just quite a standard frame rate. This is quite a generic settings set up, so it's just going to be each to their own, but this is just very standard. So V01 event that's the most important, making sure we're in 10 ATP and frame rate 25. Pete. And let's press. Okay. And as you can see, again, we can toggle here between our view like linear view or into little like thumbnail view. And here is our V1 projects file. Thingy. You can tell the difference between a asset and an actual project because of this like black and white line up here. So now if we toggle between assets and projects, we can see that assets are going to be here and all our projects are going to be here. So the other thing that we see that has happened is that we now have a timeline down here and we know where in this project, because here you have the V1. So this is the V1 project timeline and as you can see, it's empty. So at this stage, you can now add clips from this browser into the timeline, which we'll do in the next lesson. And what's so great about Final Cut is that it saves everything you do automatically. So you never really have to save, like you would have to do in Premier or anything. And you can undo your changes up until the last time you open up Final Cut Pro. So by going File, OK, sorry, edit and undo, you can keep undoing. And that's why I like to have a special event for projects. So every time you wanna make sure you have an older version or you need to do is just duplicate the project by going Command D and that duplicates it. So then we could go to V2. But let's just undo that for now. So it means that now we can have all our edits organized into this project event. I just think it works best like that. And in the next lesson we're going to finally add rows onto the timeline.
6. PUTTING CLIPS ON PRIMARY TIMELINE & CHANGINGKEYBOARD SHORTCUTS: Okay, finally, we're going to put Ross onto our timeline. So basically we can either just drag him on and there he appears, or you can use one of these buttons here. And that would be the one here which appends the selected clip to the primary storyline. Or we can just select it and physically press E on our keyboard. And as you can see, Ross appears here. Now, a great shortcut that I love to use, I'm going to teach right now is shift Zed. And that makes your whole edit appear on one screen in front of you. And it's just good to see everything laid out in front of you. So as you can see here, this whole raw clip is 48 minutes long, and here he is. So I'm going to quickly show you a couple of things. As you can see, we have this like funny green line here, and that's actually a really teeny tiny thumbnail of Ross. So if we go to this option here, we can play around with the visuals of our clip on the timeline. So this is again, personal preference. Um, and I personally hate seeing the time the thumbnail here. So you can toggle between the different options. I know a lot of people like to actually see the thumbnails. But because I think it's very important to visually see or sound wave, which is this little, funny little thing at the bottom here. I like to minimize the thumbnail because as long as you know how you've layered your clips, you're kind of always really know what each clip is. And so basically, because I know Ross is just going to be on my primary timeline, which is where it's darker gray hair and everything that's a cutaway or everything else is going to be above him. Like, I'm just going to quickly show you everything else will just be like placed on top of him like that. I don't really need to see Ross. So what I like to do is in this option here is take the far left OR, and as you can see, it's just so much nicer to just see your wavelength because you will use these so much. And the more you use your sound waves, I think personally your editing style becomes quicker and your audio becomes better. And I just think it's more important than seeing a little thumbnail. That's just personal preference. You do what you prefer. This option here as well. You can choose the thickness of your assets on the timeline. When I start off, I like to have it about like a third of the way through just because as I said, it's nicer to see the wavelengths. And the, when I get more and more my timeline and it's just way too much to handle. I then put it to the minimum size. But again, personal preference. And whilst we're here because it's easier to show things when stuff's on the timeline. I'm going to quickly show you the inspector. So select your clip here and then go up here on the right to your inspector. And the inspector is fantastic. We're going to dip into this so much. And basically you have quite a, you have four options here. So here we have the video inspector and selecting your clip. It's where you can really manipulate your video in a way. So here, scale, if you toggle the scale thing, Russell, get bigger, sorry. Undo, and then you have rotation here you have the position. If you ever want to change the position of something, you scale that way and your scale that way. The anchor point is the center of the clip. So you can always just change that. It's easier to see a few we go into transform the anchor point is this little guy here. If we move the anchor point, you can see the center point of the clip then becomes to the edge. Basically you would wanna do that if you wanted to change something. And the center point, if you wanted to rotate something. So as we saw, if we rotated here, it rotates around this center point. But if we move the anchor point and then rotate, you can see the rotation is around that anchor point and do a new one. What I did here is selecting this little transform tool here is basically you then can manipulate the frame from this point is like just transforming the thing which is altering what's here. And remember, if you ever want to edit away elsewhere, just remember to exit the transform view by pressing Done. And then you have crop, which is pretty self-explanatory, just cropping the image. And then you have distort, which is also pretty good. So that's quickly going through the video Inspector. Then here you have the color inspector, which we'll dive into a bit more when we are like touching up some color grades and all that. Then we have the audio inspector and I just wanted to show the inspector at this level because I wanted to change the audio channels of Ross here to joule mano just because I know Ross films in stereo. I'm just gonna change this to Joe Mano here. And so, yeah, if you ever have a clip that's only playing out of one ear phone, just go select your clip and then go into the audio inspector and then select your mono and you'll make sure that both audio channels are working. And I know it's information overload at this point. But the final thing I wanted to talk through, um, at this point in the course is changing keyboard shortcuts. I want to say this now because changing the keyboard as per like, how you like will make your editing so much quicker. So what I wanted to do is change the keyboard shortcut for zooming in and zooming out of your timeline, because right now it's quite hard to Zoom and you have to press Command and then plus to zoom in, and then Command minus to zoom out. Ok, it's not hard, it's two buttons, but I want to change this to one button. I want it to be plus and minus because you use this all the time. Because right now the plus and the minus button or link to something else as you can see here. So what I want the plus and minus to do is to zoom in and zoom out of the timeline. So when you first go into Final Cut, you will be automatically put onto the default and keyboard settings. You see that by going to Final Cut Pro commands and default. As you can see, I've already created one called the Camille default setting, so that's the ones I like to use. So to create your own commands, you basically have to go into customize. And we're gonna make sure we're changing the default one. And we want to use the plus and the minus. As you can see, the plus is actually an equals. So that's press on that. And as you can see, the plus, which is actually an equals, but a plus on your keyboard, is actually linked to the positive timecode entry. And we want to take the zoom in that's here. If you can't see it here, just type in, zoom in. So we want this one and you can drag it onto your plus here it's going to say to the default keyboard is owned by Final Cut Pro and can't be edited so you wanna make your own copy. So make a copy and this is where will you name your keyboard? Whatever you want. I'm going to name this on Camille Skillshare and press Okay, and as you can see where editing the Camille Skillshare keyboard. And so right now we've changed the equals, which is plus to zoom in. And we want to do the same to the minus and do Zoom Out which is here. And we are going to put it on the minus. And if we go save and press the crust, we can now see that our keyboard shortcuts are working minus and plus goes in and out of the timeline is just so useful because you're going to use this all the time. And it's just easier to do than constantly doing Command Minus Command Plus. As you can see, it still works because we didn't remove it, but just plus and minus is just so much easier. And if you ever want to go back to your default one, you go here. And if you ever want to change more of your keyboard shortcuts because you find something you prefer to use, you can then go into customize and change it at this level.
7. BLADE AND TRIM TOOLS: Okay, so now on the actual editing, I promise. So the most basic edit is a straight cut. This term actually comes from the film editing process of cutting a film strip. And with arrays are and attaching a new clip with glue, HME cut a clip in your project. It creates two clips. And how you do this is using the blade tool. So the Blade tool is, if you click down here, is this little tool here, it's the sizes. Now you can see that you're a little play head has changed from an arrow to a pair of scissors. And you can also go to the blade tool like I did. And with B, B for blade. And then to go back to your select tool is a, you have other options down here, but we're going to use the blade tool and let me widen this a bit so we can see a bit more clearly. And if you create a cut in your clip, as I said, it creates two clips. So here's one and here's two, and here's the cut. So how I like to start editing is by cutting out all the like junk. The bits we have Ross's like fluffing around and just create a loose and I mean loose and first edit. And this is where I think it's useful to have your clip on the timeline because I know people like to and use what we call in and out points, which is where you select the portion of the clip you want up here by pressing I for in, O for out, and then selecting those bits I for in, O for out, select and those bits. And I'll go more into detail and in and out points later because I think that easier to use elsewhere. But when you're doing your primary cut of a main clip, and I like to have everything on the timeline so you can really see it in front of you and really like play around with it at this stage. So this is where I like to use the Blade tool to make that initial clip. Everyone does things differently, but I'm going to show you this way first. So what I would do is just stop playing and create a cut when I want to remove something or start Eclipse somewhere. Let us play for a little bit. So let's, I know he's going to be fluffing around for ages here. This is where the wavelengths come in super useful as I said. So we'll know exactly when he's speaking and when he's not. So that's just play for a bit. We can go forward by L. Again, double L. I guess he's not know stuff ages, so that's just going to hit. Okay, So I know he starts speaking here. Let's zoom in. George's Smith was discovered at age 15 when her manager daughters mic was discovered, water Smith was discovered eight. Okay, so we know that was a good take. So using our b and we can make a cut here and cut here and go back to our Select tool. Remove what was before. Let's make this really loose. Don't worry about the breathing IV aside because we can tighten that up in a bit. And instead of listening through everything, this is why it's really good to have everything in front of you That's just get the blade tool. And we can even just cut either side of the wavelengths. So let's just do that. And then going back to our select, removing those, breathe a bits. So now we just have Ross talking. We can do that throughout. This is like personal preference of how you'd like to edit it. You can either just go one by one or this as being disabled and put that back. You can either just go through the whole edit and listen to it and then cut and delete as you want. Just because we're awesome, usually gives me quite a lot to go through. I'd like to first delete all the blanks. So then I can just go through when he's speaking. So as you can see here, I'm just making cuts as to when he's not talking. And then I'm removing them all. Because then when I go through it, I can just select the bits I want. And we're saving a lot of time instead of going between your select tool, a, blade tool B, you can actually keep in your select tool hover where you want your cut to be. And with the red playhead and press Command B and it creates that cut for US staying in the select tool. So you can then go even faster, just go Command V, Command, V Command be making loads of cuts and then removing all this delete. Let's do a bit more Command V Command V Command B, Command B, Command V, Command V. And then removing that, I'm just selecting the areas with command again to select more than one section and then press delete. So this is now where I'm gonna take you on to the trim tool, which is a fantastic tool to tighten up your edit. So let's play through this. Doctor Smith was discovered at age 15 when a music manager discovered her singing on YouTube, coming from humble Warsaw. And the message originally coming from humbled Warsaw when the message originally called a gate. So we know that's no good Delete. And so what we can do now is get rid of this section by IVR. And because he messes up by either doing Command B at that point and deleting it, or you can trim a clip by making sure you go in between your two clips. As you can see, this would be trimming it this way. And when the curses that way it's trimming it this way. It's quite hard to see, but basically, I want to trim this off and get rid of it. Being on youtube. Originally coming from humble wall. So when the West Midlands, she eventually started up coming too. She eventually started coming into here, we can create a break and then trim this back headlands. She eventually started coming to London regularly, coming from hump, originally coming from humble Warsaw in the Met. Originally coming from humble wall. There's a little originally coming from the West Midlands. He's not making OK. And now we, this is a little redundant because I usually take the immerses last take as the best because it's when he's like the most like fluid and relaxed. So this is a redundant now. So let's get rid of that and get rid of that. Originally coming from humbled waltz all in the West Midlands, she started making trips to the big city to work with the lungs and Maverick saber, the mythical. She started making trips to the big say ETL. She started making trips and a grid of last audit making trips to the big city to work. If you eventually started making she started she started making trips to the baby struggling, but actually, she started making trips to the, trips to the big city to work with the likes of Maverick saber, the most mythical sounding washed-out wrapper. And she started making trips up to London. She started she started making trips to the, she started making trips up to the big city to work with the likes of Maverick, cyber, mythical sounding washed up musician in London. And eventually she moved to London. And eventually she moved, she moved to London working as a barista at Starbucks while she traced her dream of. Eventually she moved her and eventually she moved to London. Eventually sheen that with a wonderful time and attention with multiple people working full-time for whatever reason we saw back and continues running for whatever reason we saw. That's what continuous it has a Monday is it meant basically she felt, as you can see, you can get faster, you can do in double time. So up to about 22 seconds, we've got the few sentences he wants to say, but as you can see, I've kept it pretty loose and that's where the wavelengths come in really handy. Handy. So if you zoom in here, there's a big gap here, There's gaps here. And, and basically now I'm going to use that little trim function that we just looked at to tighten it up. So let's zoom in and play this folder. Smith was discovered at age 15 when a music manager discovered her singing on youtube. Originally said it's trim that to where the sound wave ends. Originally coming from humbled waltz all in the West Midlands. She started, I'd like to make mine quite tight so I remove a lot of the gap, but it depends how you prefer it to be, but a good way to kind of make it flow, but more naturally as if you want to make it a bit longer. Do the following clip right at the beginning of the sound wave and let the breather be beforehand. That just sounds more natural to the air. But the other thing I wanted to show you is that instead of using this to be more precise, you can zoom right in and using some keyboard shortcuts, you can clip one frame at a time off. So we've got this little yellow end of the clip selected and using our full stop and our comma, we can remove a frame left and right. So using the comma to go that way, I'm going to remove, I hope that shows up the right way on the camera, but to go left because we want to remove the end of this clip on the left, we are going to press the comma. And as you can see, one and frame is being removed at a time. And that's just really useful to be extra precise. And we can do that throughout if it's really close, full stop, and then comma. And I think it was up until here. So we're already pretty good up to 22 seconds. So now let's play that back. George's Smith was discovered at age 15 when a music manager discovered her singing on youtube. Originally coming from humble wall soul in the West Midlands, she started making trips up to the big city to work with the likes of Maverick cyber, the most mythical sounding washed up musician in London. Eventually she moved up to London full time and worked as a barista at Starbucks, was continuing to write songs with hopes and one day striking it venti, I mean, big. There we go. That's pretty cool. So that's just using the blade tool trimming. And basically, you can just do that through at your own pace. And in the way you want, just either trim blade trim or blade blade remove or play through it, and then just remove and and trim when it sounds best to you as you can see, I just think this is the best way to do it, to have it all on the timeline in front of you. And it just makes it so much more easy to manipulate and play with rather than having a peer or tiny and like trying to find where he starts speaking, where's the good take, like going in, out and in putting it on your timeline. But yeah, as I said, we'll look more into in and out points later on when we're using it for different things. But as for your primary edit, I think using the blade and the trim is the best. And as you can see here, we've used yeah, B and T. You can also select T and your cursor changes to here. And this means you can do other things which I'll show you in the next lesson.
8. TRIM ROLLS & SLIP, SLIDE EDITS: Okay, so now that we've quickly looked at VM blade and trim function, I'm going to show you a couple of ways that you can actually edit on Final Cut. So the first thing I want to show is what we call a trim role. So we then still our trim tool. So T, It's quite hard to explain. So I'm just going to visually show you how it works. So what this does is it changes the start and endpoints of two clips. Um, so if you hover your cursor in-between and instead of having one end or the other side like we previously saw, you get both sides like this. Well, you can do is select that. And basically you're changing the previous clips end point and the next clips, beginning point. I wouldn't do it on this. I'm just purely showing you different editing functions. So as you can see, it's increased that, and it's decreased the next one, That's what's called a trim roll. The next thing you can do is what's called a slip at it. And this is when you actually change the in and out points of one clip. So if we still in our trim function, as you can see, I've selected this one clip and as you can see the beginning of the clips on yellow here and the end of the clips when yellow here. And if you select a section of the clip here and then just Merlot, as you can see, it's like slipping. This section you've chosen. I'm hoping the visuals of the wavelength will help you kind of understand. You're slipping the clip. This doesn't change the duration of the clip, it just changes the portion of the media you're seeing. This is really useful if you have like B-roll and you wanna just like slightly just like change the in and out points of the range of selected. But you like the duration, but you just want to shift a little bit. That's really useful to do that. As you can see, like the surrounded clips aren't affected at all. And then the final thing is a slight edit. I don't really use these at all. But basically what it does is it allows you to move eclipse position in the timeline between two clips without creating a gap if that makes sense. So what you do is you press stolen your trim tool press Option, and within that clip, you can move it, as you can see, it's moving that clip you've selected and changing the duration of the clips either side. And there we go. I hope that wasn't too confusing at all. We're just covering the surface of things because this is just a like a broad editing course for beginners. But yeah, I hope that didn't confuse you guys.
9. AUDIO WAVELENGTH TRICKS & HINTS: So now that we've got rows altogether on our timeline, I'm going to show you guys a couple little audio and tricks and little things that we can do to make it just sound and flow a lot better. So fast, I'm going to show you guys a little keyboard shortcut that's really useful, and that is Shift Z. And what that does is it puts your whole timeline into the space of the project so we can see are all clearly in front of us and it's just quite nice. And as you can see, I've cut down that 46 minute clip into ten minutes and a half. You can see it right here. That's ten minutes and a half, and that is our clip. I'm actually going to reduce the little thumbnail thing like that just because it looks cleaner the home screen. And yeah, so as you can see, I've put four little markers on four separate spaces and timeline. And it's because I just want to talk through a couple of things that we can help to improve the audio. So let's zoom into our first one, which is here. And let's listen to what it is because I forgot wide mocked it. And original Drake fog go, Jennifer Lopez. Okay, I just wanted to show you guys how we can use keyframes to manipulate the audio wave and remove a swear word for this example. So what we're gonna do is zoom right in. And I think the f-word is about here is this wavelength. We're going to double-check and original Drake fog go. Okay, no, it's like right here, break apart, go, crop, go, up, go. Sorry. There's one here. What we're gonna do is we're going to use keyframes to get rid of that. How you do a keyframe is, you can see this lovely line here. What we're gonna do is press about here where it begins and press Option. And as you can see, a little cursor changes and we're going to make a point. So now that's a keyframe and we're actually going to make another one because we want it to kind of reduce in sound. And as you can see, if I pull this down, it now gets rid of the audio after here. And we can move these keyframes. You can really manipulate them a lot. And yeah, but basically we've taken too much off because we want the only that one word to be gone. So let's undo that. And I think this swear word finishes about here. So I'm going to make two key, keyframes again. And now we can just reduce that and bringing it down to minus infinity means we get rid of the audio completely. I'll go Jennifer Lopez. That's pretty good. We literally got rid of that. Very go, Jennifer Lopez. So at this point I would also put low bleep sound. But later on in the class I'm going to show you guys how to do that. But let's move on to our next marker. If we go here into the index, we can see all our markers. So we're currently on Mach 9. Let's go on to the next 116 when he was spotted in the crowd of her Las Vegas show vibing out 2016 when he was spotted in the crowd up. So this next point, I marked this because I wanted to show you guys how to kind of subtly make the audio fade out. So in the middle of a sentence, it's not so harsh. So let's listen to it right now. 2016 when he was spoken in the crowd. And again, lot of 2016 when he was spotted in that says quite abrupt. And I want the when the end of that sentence to kind of fade into the next one. And an easy, easy way to do this is to just kind of hover on your previous clip. And you can see little point come here. And what we can do is make a little fade. I'm going to zoom in so you can see that. And as you can see, that's a little fade. And these are the audio handle fade things. And you can literally do this to kind of fade and audio out. And pulling this between some words makes it really settled to the air, but a lot nicer to listen to. So let's play that again. Of 2016 when he was spotted in the crest, It's just a lot softer, so it's not as direct when he finishes that word and it kind of flows more naturally into the next one. It's just little tiny simple things you can do to make it sound a lot better. 2016 when he responded. So that's with 2016 when he was spotted. And that's without it's so subtle. But sometimes you can hear when people have just cut in the middle of a word or would like to close and it kinda just clips. I don't know if that's the right word, but like kind of hits really strong and sharp. And if you just put little subtle fade between that word and the next, it just makes it so much more natural and soft. Again, it's gone to the next one. So this is Mark or four. And let's see what this is. Eyebrows. Eyebrows. Okay, so I marked this because as you can see, Ross still is speaking and before he finishes his word, he's moving and I want to kind of hide that movement. So in this instance, what I would do is kind of carry on the sentence, finish the sentence as we cut to the next clip. And what we do here is what we call a split edit. So this is where we extend the audio, but like cut the video. So I want to finish this sentence and then introduce this next clip where he lifts his eyebrows. So what we do here is we're going to expand the audio lanes. So there's one simple button for this, and it's the square open bracket. Close bracket can be evil. And as you can see, this is the video line and this is the audio line. And what I want to do is I want to cut to the next clip just before he moves. But I want to finish this sentence and you can see here where the wavelength is. So why does he start to move? Let's use our arrow keys to move our schema on read skim a line to where he's about to move. Okay. So it's about here. And I think let's do it to about here. And what we're gonna do is we're literally going to use our trim tool that we learned previously, as you can see. And we're just going to grab the previous video here and we're going to pull it back. And as you can see as kind of overlapped in the audio lanes. So if we play that, we're going to hear him finish his sentence as it cuts into the next clip, a few eyebrows like this. And that's quite nice because you don't see him move. And then it's already like shoving what he's talking about. He raised a few eyebrows, right? So we hit eyebrows is very soft, but the S finishes about here. You can see in the audio wave, and it's already cut to the next clip. Raised a few eyebrows right there. I just think that's a really nice subtle thing to do rather than if we play it back. It would be like this. If a few eyebrows. And it's just not so smooth and nice. So yeah, I like to do that. Let's go back. And to close the audio lanes. We just repressed the close brackets. And now we go. It looks like it's cut the audio wavelength here, but it does keep going. Let's play it to see a few eyebrows. Run this. And then we get that. So simple to do. And our last marker, Let's see what it is. A flame, many had been suggested. Again, this is a simple and I just wanted to show you that we can just cut out little gulp some breaths before a sentence and it just makes things sound so much more natural when people are record, they tend to do like mouth clicks or tongue clicks and breaths. And these little things are just easy to cut out to make it a lot nicer to here. So all we're gonna do in this instance is just trim to the beginning of the sentence and just get rid of this little guy. And there we go. Simple, it's just a lot nicer to hear. Aflame. Many had been before a flame, many had been suggested. It's just not very nice to just hear people breathe all the time. So we're just going to cut that out. And that's it. Just a few little tips to how to play around with your audio. Make things sound a lot nicer. Just little tricks like that. Just make it a lot nicer for the viewer to listen to and to enjoy the video.
10. AUDIO COMPRESSION: So now I'm going to show you guys how we can simply boost and level out and the audio levels in this video using a final cuts, incredible inbuilt compressor effect. And this is because our audio levels at the moment are falling pretty low. If we look into the audio level meter thing here on the right, if you can't see that here, or you need to do is to go to window showing workspace and audio meter. There is gone. And then we can press it again, their audio meters. So if we play this, we can see that our levels of falling between, I would say I think there are about between minus 12 and minus 20. Doctor Smith was discovered at age 15 when a music manager, again, even lower like barely at minus 20. And for like online distribution, which is what this is because it's for YouTube. They say that the ideal decibel range should be between minus three and minus six. So we want to boost this a lot. And the way we're going to boost it is using the compressor because if we zoom in like we did before, and we just increase the audio level as a whole is going to increase the whole room's audio. So we're going to hear the background noise is we're going to hear everything. And as you can see, little red and yellow lines start to appear at the highest points of the wavelength. And that means it's peaking and clipping and we don't want that. So let's remove that. So instead of doing that, we're going to use Final cuts inbuilt compressor tool. And this compressor tool basically compresses the louder parts of the audio and increases the gain in the other parts. So basically our decimal never reaches above 0 because we don't want that. So we find that by going into the effects panel here on the right. And I'm currently just search for something. So if we go there, so the effects panel is critical. We've got all the video effects and we've got the audio effects. We want to start with the audio effects. So what we need to do is we can either search, we can now have a search here for the compressor. And it appears here. Or we can go down to levels and the compressor tool here. So what we're gonna do is we are going to just grab this. If we double-click it and I selected on our clip, it will affect it. As you can see, the wavelengths went up. But we can also just grab and drag and put it on top. If we take this clip and we go to our audio inspector here, we can see that it's been applied and it's right here. We can also see on the clip itself that it's being applied because we've got this arrow little sign here, whereas here we don't have it because it's not being applied there just yet. So now let's play that back and see if it's increased the volume a little bit shorter. Smith was discovered at age 15 when a music manager discovered. And it has a little bit, but it's only gone up to minus 12. So we want to work on this a little bit more. So what we're gonna do is we're going to change a couple of things within the compressor settings. So selecting your clip, go to the audio inspector, like we said, and press on this little, I don't know what we call this little advanced effect editor for us on that. And we get the compressor thinking. So first we have the compressive thresholds. So I like to set this to minus 18. Next we have the audio ratio. I like to have this to about 2.5 to three. Let's put 2.5 and have a listen. So this one boost your overall gain of compression. And so for the makeup, I'm going to put that to 0. Now the last three are a little bit above my knowledge because I'm not an audio mixer or a sound engineer or anything. But I've read forums and watched millions of YouTube videos and the settings that are advised for general dialogue are the following. So one in the knee range for attack, I've read between 0 to five is about the sweet spot. And for release, it's between 10 to 15, let's say. And there we go. So now let's press the X and listen to our audio before the compressor. And to just turn it, zoom out a little bit. And to turn it off, we can just untick it up here. Walter Smith was discovered at age 15 when a music manager discovered her singing on YouTube. And now let's listen to it with its turn it back on. Quarter Smith was discovered at age 15 when a music manager discovered her singing on YouTube. So it's still a little bit quiet as we can see. It's only falling about here and we want to lift it a little bit more. So what I would do in this instance is also add some gain. So if we go here into our effects panel, we can find the gain here. And if we drag that on, we have the gain appear here. And we can just play with this a little bit and Maybe lifted up by we don't want it to yellow lines to appear because then it's peaking. So I've lifted it up by two and let's see how that is. Doctor Smith was discovered at age 15 when a music manager discovered her singing on youtube, originally coming from hot. And as we can see, because it goes into the next one when nothing's, no effects have been put onto it, it's considerably quieter, so it's sounding good. Manager discovered her singing on youtube originally coming as turn the gain up, maybe one more. Let's hide this. To three. Auto Smith was discovered at age 15 when a music manager discovered her singing on YouTube. So in this case, it started to peak a little bit because our compressor is actually above our gain right here. And Final Cut Pro always and processes the effects from top to bottom in the inspector. So in this case, the compressor is listed first, which means the compressor is implemented first and then the gain on top of that. So it's kind of taking away all the work we've done on our compressor. So in this case, the gain is just overpowering the compressor. So in this situation, we want to move our compressor underneath. If we look at the audio waves, it's gotten rid of the yellow peaks again. I'll put it back so you can see up and down. So as we can see, the compressor is working its magic on top of the game we've added. So it just works better, was discovered at age 15 when a music manager discovered her singing on YouTube. So I'm quite happy of that now on that first clip. And so what I'm gonna do is I'm actually going to copy those attributes across to the rest of my timeline. So how I do this is I select my clip where my audio effects are implemented and press Command C to copy. And then we're going to select the rest. As you can see, and press Shift Command V. And what this does is it copies the attributes across. And look here, we've got the effects gain and the effects compressor selected and we want both of those. And if for whatever reason you didn't want to apply everything, you can just untick them, but we want both. And we are going to press paste. And as you can see, everything in our whole video at the moment increases. So the audio is working its magic. Interview where she confirmed that she was on that song by name, to be fair, even though she was left off that song, she still made a couple of soil. It'll appearances on the more life project. I'm happy with that. I think it sounds good. We can always go back if it's not loud enough, we can go back later on and increase the gain again, but it's hard to tell because we don't have our music and we don't have other assets like video assets. So it's hard to kind of level out all the audio right now. But this is a good start and audio is really hard to work with, but this is just a basic start to how you can make your dialogue sound better for YouTube, for forum, Internet videos, this is why there's people who specialize in audio mixing and sound engineering. This is a good start and I'm happy with it. And there we go.
11. CHROMA KEYING GREEN SCREEN: So now that we've got Ross altogether and we've played around with the audio a little bit where now they're into key out the green screen so we can background. So how we do this is we go again to the effects panel and we can type in key. There we go, and we're going to grab our key effect and then drag it onto the first clip. Now as you can see, it's not perfect. This is just the automatic settings. So selecting your clip, we're going to play around with this. Again, we're in the Inspector. I told you we'd be in the inspector lot. So how we do this is we go up here to the main video inspector. And basically we can see that that's the keying effect has been applied here. And keying stuff out is just kind of like color grading or sound mixing in the sense that you just kind of play around with it until it's perfect for the video, your editing. So right now we can see that there's light coming through behind Ross. So what we need to do is just play around. So looking at the view selections here, we are currently on the composite setting here so we can see what's currently being keyed out. If we go across to the middle one, we can see this view. This is the map view and basically everything that's being keyed out. You want black and everything you want that still that needs to be white. And then the last one is the original clip. So we're gonna go back onto our composite. And what I like to do is just play around with things. What we can do is use the sample color rectangle tool to select the bits that's not currently be keyed out. And he's, as you can see, that increasing the amount that's keyed out. And that's quite good. We like that, but it kind of moves around, as you can see, the shadow moves around and it depends how your subjects being lit. But the tool I tend to use the most is actually the map tool. And if we go to the levels and we take this black square and move it along until all that color, the green screen has gone. And is that simple? And as you can see, he's looking pretty good. But like I say, it's just playing around with settings. And then you can play or different things like the spill level. As you can see, if I move this, it changes his hair color so that's not touch that. Let's play a little bit of the road that just takes away some of the edge. Not too much. There we go. That looks about good. Yeah, I think he looks about good. And if we go onto our mat screen and that's perfect. So the background is black. That's everything that's being keyed out. And Ross is fully white. That's really good. And yeah, let's go back to composite and quickly, like we learned in the previous lesson, we're going to copy our keying attributes to the rest of the clips. So because it's only in this first one. So if I go Command C, it copies it. And let's again select the rest of our clips and Shift Command V. And as you can see, all the attributes come up and killed. We've already pasted across our audio attributes. We're going to unselect that because we don't want to read, paste them on because otherwise it will re put some more gain and some more compressor on. So we untick that and make sure our kings ticked and we are going to press paste. And there we go. We have keyed out this whole green screen and it's looking good. The next thing we're gonna do is we're gonna pick our background. And I have Ross's room already in my Downloads here. So this is forces back ground room he likes to use. So going into how we organize our assets. So we're going to put it into our assets because this is an image, we're going to put it into images. So there's our first image exciting. Okay, go back onto Final Cut and making sure you've selected the assets event. Because remember, we're putting all our assets here. We're going to do command I to import. And there we go, Drake ga assets, and we're going to import our images. And here is our lovely room, Ross background. And if we drag it under, it's there and we can see it. And what we're gonna do is we're gonna place it under our primary storyline because we want this behind Ross. Final Cut Pro works in like layers. Well, I guess any editing software is working like in a layer formats that whatever's on the top is what's being viewed over everything else. And whatever's at the bottom is going to be hidden. And in this case, because we've created this sort of alpha channel. So nothing is actually in the area around Ross because we've keyed out the green, the background is actually going to come through. So we can either elongate this clip to the very end. But actually what I wanted to show you is just a keyboard shortcut that I tend to use quite law is select your image and press Control D. And as you can see here, this little lamb timecode thing has gone live. And it means we can type the duration of the clip we want. So we can change Eclipse duration by pressing Control D. And we want this the length of what Ross is our, and our length of our video is ten minutes, 30 seconds, and eight frames. So what we're gonna do, making sure we're in this format which is blue. We're going to press 10 dot to put it into seconds now, 30 dot 08 and press Enter. And as you can see, our room asset image has taken the length exactly of the rest of the video. And that's looking pretty good. I like that. A final thing we can do to make it look a little bit more natural is add a bit of a blur on the background. Because naturally if you're filming, the person at the front in the foreground will be sharp and everything else will be slightly fuzzy behind. It's already a little bit fuzzy, but I'm going to make it even more fuzzy. So what we're gonna do is go to our Effects panel again, and we're going to search for the Gausian effect. And the Gausian is kind of like a blur. So what we're gonna do here is we're going to select this and drag it onto our room background. And as we can see, it supply the blood. But this is way too much. So again, back to our inspector, our video inspector. We can see that the Gausian effect has been implemented and we're just going to reduce the amount. So I think we just want it very subtle, so that's 0. And I think this is again, personal preference, whatever you like best. But I'm going to put it around here, around the six mark is ever so subtle. So this is without, with, without, with, but I think it adds some depth to the room. And there we go. That's looking pretty good. I'm happy with that. And that is how we keep stuff out and add a background. We've added a simple image and yeah, see you in the next lesson.
12. CONNECTED CLIPS & ADDING IMAGES: So now that we've got our main cut, I'm going to show you guys how to connect of eclipse. So like all the kind of cutaways, the B rolls the, the, the images and videos and all that. But we're going to start with the images are not going to get to, we're not going to jump ahead of ourselves. So I've actually gathered all the images that we already need for this project. We will probably Google a couple as well because I'll probably change my mind once they see what we have. But so if we go to, so here's our Georgian Drake folder, and I've actually got our images here that we're going to use throughout this video. So as keep things organized and put them into the correct place. So let's open this Georgia and Drake folder up, go into our assets and into our images. And the only thing there right now is just that the background image that we have that we used for our green screen lesson. So we want to put everything into this folder to keep things organized. So let's open up the images that we're going to use and we're just going to copy this across. Cool. So they are there now. We can get rid of this. You can get rid of our images folder. And there we go. So now let's go back into our project and again, making sure where in the assets event we are gonna do command I to import. And we want to import our images once again. And there's going to be a few. And look at that. All our images are that Let's get rid of the Inspect. And that's quickly just browse through them. These are all lovely images. There's not that many, so we'll probably add a few more. So the first thing we're gonna do is just play through and see where we want to add an image. George's Smith was discovered at age 15 when a music manager discovered her singing on youtube, originally coming from humbled waltz all in the West Midlands, she started making trips up to the big city to work with the likes of Maverick cyber, the most mythical sounding washed up musician in London. So it could be quite nice is to put a picture of this maverick saber guy that he said, when someone's talking about something, it's great to have a cutaway to kind of visually describe what's going on. So I think I already found a picture of him. Oh, this is, this is this guy. So all we need to do is we're going to connect it to our primary timeline where we want it to be. So let's zoom in. And I think it's about her. She started making trips up to the big city to work with the likes of Maverick saber, the maximum mythical sounding washed up musician in London, if we want to about here. So selecting our clip, we can either drag it on and it connects onto our primary timeline. As you can see, there's a little connector point here. Or we can use our keyboard shortcuts and press Q. And then it pops it on top. And that's a lovely image. And then we can just keep adding stuff throughout to kind of visually showcase what's going on. And eventually she moved up to London full-time. And what does a barista at Starbucks was continuing to write songs with hopes of one day striking it mentee, I mean, bake. In January 2016, she started releasing music properly and dropped her first serious single, blue light, which ended up wrecking of a 400 thousand views on YouTube in the first month. I think I have an image for this blue light album. Yeah, here it is. This is the blue lights by George's Smith. So we are going to put it over 400 thousand views and serious single part here. Let's put him on and we can elongate it as well to put it to the end of the clip, or a single blue light which ended up wrecking over 400 thousand views on YouTube in the first month. Okay, So obviously that image is way too small for the frame. This one was okay because it fills out the screen. But this looks really bad. So there's a couple of cool things that I know a lot of people like to do is that we can kind of duplicate this clip and kind of fill the background with it. So a great way to duplicate your clip. We can either just read, Bring it on like that. Are really quick ways to press Option. And then pull your clip up and it duplicates that clip. Now I'm going to disable this top clip because I want to work off this bottom one. And as I said previously, whatever's on the top is the thing that's been seen. So we can disable a clip by pressing V. But I've actually changed my keyboard shortcuts and I've changed it to D because D for disable, I just prefer that, so I'm going to press D. And in a previous lesson, we learnt how to change our keyboard shortcuts. So that's disabled our clip and it's grayed out. So right now in theory, if we disabled both, we can see that they've both been grayed out and we can see Ross, but let's put one and he's there. So it's quite a cool effect to do if your, if your image is too small to fill the screen is we can actually scale this up. So going to our inspector, making sure you've selected that image, we can go into the scale and scale it right up until it fills the screen. Thing that looks quite cool. And then because it's cutting half the images well, we can add a gorgeous effect again that we've already worked with and drop it on top. And it's kinda. Created this cool like blurry effect. Because now if we put our other guy back on, if we make this guy a little bit smaller, I think that was quite cool. It's filled out the screen. It's like it's magnifying. The clip in the background is like a cool background. And yeah, that looks quite nice. I think that's a really quick and easy effect to do to just make things look a little bit nicer. For apparently, it was her second single. Where did I go but caught the attention of greasy Drake. Where did I? Okay, we have another album cover we can put in. I think it's this one. No, it's not. So this one. No. Oh, it's this one. So that's pulling pair. Let's quickly do this again. We want it to kind of flow. So it's quite nice. We can do option pull up and was quite cool now is that we can copy our attributes across because we've already done it here. So if we copy the attributes of this one command C onto this shift Command V, and it's just got the scale, so that's paste. And as you can see, it's made it smaller. And on the bottom clip command C, and then paste it onto this guy. We've got the Gausian and the scale paste. And there we go. It's done the same thing, symbol. And look how quick it is to just copy attributes across 0, but caught the attention of Dreze Drake, who named it has his favorite track of the month in an interview with Entertainment Weekly. Well, it could be quite nice. Here's a picture of Drake, and I don't actually have one here, so we can just go get one if we go to Safari. So on Safari we can just put Drake and then we can go images. Let's find a nice on its fine on that fills the screen. This one's quite good. I like that one and it's quite high, high resolution. So then we can copy and save it to downloads. And remember, we can't just drag it in and let's add it to our assets to keep things organized. Now he's in my downloads and drag him on, go back to our final cut. And then just import that guy in images. And where is it He's here because I've ordered things by date. So this is when on your clips are, and that's just add him. And by pressing Q go, but caught the attention of gritty Drake, who named it has his favorite track of the month in an interview with Entertainment Weekly. So for this, because it's already almost filling the screen, we could just punch in, so scale up a little bit and then move the position here because we don't want to cut harvest head of hair on the Transform panel, you can do so much. You can do the rotation. You can change your anchor point, which is like the center of the asset. You can change the scale in different ways. And then you can crop. There's just so much you can do. You can distort images, is quite nice and then opacity as well. If you want him to be half on screen, that's quite nice 50 percent. But when keeping him like this, so they're looking good already, but they're a bit static. I think we want to add some motion. We want to add a couple of things. Maybe add some swooping effects, maybe add some Ken burn effects, which is where we slowly zoom into the picture. And that's why I'm going to show you guys in the next video.
13. KEYFRAMES & KEN BURNS: Cool. So I've added a couple more images throughout so we can play a little bit more with some things. And so basically right now I'm going to show you guys how to add a little bit more motion and movement Eclipse to make it more exciting to watch for the viewer. So the first thing we're gonna do is talk about the Ken Burns effect. And this is the subtle zoom in effects that you have on some images or a video. So how we do this is we select our clip. We're gonna do this on, for example, because it's just a bit static and is therefore four seconds. And I think we can add a little bit of motion to it. So easy to work with the likes of Maverick saber, the most mythical sounding washed up musician in London eventually. So how we do this is we select it. And then here and this little icon, we can choose the drop-down option and we're gonna go to crop. So essentially right now we're in the Trim option and we want to go to the Ken Burn option. So right now we have Mm-hm. Two boxes. The green box is where the starting clip wills and the red is where it's going to end. So right now I think this is going to go quite fast. So the Mavericks saber, the most mythical sounding washed up musician in London event. So it's a bit too fast for me. So what I'm going to do is actually pressing option to keep it kind of the aspect ratio the same and keep it that shape. I'm going to press Option and click the corner, and I'm going to make it a bit bigger. So basically, the less difference between both sizes of boxes, the less of a drastic effect it's going to have because it's only going to move from this start point to the endpoint and also is cutting off his head a little bit. So I'm going to take the end and I'm going to move a little bit earlier, so it's just above his head because I wanted to zoom towards his face. So let's press Done and try that. The likes of Maverick saber, the motion mythical sounding washed up musician in London event. I quite like that. I like the speed. But what we, the last thing we can do is we can make it ease in because linear is just where it just goes. Very like static across. Static isn't the right word, but it's just very much like linear. I can't describe it more. So easy ease is where it kinda eases into the motion is a bit more natural. So I did that served by pressing Control and then pressing anywhere on the kanban square. And I'm going to choose Easy, Ease in and press Done. And let's see that the likes of Maverick saber, the most mythical sounding washed up musician in London eventually. So as you can see, it just slows down a little bit at the end. So there we get out is a very simple can burn effect. And again, we can copy that across to other images as move it onto this Drake one because I want a bit of movement here. So I copied and I'm going to do Shift Command V. And as you can see, it's copying across the crop attribute because we were, we do the Ken Burns effect in the crop setting. So paste. So we've got that basic can burn the attention of greasy Drake, who named it has his favorite track of the month in an interview with Entertainment Weekly. And my alter this on a bit because his head is being cut off at the end. So go back onto our crop tool and ever so slightly move this up. Done track of the month in an interview with Entertainment Weekly. It's fuzzy when we play it back because as you can see, there's a dotted line up here which shows that it hasn't completely rendered. So if we wait a little bit or might render out there, we can see it rendering here. So now it's finished and now we can see a fuzzy, good I go but caught the attention of greasy Drake, who named it has his favorite track of the month in an interview with Entertainment Weekly, long before. Very nice. So let's do it for this album. Artwork as copy our attributes and paste it there, but we don't wanna do the transform. We just want the crop can burn effect. And as you can see, it's doing this weird, thinks it's not quite right for this clip because this clip was smaller. So we're gonna go until I can burn things. And yeah, so this is why it's not quite right. It was zooming into the picture and we don't quite want that. We want the whole image. So what we can do is we can kind of zoom out. So there we go. Now we can zoomed out a little bit. And this black box is where the video is playing and the size of the video. So let's make these boxes a bit bigger. So we start the Ken Burn bigger than the image. So using option and click, we can make that bigger. Stood about hair. And then we're going to do the same for our end. Maybe about hair. But as we can see, the red cross for the end can burn is above the start to green cross because we actually took it from this Drake one. Remember where we moved it a bit up because we were cutting his head off. So what we actually want to do is move it back down the end. So it covers not that one. The end. So it covers there we go, the green one. So basically it's only going to zoom in. It's not going to zoom in and up. Press Done. And let's go back to fit, to screen. And there we go. That looks a lot nicer. Let's play that. Come up. But apparently it was her second single. Where did I go? The court and actually for me, that's a little bit small and fast. So let's go back to. 50%, go back onto Ken burn. And let's go zoom in a little bit. And we'll make the difference in boxes a bit smaller, that looks about right. Fit. For apparently it was her second single. Where did I go? Like that? So now let's copy across those attributes to the other artwork. Nice Scalar doesn't really matter because it's already the same size, but as untaken it and press Crop and there we are. It should be about the same blue light which ended up wrecking over 400 thousand views on YouTube in the first month. But apparently it was her second single. Where did I go but caught the attention of Dreze Drake. And because this clip is smaller, the kanban is going to be a bit more obvious in this one. And this one, we can make the Ken Burns effect a bit longer because it's a longer clip. So what we can do is make the stop point just a tiny bit bigger. And then we'll see a bit more blue light, which ended up wrecking over 400 thousand views on YouTube in the first month. But apparently it was her second single. Where did I go? But caught the attention of greasy Drake who named it has his favorite track of the month, interview with Entertainment Weekly, long before proclaiming on his vehicle. And then here I'd actually put another work piece, but as you can see, I've actually added a lyric from what Ross is talking about. So let's first disable that. So we just have the artwork and then copy across those attributes to this one. Long before proclaiming on his verse on Travis Scott psycho mode that he would pop his aunt and get through long-haul flights. He said that it was so this moves me on to my next point. So we're actually going to add some movement to this lyric. So we're going to swipe the n 2 shot because I think that just adds a little bit of something. Um, and so when does he start talking about that? I was Scott psycho mode that he would pop up. So about here he would prefer. So what we're gonna do is we're gonna make that slide in about here. This point, we're going to use keyframes for this. So first let's make that visually pleasing. So let's scale it down a little bit. In Alyx, cool. And it could look even cooler if we make it a bit. If we bring down the opacity a little bit, just to still make the larynx legible. So we can still see the artwork shine through a bit. I think that looks quite nice. So what we're gonna do is we want to make it swipe in. So we're going to do that using keyframes. So we wanted to come in about, but he would pop up about here. So what we're gonna do is we're going to change the position keyframes of this. So going up to our inspector here, we are going to press this little cross thing here where it says add a keyframe. And as you can see, it goes a nice orangey yellow. And I like to go back about eight frames because I think this is a good amount of time for it to kind of swoop in. So let's go eight frames back using our arrow keys. Cool. So now we're eight frames before our previous key for him. So now we go up to the positions and we're going to move along the x-axis that way. So we are going to drag it. It's lagging a bit. So it's just off-screen to about here. And as you can see, it's created another keyframe. So we can see this lovely movement. So it's moving from that point to eight frames later to the center. So if we play that are from Travis Scott, second amount that he would pop his aunt and get through long-haul flights. He said that it was seen as quite nice. And just so you can see the keyframes, if you select your clip and press Control V, you can see exactly where you are in the video animation now, and you can see where the keyframes are. So we have this guy and then this one. And you can switch between your keyframes by pressing the arrows here. So at this key frame, the x point is at minus 1, 0, 0, 0, 0, 600. And at the other keyframe it's at 000, so in the center. So that's quite nice as close the app. And we also don't need all this beforehand because it starts about here, but it is a personal preferences. I like to have it quite tidy, so I'll move it until it starts. Our second amount that he would pop his aunt and get through long-haul flights. He said that it was Georgia. So we can do the same here. So for this headline, usually I like to get like a fun poppy like background color. So where I get my like fun royalty-free images, because I know how tight YouTube can be is I go to a website called pixels. So there we go. So it's all like stock free photos. And I just pick a color. Let's pick them. I don't know purple this time. And I just choose a cool, like an image. I'll be quite subtle in the background. And if you cannot find on that subtle enough, you can always add a Blur effect like the Gausian that we did. You can zoom in disguise, quite fun. So we're going to download that. And again, we can go into our images, assets images and put our downloaded purple image there. Go back into our assets event import where on the desktop. So let's go to Assets images. And there we go. So we've got our nice purple clip here. Let's put it under our next image. So right now it's on top and looks really ugly. So we can just put it underneath. Still looks really ugly. So we're going to do, we're actually going to rotate this one to 90 just because that all we'd have to zoom in as much and lose any of the quality. Pump up the scale. And I quite like it like that. But if we want, we can always add a little bit of a Gausian. Like a subtle one that also looks quite cool. It's just add like 10 percent. I think that looks quite nice. And let's add some movement to this headline so that scan it back. It's all personal preference, what looks best, I quite like it. They're like centered. And because I want it to come in straight away, I'm actually going to go to the beginning of my clip, go forward eight frames. I don't know why. I think eight frames is just like a good amount of time for it to swish in. So let's go 12345678 keyframe so that the center point go back to the beginning and make it says just off-screen and it's played out. He said that it was George's music that kept him sane on an 18 hour plane journey. So that's quite nice. So we've done some cool bits here. What else do we have? So we've got these two images that I added in like some Instagram posts. So using our duplicate technique that we've learned previously, like select the clip option and then drag it duplicates the clip, zoom in. We can use our trim tool to make it the length of the clip that we want. Let's put it here as well on the next one, looks good. And what I have here is actually two images. I have an image of like Jell-O that I created in Photoshop. And then I actually have the tweet where talking about which was no, why am I telling you about is an Instagram post and the Instagram post she posted. So because it's her Instagram post, I like to put a little photo head thing of her. Why I advise is before you do any of the keyframes in the motion is to get the things placed exactly where you want the endpoints to be. So we can just transform things how we want. And as you can see, we're still in our crop setting here. So let's go back to transform. And we've transform, we can move things exactly how we want it to. And it's basically just this, but in a more movable way. So I quite like to do is put the person speaking like here. I think that looks quite cool. And then as maybe minimize this a little bit, you can move it a little bit to the left because I want to see everything that's written. It's quite nice. And then j, Let's move you a little bit that way. So I think that was quite cool. Done. So what we're gonna do here is we're going to make J Lo appear from the right, and we're going to make the Instagram post appear from the left. So this is really similar. To make things faster. We can select both clips, go forward, 812345678, create a keyframe on both of them and we've created on both clips. And now because I'm gonna go in opposite directions, That's only select J logo back to the beginning if you press up bigger. So the beginning of the clip, if you press down, it goes to the end of the selected clip. So that's press up jails gonna go come from the right. So let's move off screen to the right. And then these guys on the Instagram posts are going to come from the left. So that's move them to the left. And let's play that now. Creepy Grammy for that day and reciprocated the enthusiasm. See, yeah, that's pretty cool. But what could look even cooler is if we shift them slightly so we can have the Instagram post come first and then J Lo comes second. And instead of moving the keyframes, you can just move the asset itself. So select the asset and using our I'm full stop and Comma key, we can move the actual connected clip by one or two frames. And if you press Shift, full stop or Shift comma, it nudges it by ten frames. So I'm actually going to say it's about here and I'm going to nudge her maybe 10 frames. I think that could look quite cool. So let's play that. Drug alone. Reciprocated the enthusiasm on Instagram in a post afterwards saying how much she loved him. And yeah, I think the delay looks quite cool. But now because we moved this clip, when the other clips beneath it stop, She's still there. So what we need to do is just trim so that it meets the other clips. What's so great about Final Cut is that we have this like snapping feature where if you go close to something, it's snaps into place. And I think that's really great because you don't lose precision. If, if that's not working for you, It's because you don't have the snapping tool on and you just do that by toggling this little guy. Because if you don't, it's not going to snap and it can lit, you can literally put it anywhere and it becomes really fiddly. But the snapping tool is really great to just like snap it into place. So that looks good. Juggler reciprocate could be enthusiasm on Instagram in a post afterwards saying how much she loved him. And it didn't take long for rumors to spread that Drake and jello or DRE Lowe had been dating after more cutesy. And then again, let's do this quick. Minimize you a little bit. 1, 2, 3, 4, 5, 6, 7, 8. Keyframe back. Zoom out. Often more cutesy pictures of them clap, snuggling up on a couch, appeared on Instagram. She's, so there's two really simple ways to add motion to your still images, just by keyframing and moving the positions, or by just adding a simple can burn effect. There's so much you can do with them. Final Cut, they've just got to get creative with it. And keyframes themselves are really great because you can do so much with them. Hopefully we use them a bit more I'm going along in this course, but yeah, that's just a simple way to use key frames. And oh, look here we have one more we can add. What's her name? Kelly. Copying you across. Making that smaller. That looks quite cool, purple and pink. Making you a little bit smaller. 12345678 miles. You move that one because it's such a short clip, we might even have to make it a faster transition. C, just hanging in FMI, Kelly drink was first a little bit tight. So what we can do is open the video animation by pressing Control V, and we can select our key frame. So now we selected it and it's yellow. And using our full stop and arrow again, we can move it by one frame. So let's do that one too. So now that's about six frames. We've moved it back two frames. Just hang in there for me. Kelly drink was yeah, it's just a tiny bit faster so we can see her longer on the screen because it's just such a short clip, it's only a second long. And that works pretty well.
14. INSERTING GAPS & MARKERS: So this is already quick one. I just want to show you guys how to amuse like gaps, Marcus and all that kinda stuff to like uses placeholders. So as you can see, I've been using malloc is throughout because these are just points that I want to refer to. The markers are really easy to use is literally just pressing M on your keyboard and you get a little marker. And when if you double-click on it, you can type anything. So we can actually put one here where we remove that swear word. We can put a marker here, M to M. Remember to add a bleep sound. And it's just to remind you to come back to it and not forget about it. And you can use markers for anything. I use markers religiously. And you can have different types of markers. For example, if we put m here and we double-click on it, we can have like a to-do marker, so you can write it here. And then once you're done, you can put completed and it turns green. And then this is like a MLC or range. So if you want to talk about a specific area, refer back to it. You can just put it wrong. You can't move them. That's the only annoying thing, but you have to remove it. So for example, if I wanted to do like a range here of this guy, I can just do that. And so now I can refer back to it. Again, write something about it. A mock is a great to refer back to. And once you've got all these markers in place, you can actually see them if you go into the index bit here and you can go on to tags. And here we have all our markers. If you click on each one, it jumps to whether markers. And it's just really good way to refer back to staff if your timeline gets really busy and hectic and you just don't want to forget anything at all. Yeah, it's really cool to do that. So the other thing I wanted to show you guys are gaps and gaps are really useful to just like users placeholders. If you want to temporarily just make sure that you don't forget to put something there or just kind of give your edit, your initial edit, a bit more of a loose feel. It's good to use gaps. So I think at one of the markers I wrote that I wanted to put a gap. If the Jeffrey Epstein I mean, it's not like he's got his own play anyway. Okay, so here's a great example. He's making a joke about how Drake doesn't have his own plane. And we have an image that we want to Pr, of Drake's plane. It's here. So he's going to say, It's not like he's got his own plan. So we want to make the image appear there as he says plane. But cause he goes straight onto the next sentence and we haven't left enough of a space, that image would be the f of five frames. Go is unplugged anyway, which is not enough of a break to give the viewer a chance to see what the images. So what we wanna do is create a gap to kinda give it some breathing. So how you create a gap is you press Option W and that creates a gap. But as you can see, it's created this gap because we didn't have a cut mark here. And this is like how Final Cut works. It's a magnetic timeline. If you create a gap is not going to override. The next bit, is going to move everything along. So if we come here, we can see it's moved along. And the clip and the end of Ross doesn't have the background because the background is now shorter than the end of the clip. So what we actually want to do is cause a breakpoint in the background. And like we learned previously with the blade tool, we can either press B and make a break. And if we create a gap now option W, it's now moved along the background to the next clip. And if we watch the whole timeline, it's also OK here at the end. Another way to do this is to use, go back to our Select tool is to make a cut all the way through. So what would be just Command B to create a cut. But the cut only happens in the primary timeline. We want it to happen underneath. We want to cut through everything. So how we do this is press Make sure your skim ahead is where you want the Cut, option B, and it creates the cut all the way through. And now we can place our gap. And because of this, we can now make this as long as we want. I think we can make it about a second. And you can see the time just above here. So it's at 23241 second. Is that going to be fast enough or enough time to see the image or he's got his own plate. Anyway. Great. I think that's pretty good. We can make it shorter if we want. By Option B creates a cut all the way through, get rid of that. But anyway, Drake, what, he's got his own play. Anyway. Great. That's also quite nice. It's like a little quick flash of a joke. So now we can delete that market because we've action. And why was the other gap I wanted to play? So I think it's about here and will vary. Go Jennifer Lopez, Okay, I know here that Ross wanted us to place a title because we're about to go into a new section. So I like to do is create a gap here because I'll make that title later, but I like to have the sections already done. So we're going to create our cut through the Ross room background. Option B cuts all the way through the gap, option W. And then we go. I might even put a new marker on there to remember that I want to put a title here. Now, a timeline is looking more and more fancy. We can get rid of this because we don't want to refer back to it. And now we've got two markers. I know I want to put my bleep here and I want to put a title here. And there we go. That's how you do gaps and markers.
15. ADDING B ROLL WITIH IN & OUT POINTS: So we've learned how to overlay some simple images. Now we're going to move on to video cutaways and B row. So if we go into our project, we can see we've only got our image assets here. And so now we're going to pull in our video assets. And I think I have them ready on the desktop. There we go. So here they are. Video. And there's a few there. Let's put them into appropriate video file. So there we go and go into assets video, and let's copy those across. My BY. We can get rid of this now. And let's go back into a video. So let's do the usual thing of importing a video files in. We want to go to our desktop, children Drake assets. And that's just import all of that in. And now what's really nice here is we can see that we've got our videos amongst hair and our images here, basically, like we said at the beginning, if you organize your files really well, it kinda reflects in the project here. If we see it's organized it by images and video and these like keyword things, which is how we've organized our files in our assets folder. So it's really good to keep it all organized. So what we're gonna do is we're going to start with some cutaways. And what we're gonna do is at the beginning of this video per, a little like intro clip of Georgia singing. So what's quite nice is to work with the layer system and final cut. I like to have Ross on my primary timeline and then anything that's cut away one level up. So I like to do is create a gap like we've just learned. So option W, and we can zoom in. And that's just elongate this gap to give us a little bit of a breather. So what we're gonna do is we're going to use our in and out points to select the bits we want and then put them on our timeline. So let's go into videos. And the video we want is this one. And for in and out points, it's quite nice to have this kind of setup. And we're just going to look through this and see what we want to have. This will be just kinda like a little intro clip into the video. So let's play this and have a listen. You're basically is more uniform. And we're going to play. Okay, So after listening to that, I just want the bit that where she says, Oh, hi, I'm Georgia. And then they just say they're in that school uniform. And then they introduced the song. So I'm going to play that again. And if I press I for in, O, for out at the points that I want, It's going to create like a little range box in the player up here. So look at the yellow box around here. It's currently selected the whole clip, but if I press I, it moves that box. As you can see, I. So now it's just selected this range. And what's quite nice is that we can select the in and out points like that. So let's play. So I want where it says it's George's, I'm gonna go back a bit. So I think it's about here. I'm going to create an endpoint. So you can see the yellow boxes change and play. Basically this whole uniform because that's just finished. Okay, I want to up to here. So and as you can see, it's created a nice range books. And then with my player here, I'm going to press Q and it's going to plop it on top. And that's the range we've just selected. And then I want where they introduced the song and she's going to start singing. And I'm going to play. Yeah. Okay. Okay. There's a long gap there, so I want all that, but let's go back. So we're going to play. And play. Yeah. Okay. Okay. So there he's about to finish. And then q that's quite nice. Keep it loose. We can always tighten that up again in the second. We just want to keep the bits we want. So now we want why she starts singing. And if we look at the audio waves, I think it's about here. So maybe it's a bit too long as an interest. So that star where she's literally about to sing in. And then I don't know how much we want a palace phasing. Okay. That's got to hit. And then press Q. We might not use all of it, but it's just good to have it loose on top. And so let's play that through and see if it's all looking good. Yeah, basically. We're going to play like AB. Um, I will make this even shorter hair, so that's drag that through, put it across. Again, what's quite nice is about here. It would be good to fade out her audio and have Ross start talking. So what we're gonna do is create a kind of dip in the audio here using keyframes. So I think I want roast to come in about here that's paying it and see what's a nice natural break. Maybe about here. So what I'm gonna do is actually create two key frames. So just before and just where I want it to be silent. And that's created are two key frames and then we can just drag that down. And like we said, minus affinity is silence. So that's picked up my palette as well. So that's quite nice. And now it'd be cool if we have rho stalking, so we can just bring Ross in about here. Let's have him just maybe a couple frames that way. Doctor Smith was discovered at age 15 when a music manager discovered her singing on YouTube, originally coming from humble. And that's quite nice. So now we can stop there. So it cuts back to Ross Smith was discovered at age 15 when a music manager discovered her singing on YouTube. So that's looking quite good. And now I kinda wanna do is bring her levels up. So what we can just quickly do is copy across our audio attributes from Ross himself. So Command C, copy those across. And we don't want the QIAT because there's no green screen or getting rid of him. But we want the gate and the compressor. It says press, paste. And there we go, The audio waves have gotten louder. And so that should be a bit more level. Yeah, Thanks. Porter Smith was discovered at age 15 when a music manager discovered her singing on YouTube. So that's really nice. I quite like that. It's like a little intro and then it goes into Ross. But as you can see, because this is filmed a very old video aspect ratio size. And as we cut to Ross, we start to see his background come through because this video doesn't actually fill the frame. So what we're gonna do is just go up to here. And two other titles are, and then we go down to solids and we can just grab a black solid. I use these all the time. So now we literally just have a black solid. And what we can do is now just pop it underneath. So now when it cuts to Ross's, we still get that same like black lines. And these solids are just great. You can use them for anything. And if you go up to here to your Inspector, you can even change the color of your solids to anything you want. And yeah, you can just use them for they're just so versatile. I use them so often. I'm sure we'll use them again at some point in this course, but yeah, that's quite nice. So now we've got this cutaway, which intros the video. Let's see where else we can put a little Video file. Originally coming from humble wall soul in the West Midlands. She started making trips up to the big city to work with the likes of Maverick, cyber, the most mythical sounding washed up musician in London. Eventually she moved up to London full-time. And what does a barista at Starbucks whilst continuing to write songs with hopes of one day striking it venti, I mean big. So that's quite nice. We could put some stock footage and there's loads of places you can get free stock footage. I want I really like to use is he'd never had to say it's veto the Diva. So this is a really great one to use. And so versus just saying she moved to London full-time. So let's find London a nice shot of London. This, It's quite nice. Pick that and see it's just free as a royalty free clip to use. So let's free download. And it'll go into our Downloads down here. And let's find wall starts downloading. Let's find one full like that will be coffee for Starbucks coffee. I see, Let's see what we like. This looks quite nice. Could almost be Starbucks. Say let's grab that. Cool. I like those two. And let's remember to add those two videos into our video assets folder. So cafe and then London, Qu. And now let's import those in by going into final clap, making sure an asset's command I and then impulse are two videos. So where are they? Here? They are my coffee or my London. So that's going to this view. What's nice here? Because this is quite sure. Let's just drag it all on and see what we feel like. London. Eventually she moved up to London full-time. And what does a barista at Starbucks. And I'm a full time. So what he's about say, and let's bring it to there and then grab our coffee. And here's the same we can do in. Now. And then just press Q time. And what is a barista at Starbucks was continuing to write songs with hopes of one day striking it venti, I mean big inject. So look again, the video fall is a different size. So what we can do Here's over scaled it up so it fits the whole screen. Or again, we can use a black background, but that looks a bit weird because it's suddenly like a bit of a smaller shot. So let's actually just scale that up. That's quite nice to London full-time. And what does a barista at Starbucks was continuing to write songs with hopes of one day striking it venti, I mean big. In January 2016, she started releasing music properly and dropped her first serious single, blue lights, which ended up wrecking. As if you've got the treatment those muscles probably it was a second signal. Where did it go it because he said You can pretty great, because he's favorite, track them up in an interview. It's kind of weak material claiming his voice and capsules. Because on to get from double flexi said It was just music that kept him saying for discovering shorter potential, the vulture of culture when in fact it's only a few muscle to break it hopeful celebrates the matrix extract what about personalization? Because Calico, but if you don't impression of the matrices, hopes and dreams for some graph. All right, so professional backtracking everything. There's always a way Britain function. It's actually the more likely the filtering food for itself. It's been frequently with bubble sort of try and get it together. Myself. A pretty interesting history because it briefly to teach with each other the original owner, expensive books, original Coke. Yes. I've tried if it gets but she doesn't have any much of the question. Doesn't explicitly if I go in general because he just about 40, 60, but he's looking crowd. Okay, I've seen this somewhere else. We can put video which is around here. And Kelly drink was first bullet fan girl and Jennifer Lopez in December of 2016 when he was spoken in the crowd of her Las Vegas show, vibing out a little too hauled before getting noticed and targeting it down. Okay, this is a clip pay, but we see him doing this finding too hard and then turning it down. Where is it? It is this one. This one is this one. So let's put it into this format. And we want to find the bit where he's vibing too hot. So it's about here. So when it cuts to Drake, Let's put i for n. And now we go, He's turning it down. And where is it? We want it. In December of 2016, when he was spotted in the crowd. So it's about here Q to put it on top. And so there's audio here, we actually want to get rid of it. So what we can do a quick way is to press 0. And that just gets rid of all audio. So you can either, yeah, bring it down to affinity or for Sarah. Same thing. So let's see if this times quite nicely because we want it to and time. So he's vibing really hard and then when he turns it down, he does turn it turn it down visually. So let's play. When he was spoken in the crowd at her Las Vegas show, vibing out a little too hard before getting noticed and toning it down. I'm sorry that I didn't ever seen Drag look more like Adam Sandler in my life. Okay, so are we actually want it to stop here, so let's bring that back. So now let's play that and see if that works. Of 2016 when he was spoken in the crowd of her Las Vegas show, vibing out a little too hard before getting noticed and toning it down. I'm sorry that I didn't. Okay. That looks pretty good. I'm happy with that. So yeah, that's why it's quite useful to edit within and out points. I know people like to edit the main fundamental primary bit where we cut up for us using in and out points. But I think that's a little bit long winded. Am I think it's better to use in and out points when you are just picking little tiny bits of him cutaways. Because sometimes in and out points can be a little bit fiddly and like we saw how we cut up cross, it was just nicer to have everything on the timeline to see. But it was also quite nice about in and out points is that you can go through all your clips here and press in and out points and then favorite the clips you want a head of editing, for example, let me just show you how to favorite clips. So this bit, that little in an out point, we initially lights, we can have in and out. And instead of putting it directly on our timeline, if we aren't quite ready for it, if we press F it favorites that clip. And you can see here a green line appears, and that's you having favorited a bit. You can put in and out favorite and an, our favorite. And it's quite nice because then what you can do is go to this little drop-down option and go to favorites. And you can see all the bits you favorited. And it's just a nice way of just when you're first going through all your footage, you can loosely favorite the bits you like. And then they'll all be here to see you can do the opposite and you can reject clips. So let's go to Eclipse. Go back to that. For example, we know we didn't want this little bit where he's fasting around before she starts singing. So n out and we can actually press the back thing he had. Don't know what that's called. And it does the opposite. It goes red. And if you go here, you can see you're rejected clips. I don't know why you would look at your rejected clips once you've done it. But you can do the opposite. You can hide your rejected clips and then you will get rid of that. And it's just a good way of organising and going through your footage initially. And yet has lost. I'm here, there's also an orange line here. And the orange line shows the regions you've actually used on your timeline, on your edit. And it's quite nice. And so you don't forget what's being used. So here we can see we've used this part of the cafe clip so far and this part of the London clip. And yeah, and here we can see the bit we cut up whole lot. There's just lots of little orange bits. Yeah, that's n out favorites, rejects, all that stuff. That's how you use it. And I'll see you guys in the next lesson.
16. RETIMING CLIPS FOR SPEED EFFECTS: Okay, so now that we've got a couple of basic cutaway points and some B-roll clips and all that. I'm going to show you guys a few tricks to kind of change the speed. So speed effects, re, re timing clips, some speed ramps to try and make it fit your edit a little bit better and make it more interesting to watch. So I just did a little screen recording of this war. So a place because I think about here she says, coming from Warsaw, troop originally coming from humbled waltz all in the West Midlands. So we want to put this map animation. I did a screen record of like a zoom in on Google Maps. So I think I did it twice and the second time was bad as it is fine. The second zoom in, it's hair. So let's do our in and out points in. Out that looks about good. Let's drag it on or press Q. And As you can see, it's way too big for the space we want. We literally want it to be about three seconds, and right now it's about 12. Also, it's a bit too small for the frame as you can see. So let's just scale it up. Hello, yes, looking better. And let's make sure it's exactly the starting point and the end we want. So let's just skim through it with our playhead. I think that looks pretty cool. So what we can do here is change the speed so it fits within three seconds. So what we can do is go to this little icon here and you have a drop-down option of different things. So you can slow it down by 50 percent, 25, 10. You can do the opposite by speeding up. You can do lots here. You can reverse the clip. Though we don't really want to do that. So this is like zooming back out as Undo. Hello else. Can you do? Well, look at this in a second, but basically we want to change the speed so we can either just double speed air, but it's still too long. So that's up to 100 percent. Let's undo that. Or we can just do a custom. So at 200 it was still too slow. So let's put 300, oh gosh, 300. And it's just a little bit too long because we want it to stop here when I'm Ross stops saying that sentence. So we want to even shorter. So what we can do is press the drop-down here and let's make it a 330. Still a bit too short. 360. Step. Two, longer mean, let's press to 80. Let's try 390. Yeah, I'll do so then we can just trim the end. So let's watch that. Originally coming from humbled waltz all in the West Midlands, she started making for it. Okay, so that's a simple Zoom, but it's not that nice to see because it just zooms throughout. So what would be nice is if we do like a speed ramp effect, so we speed it up initially, and then when it gets to the end, slow it down. So let's put this back to normal a 100 percent and bring it up here. And what would be nice is if it starts slowing down when we see the word Warsaw, that would be quite cool. So what we're gonna do is we are going to use blade speeds tool to create a kind of cut. It's not really a cut, but basically it's like a speed cut. So I'll, I'll show it to you is easier to explain. So what we do is press Shift and we press B. And as you can see, it's created a little point here. And we can see the speed of the first bit and the speed of the second bit. So we know we want it to speed up to about 400% as we just saw. So let's speed the first bit up to 400. And if we play that, so the first part is 400% faster and the second half is just normal speed. So let's play that, see how it looks. Originally coming from humbled waltz all in the West Midlands, she started making trips up to the big city ETL. So it's quite nice. It slows down at the end, but we might want that first bit a bit faster so that we really can see the slowdown at the end so it fits in during the sentence. So actually as make this 600%. And then we want it to end where he says The end of the sentence as bring that back. And let's see how that looks on youtube. Originally coming from humbled waltz all in the West Midlands. Let's let that render out because it was not very natural to see. Let's play that again. It's got her singing on youtube, originally coming from humbled waltz all in the West Midlands, she started making. So that's really nice because it goes fast, zoom in and then it slows down at the end. Originally coming from humble wolf all in the West Midlands, she started making and you can really manipulate it. So if you want to just play around, so if you drag the little speeds cut we did, you can pull it back and it creates the first part faster. And now it's made it shorter, says pull it out. I might be nicer. Originally coming from humble wall soul in the West Midlands. She started my CEO CFO like that. So it goes really far as zoom into England. And then it slows down when we see worse also, as a viewer, they can really like ingest that. It's from Warsaw, thinking on youtube, originally coming from humbled waltz all in the West Midlands. Let's just do it maybe here to play around a little bit more in practice our skills. So the coffee shot is quite standard and boring. Eventually she moved up to London full-time. And what does the barista at Starbucks was continuing to write songs with hopes of one day striking it mentee, I mean big in January. What's quite nice is that we can play the beginning fast, so it's the movement of the guy. And as he picks up the cups and we see the coffee handled things that kinda slows down. So we can create a speed cut about here. So Shift, be fast and it's due at times too. So it's just like it's not too sudden and it's fine. And what does a barista at Starbucks was continuing to write songs with hopes of one day striking it. And venti, I mean big. As you also quite like that, that we cut back to Rossman. He says, I mean big, so his punchline and you can have a lot of fun with speed ramps, have like a whole like visual montage today you can make it really, really like exciting and choppy by using speed ramps is really cool to use the end of a previous clip at double speed, that goes into the next clip at double speed. So it's like fast into the next fast clip and then slow down. So it makes it really like cool and exciting. But that's quite cool to do something I do want to show you. I wouldn't necessarily do it in this video, but if you were to slow a clip down, I'm just going to use this London clip as an example. So let's slow it down by 50 percent so that you guys made it a lot longer, has let that render out. So we can really see it in half speed. Eventually she moved up to London full-time. And what is a barista at Starbucks was continuing to, right. So okay. So as you can see, because there's only a certain amount of frames in a video. What you do when you slow things down is you're kind of like making each frame a little bit longer. So that's why it looks. You still have the same number of frames. How many frames or in this video, for example, 25 frames. So it's still the same 25 frames, but just spread out alone a bigger distance. So that's why when you slow something down and you play it back, it's a bit more jerky because each frame is longer. I'll show you here. Eventually she moved up to London full time and what to the barista in Starbucks. So what we can add is what's called the frame blending. And it does what it says in the name. Is it a kind of ads in-between frames by blending the individual pixels of the neighboring frame. So when we apply this and we apply the frame blending, it appears a lot more smooth and then it is before. So I did I just add it. So what we do is we can go to this drop-down option as well, go to video quality and apply the frame blending. That's got the frame blending and let's play it back. And as you can see, it's going to be drastically different. Eventually she moved up to London full-time. And what does a barista at Starbucks was continuing to say it so much more smooth and natural. So that's how you can kind of like if you really want to hold a clip a bit longer, you need to make it a bit longer. Just slow it down and then apply some frame blending. It just works magic. You can also use the optical flow option. This does something similar, but this more like ads in-between frames. Within your frames, they also kind of does a really smooth blended effect. Inflation moved up to London full-time. And what does a barista at Starbucks was contained and that see it before with nothing. Actually, she moved up to London full-time and worked as a barista at Starbucks, I guess so drastically different. Look at this white building here. Eventually she moved up to London full-time. And without eventually she moved up to London where time and what's crazy, storing stopped. The last thing I can quickly show you in this drop-down option is like hold frames, like freeze Fleck frames. If you wanted to hold on Something like in the name, you can also go to that point. So let's say we wanted to just like holds this London clip right here where he says, eventually she moved up two lungs, London. I would never do it in this case, but for whatever reason you wanted to put like to hold on the frame. And my particular point, you go, you put your play head where it is, and you can either use the drop-down option and press hold, and then you have that moved up to London folder. And what is a barista at Starbucks or thing? Or you can just create a freeze frame. And how you do that is you press Option F and it literally creates an image of that frame. And you can then make it as long or as short as you want. You can move it elsewhere. And that's literally an image of a freeze-frame is an image of your frame. But there we go. Let's delete that and delete that. But we've made some nice little changes. They using simple speed techniques.
17. CREATING TITLES & LOWER THIRDS: Okay, So now I wanted titles. I'm just going to play around a little bit and see what looks good. So we previously marked here that we wanted to put a title. So here we want to put a title, Drake and J Lo romance. So how do titles is pretty simple. We go into this option here and we go to the titles. So you have all these in-built titles, like these 3D titles. So basic freely, just like swipe through them to see what they do. I've also downloaded a few myself and install them into my Final Cut software. And I'll show you guys in a later lesson now to do this because there's so much free stuff online. So instead of taking so much effort to create and make your own motion graphic titles in aftereffects and stuff, unless you're without it, you can actually either buy some from other creators or there's so many free ones out there that you can download and embed into your software. So then they come up here. And so this is why I might have more than you might have in your standard Final Cut Pro and setup at the moment. But you do have quite a few that are from Final Cut themselves. Like I think, I think the 3D ones saw, I think built in and out ones are. So these are like you've got the like Star Wars, generic like thing far, far away. You have some fun ones. And this is just how you're going to like really make your project a little bit more exciting. So you have the credits that comes in very useful as well. Then under titles you also have generators here and we did use one, we use the solids generator. And here these are quite fun little things you can download it as well. Like i'm, I downloaded all these message tool. It'll visuals that you can add a YouTube lower thirds. You can find these NUM, I think a lot of people have created these and they're quite nice to just install, but yes, I'll show you that later. What we're gonna do now is we are literally going to grab a basic title, which is in the bumper slash opener. And I just think just grabbing the basic title is the easiest way to just customize a title to exactly how you want. And we're just going to drag it on. Drag will put q and then it puts it where your play head was. So that's our title and we want it to be three seconds long. This is the standard duration I make my titles and there we go. It just as title. So now I'm just going to go into our inspector and we're going to go into the text Inspector. And as you can see here, we have the option to change what it says. So like I said, we're going to put Drake and J Lo Ro, Romans. Cool. Say that's like getting really bored right now. So I like to do is just pick a fun font. You just do whatever you want or titles this, it's quite cool. Let's grab this kind of cursive font and we can just scale it up. You can change it however you want. You can change the tracking. If you grab one of the lines, you can change the line spacing. And final cuts cool because you can just kind of like put it in exactly in the middle. There we go. That's looking good. Let's bring it down a little bit, make it more centered. Bring the line space. If you've reached the end of your line spacing, Hey, you can still go more by m actually controlling it from here. So just dragging it up and down and I like it about there. And then you have other options you have like you can make it 3D. And then you can change these kind of aspects, which is quite cool. So you can do like a little tilt. You can also add a nice outline. If we take that lovely, you can add a little glow. This is the same. You have to expand the thing and then you can add the radius is in yellow right now change the color. And the Latins quite cool. It's just about playing around. Drop shadows are really useful to add a little bit of depth to something. You can't see it right now because it's on a black background, which brings me to my next point to make titles bit more exciting, we can add a fun like background. So I've downloaded this one that we can just drag on. Cut it so it fits the zone we want. And it's a bit small so we can scale that up. So that looks a bit cola of fonts, a little bit weird. So I've got this weird outline here, but we can get rid of it, but a drop shadows cool if i that in and make it a bit more obvious. There we go. You can see that I think drops up the shadows look really cool. Let's add a little drop shadow. Looks nice. We have to add it to the top as well. Get rid of the outline. So what about playing around? Let's add a little bit. That looks cool. And you have some movement. And what we can do is we can add different effects to make it more exciting. We can add some Gausian to the background to make it a bit more fun. Change the amount we can do next is also change the blending mode of the font and bending modes are quite fun to play around with. So that's back here. If we go back to the video inspector, the blending mode is here and we can do some cool things like the dock and one here could look quite cool. I really like to use is the overlay and that just brightens it up a bit. I think that looks really cool. I think difference does something weird. Yeah, this does like some weird effect. Um, I don't really know the science behind all of them and why they did it. Oh, the alpha, alphas have really cool. This one takes the like black, so everything apart from your, your title. And then what comes through is like the background to that looks really cool as well. This play with them all. That's how you make titles a bit more exciting. There's another one that's quite Cause exclusion. Soft light is cool. I'm gonna go for overlay. I like that the most. Actually, maybe soft light. It's a bit brighter. Yeah, she's soft light, that looks cool. I'm bending modes are cool. You can pretty much put them on anything, but yeah, I like to use them a lot with titles and play around of backgrounds to make it more exciting. So that's our nice title that we've just made. And then I just want to show you how to add like a basic like lower title. What we can do is I would just use the lower thirds basic. So that's when you were little like thing comes here in the corner for like when you're doing an interview cart and maybe you want to introduce who's speaking. Yeah, titles are just fun to play with. Here. I think he mentions his merch store. So what I would put is just a basic title and a quick shortcut to just add a basic title is just Control T. And we've got a basic title. Let's see why he says it. I hope you enjoyed that video. Show some love to the channel by heading over to track hello.com. So heading over the trapdoor.com. So we want it about here are what heading over to try to try to trap law.com, fiverr to truckload.com, and coping some of these fat, sexy pieces of merch that I've created for your eye. So here we're just going to change the title to www dot trap law.com. And we can't see what's being said because it's white on white. So let's just change to something a bit thicker. Oh gosh, I don't know. Have also downloaded loads of fonts. And this looks quite cool. And then we can scale it up, Bring it down. And let's add a little background. Now let's add a drop shadow and an outline. There we go. Let's make it black and make it a bit thicker. And it's a blur on to make it more like subtle. Let's quite good. Heading over to trapdoor.com and copying that some of these fat, sexy pieces of merch that I've created for y'all, I appreciate the support. That's titles, like infinite things that you can do with titles. I think visually it's great to use as much words as possible for like a viewer. If you're really describing something, it's nice to just add like text on screen so the viewer reads at the same time if something's being said. But yeah, once again, feel free to do what you want in your InVideo Ad totals where you want, how make them however you one. There we go. I see you guys in the next lesson.
18. EFFECTS AND TRANSITIONS: So now we're moving on to effects and transitions. This is just again, another way to make your edit a bit more exciting. And why we find these here we've already used unlike the Gausian effect and the key or effect. But there are so many inbuilt in Final Cut. And again, you can download your own ones and put them into your software. So here is the Effects tab, and here is the transitions browser. So you can kind of switch between both and transitions is a transition from one clip to another. So really common ones are cross dissolves. So we can just put a cross dissolve here. So some up, but apparently it was her. Put it on both. Get rid of that. And then that's quite cool to do, true in the first month, but apparently it was her sex. So just literally a cross dissolve. I went actually put that there though. So let's get rid of that. But here, for example, would be a cool place to cross dissolve. And yeah, so you can either just drag it here and then drag it onto your clip and it automatically puts it on your at the beginning, not the end, but I don't want that at the end because that looks weird. Get rid of that. But Alex and quite cool now I'm going full-time. And what does a barista at Starbucks was continuing to write songs with hopes of one day striking it venti. Or if you press Command T and put your little playhead where you want your transition, it automatically puts a cross dissolve transition London full-time. And what to the brief because I guess that's the most common one to use. So Command T puts a cross dissolve in place. You can also put them on titles. So the little lower third thing we put here, we can put a little cross dissolve. I think that looks quite nice. Channel by heading over to triple.com and copying that some of these fat, sexy pieces of merch that I've created for y'all, I appreciate this. Crystals are very common to use. Fade to black is a really common transition. Like if you don't know how to finish something, it's quiet. I always say just check in a fade to black. And that's like if we put that here, it looks quite cool per singing on youtube. Originally coming from humble. I wouldn't necessarily put it here, but if I would like to finish like a montage or something and then you want to go into your main clip, you could just do a fade to black and that's quite a great one to use to break up an edit and make it more organized. And then this so many, There's flashes. You can just play through them and have a play. So that's transitions. And then we can go into effects. And like I said, we've used a couple of these reviews. The key and the Gausian and Final Cut is actually quite rich in its effects. There's just so many, you can make things black and y. You can add some cool like overlay, things like this record feature. You can make things that more cartoon. And this is the same. You can just drag them onto the clip. You want it to be on. Let's pretend we want this cartoon effectively on Drake. And then if we go up into the inspector, we can kind of play around with the amount. So if we can bring that down, this is this one actually there's not much to it. Let's pick one where there's a little bit more customization to it. For example, let's pick fisheye for whatever reason I were to use this. Let's put it on Drake and it's cool. You can like move this little radius thing. So these are quite funny, like little gag cutaways you can put like a fisheye effect. Change it here. The amount, the radius of it, the center of that point. You can either like drag it here or you can drag it like this. And yeah, if you wanna take it off, you can either delete it or uncheck it. Yeah, effects are really great. And I just want to show you one thing. It's not necessarily like an effect as such, but it's a tool that I tend to use a lot and it's a stabilization tool. So if you have a quite shaky video, it's great to stabilize something. So for example, maybe this London shot we might want to like make it a bit more smooth and less shaky. So if we select our clip and then we go into the inspector, There's this stabilization check option. If we check it, it analyzes the dominant motion. We let it render out and then if we play that back, it should be a lot more stable. Eventually she moved up to London full-time. And what is a barista at Starbucks was continuing to write songs with hopes of one day striking it venti, I mean, which is quite cool. You have to be careful of stabilization because if you do it a bit too much, it can kind of like create a warped effect. For example, if we put it on the coffee shop shot, it might create a bit of a warped effect, effect because there's a lot more movement to it. So let's play that now. And what is a barista at Starbucks was continuing to write songs with hopes of one day striking it venti, I mean big. You can see a slight warp at the beginning and walk to the barista at Starbucks was continuing to write songs with her. But sometimes makes clips look a lot smoother and a nice, I'm just showing you that that is an option there. I wouldn't necessarily use it here and then you can change the amount here. But yes, stabilization is great if you have a bit of a shaky video and you want to stabilize it, and that's a really good tool. But there again, that's just a brief touch on effects and transitions. Again, play with them, have some fun with them. It really livens up and edit. And yeah.
19. IMPORTING NEW PLUGINS GENERATORS, TITLES, Effects & TRANSITIONS: Okay, so in this lesson I'm going to show you guys how to install your own plug-ins that you can find online. Like this is where it gets really fun, where you can really find millions of stuff on the internet. Some free, some paid for. And it just makes to edit a lot more exciting. So this will be already quick one, but basically, I'm going to go onto a website that I have a subscription for cold story blocks. And here it is. I'm just going to show you guys how to download and install light just as little social media. Third, plugin that once you have it installed into Final Cut, it will be there forever, an yours to use. You don't have to use a website like this. You can find millions of free stuff online too. But on this, I'm just going to search for social media. Let's just see what comes up when we do that. Okay, So right now I can just see loads of stock footage. So in After Effects templates, I'm actually going to filter it by Apple Motion Templates. And let's see what we get. Okay, there we go. That looks pretty cool. And I'm going to just pick one that I think all look cool at the end of the video. This one looks quite nice, it looks quite generic, and there's lots of different social media handle thing is, okay, there we go. I'm going to download this one. So make sure it's Apple Motion template here because if we go to a different one, Let's try this one. This one will be after effects for example. And then there'll be one which is premia that we go with Premier, but we want the Apple one. So let's go back to and here it is. And it's click Download. And it's just going to download for us. And to do this, we actually need to quit Final Cut Pro. So let's get out of final cuts. There we go. That still downloading. Okay, that's all downloaded. So here it is, here I'll turn up in a zip file most of the time, and here it is. So let's look into the folder and see what we have. So this is, it'll change for any plug-in you download, but this is mostly kind of what I tend to see, yeah, like a tutorial on how to do it. The fonts you might need to download, a preview of what we're actually downloading. And then the actual plug-in itself. So to install plugins, we need to make sure we're in our finder and go to, go up here and go to home. So if we double-click into movies and everyone's will be different at this point, minds already pretty full because I've downloaded a bunch in the past. But basically what we want to create is emotion templates folder. So you're just gonna do Command, Shift New and create a new folder and make sure it's called motion templates. Spell it exactly right and correct. I'm not doing it right now because mine's already done. But if you follow these steps, that will work for you. So once you've created your motion templates folder, we're going to right-click on it and press Get Info. We want to make sure that we add this dot localized to the name. And if you don't do this, you'll have lots of problems with downloading and plug-ins and all that. So make sure you add a dot localized to the name and extension here, spell it exactly correctly with a zed and everything. Okay, so once that's done, I'm going to double-click into our motion templates folder. And what we wanna do at this stage is create four folders like I've done here. Spell them and name them exactly like I have done. So we've got affects, generators, titles, and transitions. And these are the kind of four different types of plug-ins you'll be downloading. So make sure you create those four folders and spell them exactly like that. And just like we did for the motion templates folder, we're going to right-click on it, get info and make sure each of these four folders have the dot localized extension also with the exact spelling. If you don't do this, it's not going to work. So there we go. Now we've got to this stage. And this is now where we're going to store all our different plug-ins and all and motion templates and all that. So the one I just downloaded as we saw, if we go into my Downloads, is this lovely one here? And you want to find the actual packet itself. And this is where it becomes a bit of a guessing game. So naturally I would have put this into titles because for me it's kind of like a title by thinking this case, it's actually going to fall under generators. So what we wanna do is open our generators and literally just drag it in, make sure your Final Cut is closed. Once you do all of this, avoids, it won't work. So there we go. We've just dragged across our social media pack, 3D. And then we can just close this OLAP and reopen our final cut project is quite fair labor once your four folders are created, that's it. And you just add each thing into the appropriate folder. So if you download a transition and you put it into transition, if you download a titles, motion templates put into titles, affects, so on and so on. You'll start to get really carried away with this because I have so many. So now in theory, in depending on which folder you've put it in, if you've put it into the effects, it will be now into your effects. See, I've downloaded a few minor here. Pictures. Pixel film studios is one. If you've downloaded transition, it will be here. Again, I have quite a few like this glitch TV affect. Lots of them. Are here. See, these are all free ones that I have actually found online. You can find so many free ones like this cool. I use this on a lot, this cool like water color transition. And then if you've done titles, there'll be here and I've again downloaded lots and lots. But yeah, in this case we've downloaded a generator and it should be here. There we go, social media Pack 3. And at the end I just want to add as a final step just a little social media handle thingy. So let's see what he says something. I appreciate the support that everybody that's been common stuff and make sure that you hit me up on Instagram at travel or roster, show me anything that you've bought or to just share some love that you have for the channel. There we go. He wants an Instagram on here. So let's grab the social media Instagram handle thing, drag it on, minimize it. And then up here in the inspector, we can customize it how we want. So the Instagram. And I really like that, so I might actually take that off. So here's Instagram, is trap law, Ross. Very nice. And because I've removed the other thing, um, I might bring the rest of it down. So which one is this? Not that. It is the logo position. Let's bring you bring you down. There we go. Is that the right time they up on Instagram at trap LoRa stuff? I want to a bit earlier, so let's bring him him and just let that render out for a second. Cool. And I'm going to just move it with my Transform. I want it just in the corner that looks nice. Me up on Instagram at travel across to show me anything that you've bought or to just share some love that you have for the channel it early. So that's drag it to the end of the clip, me up on Instagram at travel roster. And so it render out me up on Instagram at travel across to show me anything that you've bought or to just share some love that you have for the channel as always, make sure that you know, yeah, and that's literally it. And once you've downloaded them, they'll all be there, stored away. And you can go crazy with them and have lots of fun. And there we go, see you guys in the next lesson.
20. MASKING: Okay, Now we're going to have a bit of fun with some masking. Masking is like incredibly versatile and we're literally just going to touch the surface because there's so much you can do a masking. And I'm just going to introduce it quickly. So in the effects option down here, we have a few masking options. I'm in color, so it's good to o. So we have where we can draw our own mask, a gradient mask, image, mask shape, Mars vignette mask, all kinds of money. And basically what I'm going to show you is an, a couple of ways you can use masking to make things more exciting. So the first thing I wanted to do is we talk about two specific songs here. And I'm going to use the masking function here to highlight the two songs were talking about. So let's see what are the two tracks are talking about. The Georgia interlude, pretty self-explanatory and interlude with Georgia, but also the track and get it together. Okay, so we want to highlight track four and track five. So basically there's a couple of ways we can use the masking tool to highlight it. The first thing we can do is just grab a solid and put that on top. I'd like to do this as like a highlight function. And we're going to just choose the shape mask in this instance and chuck it on top. And now we've created essentially a shape mask. If we go to the Inspector here, we can manipulate it as usual. And we're going to invert our mass because we kind of want to highlight our points. And here we go. Now we can just kind of like move the stuff around and I'm going to make it so we are highlighting a Georgia interlude. There we go. And I don't like it completely black. So I'm actually going to turn down the opacity. So I just think it looks way cooler if we just turn it to like maybe 80 percent because it just kind of creates a highlight effect. And actually also, as you can see, as we've put a Ken Burns effect on the artwork, the Ken Burns effect is moving, but this, our custom shape is static. So let's just remove the Ken Burns effect. And how you do that is that she just go into transform and then just press trim and it just takes off the canvas. And so now let's readjust that too. The Georgia interlude make it pretty nice like that. There we go. So now we've added the mass care and to kind of like fader n, We can just create like a transition, like a cross dissolve onto the custom shape that has the mask there. If we play that look quite cool. The Georgia interlude, pretty self-explanatory and interlude with Georgia. And so what's quite nice as now we can fade out of that one. So create another fade and just copy that across with our old, like we have learned. And then change the mask of that one too. Get it together. It's just a little bit lower down. And see how that looks, if self-explanatory and interlude with Georgia, but also the track and get it together. I see, yeah, that's quite cool. That so that render out and see the Georgia interlude, pretty self-explanatory and interlude with Georgia, but also the track and get it together. So it's tough. So that's a really simple way to use masking to kinda highlight things. And that way we could highlight using the masking tool is by also combining it with the Gausian effect. So let's just disable those two. And I'm actually just going to copy my artwork across. So we have two versions and I'm going to choose the Gausian effect and drag it out on our top one. So our top one is fuzzy and R below one is not. So now we can actually create a mask in the Gausian effect. So if we go to our Inspector, we see this little icon here. Click on it and we can add a shape mass. And as you can see, it's created a kind of blur effect. This is also really good too. If you ever want to censor something, it's great. You just can move it around using keyframes by keyframing here. And then just like move things along, move your mask and move it along. Move your masks. So as you WHO video plays, you can see the sensor move. And yet we're not censoring, so that's just remove those keyframes. And what I want to do is actually invert this mask yet again. So we go back to our little button and press invert mask. And it's going to blur everything out apart from our, what we've masked. So we can go to an interlude of Georgia. And I've created two because as you can see it, I'm doing it straight away. But because we want it to come at a specific time, we can just create a transition there. And it's playing that bottom on first. And then let's play the Georgia interlude, pretty self-explanatory. And we can have it come in straight away and that she's a little bit big so we can remove we can decrease the gorge and like that, as you can see, it brings it and they're like spill of it decreases. There we go. I quite like that. Let that render out that she looks quite abrupt. Now let's go and let's pay that much. Georgia interlude, pretty self-explanatory and interlude with still a bit harsh. So you bring that up a bit pretty self-explanatory and interlude with Georgia. And what we could do here is actually create a cut in our shape and just bring our mask down. If you can't see it, just press your button here. Bring it to get it together to make it more smooth as create another crusts transition and then see how that is. It will kind of like moved down and interlude with Georgia, but also the track and get it together, right? So it's again, another thing we can do, like we just saw with moving the mask with keyframes, we could actually bring it down at that point. So undo that. And let's bring it down about here. Keyframe. As he's about to say the next song, bring it to that point and move it down. It's not going to be very obvious because it's so close together. But there'll be quite nice. As you can see, the mask is moving and let that render out again the Georgia interlude, pretty self-explanatory and interlude with Georgia, but also the track and get it together. It's not so obvious because it's so small, but there, yeah, that's just the general idea of how to use mass in that instance. And yeah, I know we've taken off the Ken Burns effect, but in the next video where we talk about compound clips, I'll show you how to put that back on while still including our amassed effects. But another fun way I wanted to show you how to use masks is for the sake of just showing you, I'm going to just uses London thing as an example and we're going to just use this clip I've found that has quite a bit of motion and things kind of swiping across just to show you how to kind of swipe in wordings of things, I'm using a mask effect. So I've just selected this clip. And basically as you can see, I've chosen the moment where a kind of big block appears. And that's because using the masking tool, I want to show you guys how to, I'm kinda swipe in the word London in this circumstance. I know we had this previous clip that this is just purely for the exercise. So let's just scale that up because as you can see, it's a bit smaller than the rest of the clip. And I want to not to be a bit faster because I want the, I don't know, this is a block to be off screen a little bit earlier. So let's use our technique of speeding things up. Let's maybe speed it up by like 20%. Let's see where that falls. Maybe a tiny bit more custom. Let's put it to 30. Move the 150. Eventually she moved up to London full-time. And what does the Higgs and we'll bring in the barista or a bit later. Basically what I want to do is create a title using Control T. And let's write london. London. Okay, this is going to be our big words. So let's choose a nice big font. We like. Let's use the same one as we did earlier it as a lower thirds to kinda make it universal, scale it up. And let's make it a little bit about here. We can, even if we wanted to add a little like overlay effect to make it more fun. That looks quite good. And actually I'd like the action to appear backwards because right now the OD and London will appear backwards. So let's reverse our clip by pressing Option R. And now it's playing the other way around. Say basically we want it gone. All of this point because we don't want it to say London just yet. So what we're gonna do is using our draw mosque. They going to grab that and check it on our title. And let's just loosely draw around our word London. So right now it's just masking this. If we move it, it's going to remove the word London, but we actually want the opposite. So again, we're gonna go into show up here and invert our mask. So let's swipe to the point where the block goes past, which is about here. And this is where we're going to create our first keyframe. So we're going to put it in the control points, which is here. I'll control points are these four points we've just created. And then we're going to go frame by frame. And it takes a lot of patients to do this, but the results are aware of it. So frame-by-frame, Let's go one. And now we want our control points to be at the point of the building. And let's go frame by frame. If you want a more smooth effect, I actually suggest going every two frames. So it's going to, and bring that here too. Where are blocked is, as you can see, the L has a PID and number two frames. Bring it across another to another to to denote where the block is because that person's moving about here. And just keep going. It's all about taking your time. London. And there we go. So now let's let that render out and it should look pretty cool. She London, eventually she moved up to London full-time. And what does a barista at Starbucks is a little bit short so we can adjust that. I kind of wanted to start about here. So let's move it here. Because he's saying London a bit earlier. Let's cut that off and make this a bit longer. Eventually, she moved up to London full-time. And what does a barista reinstalled could do even more to about here. Couple of frames just so we can really have the word London on show bit more. Eventually she moved up to London full-time. What is a barista at Starbucks was can take and that was pretty cool. And there we go. That's just a really quick way of showing you how to use the draw mask tool, the shape mass tool. But yeah, there's infinite things you can do with masking. You can use masking to like help make green screen stuff more precise. Think of most of the double my head right now, but yeah, it's just there's just a lot and that was that you just a couple of things you can do. But I hope it helped.
21. COMPOUND CLIPS: Okay, again, this is me just touching the surface of compound clips. I want to delve a little bit into these and show you how useful they are and how much you can do with them. So a compound clips are essentially when you kind of like group together your clips on the timeline and kind of like nest the clips together in. Not only helps to make your timeline look a lot neater, but it kind of helps if you want to use certain things multiple times throughout. And if you change one, it will change all of them. And it just kind of creates he kind of nest. So yeah, that for example, the little title thing we just did in this instance, if we tried to put the cross dissolve onto this clip, it will only apply it to our, our bottom one or just the title because it's causing a transition from one clip to one clip. So the way we get past this is by creating a compound clip of these two clips. So we select both of them and press control or right-click and then press new compound clip. It's going to ask you what you want to name it. If you want it to be really organized, you can put London. I don't know, London swipe. And then we're going to put this into our assets and then press OK. And as you can see, it's created a compound clip, which is here with this little icon. And then within our assets, It's here with the same little icon. Basically now, this is one clip. We can move it around and we can check it here where the Gherkin was and remove the Gherkin play that. Eventually she moved up to London full-time. And what does a barista at Starbucks was continuing to write songs with hopes of one day striking it venti, I mean, again, it's let us create that transition between them. And what's cool about compound clips is that you can enter them and change your, your whatever you want within it. So right now we've just entered the compound clip. So if I don't know for whatever reason we'd misspelt London. Well, we haven't in this case, but for whatever reason that's misspell it to show you that it's a queue instead. If we exit the compound clip which is going back here, go back to Timeline history, go back coin. We go onto our timeline. And as you can see, the compound clip has changed from an ode to a queue. So let's go back in, but that back to 0 and go back. So that's really useful. You can also enter your compound clip from here. And yes, just creating its own separate timeline for that specific compound clip. Oh, yes. So when I took off that Ken Burns effect to create this a gorgeous effect, I'm actually going to remove the gauze wrong because I preferred what we did with the black mask. I think that's just more precise and shows the summer talking about little better in this case, if we were to put the Ken burn back onto here, I'll customer like Highlight Mask things wouldn't get affected by the Kanban, they would just stay in place. So to make it work with all of them is by using compound clips. So we're going to select all three of our clips. Right-click new compound clip. Don't worry about naming it. And this time I want to in assets though and press OK. And now it's one compound clip which we can apply our Ken burn on. I think I'm going to be a bit too much. It's a little bit subtle press Done. And as you can see, the kanban is on the whole thing. So the masks are moving with the image below. And so yeah, whatever you do to that outside clip now is going to affect the clip as a whole because we've created this nest which is here if we double-click into it. So that's a couple of ways you can use compound clips. Again, you can do endless things with them. I use them a lot time and time again. But yeah, that's just literally so so so brief.
22. ADDING SOUND EFFECTS & MUSIC: So now we're going to add a little bit of sound effects and some music to our edit. Final Cut Pro has some really good inbuilt sound effects. So if we go into this second option here and then go down to sound effects. And, and you have to wait a little bit for them to appear. But here are quite a few, so we're just going to play a little bit. This is also, again, personal preference. And, but here could be quite nice to put a little like swooshing noise. And one I quite like to use is the like, I think it's good, like swashes something that is quite nice as like something to appear. Which is quite cool. But one that's quite nice, I think is this one switch one. A switch two is quite fun. So what we're gonna do is we're going to add this little swoosh. And if we put our play head, but we want to impress Q, there we go. A. Swoosh appears, and it's zoom in a little bit. And as you can see, all our music and audio tracks will go underneath the timeline and a different color. So let's play that and see how it sounds. Sec I might add that he would pop this out. So it's actually a little bit too fast for the movement of our slide and effects. So we can either speed that up by going into our video animation and moving the keyframes a little bit faster, they would pop out, It's a bit too fast. He would pop a Zan. That's quite nice. Or the other thing we could have done is, I'm actually slowed this down and you do that the same by just going into this little thing you we did before and maybe putting it to 80 percent, he would pop out that he would pop his second amount, that he would pop this out. And actually that fits quite nice. But let's move our keyframe back a little bit. Let's play that. Got sick I mode that he would pop his aunt and gets a little bit faster. Back one, Let's make q maybe 90 percent. 90. They would pop his aunt and get through. And that looks quite cool. It's all about playing around and seeing what you prefer. And as you can hear, actually, you'd expect if you slow down and audio the patron kind of change and get lower. And if you speed it up, it would go higher. But actually, Final Cut Pro has a psych pitch preserved thing. If we just take two and if we untick, it, would pop as it sounds lower, or they would pop. Let's put it to 80. To really hear that. Let's put it to 50. They really hit a difference. So this is about the pitch preserve, promote that he would pop up a lot lower. And then let's predict with pitch preserve, promote that he would pop. It's still it's the same pitch. Just sounds a bit bad because it's a bit too slow, but the pitch, the works really well. So let's put that back to 80. No, I think it was 90. We liked a bit he would poppies and so that's just a little swish and it's a little bit allows us turn down the volume, maybe like five or mode that he would pop this out, a couple of more remote that he would pop up. That is just for like a little subtle background noise. So that's a little swish. I think we'd put like a bleep marker that we wanted to add. Let's go to Mark as well. Yeah, I bleep, little Drink. Go Jenna. I don't know if there's an inbuilt. Can't remember if there's an inbuilt. Like swear. This is the problem you have to like search what they would call it sensor know, kind of what's that? What's it called when you leave? And if they don't have one, you can download one. So I've just downloaded one here, my downloads. And I tend to put them in my music folder. You can create a sound effects one, but I barely tend to have that many, so I do just put them in my music folder. And let's add human sensibly. Go back to our project import assets. And our bleep should appear here. So as you can see here, the wavelength is three of four of them. So let's pick one we like is going to be really loud. Okay. That sounds quite nice. So in, out, and then here we want it say Q, zoom in. And as you can see it peeking and lots as bring it down to like 12. And let's put it so litre comes in when our keyframes go down and all Drake go, Jennifer lot, that simple. Bring him down, maybe one. So if so lad, remove a move our marker and that's played up your drink, go, Jennifer Lopez symbol. And last thing is just add a little music track to make it a bit more exciting. I'm going to go to storybooks again because they're quite good music. And Ross likes kind of, Oh, let's go to audio. And most likes kinda like hip hop kind of beats. So let's just pick one. I'm just going to pick a random one. There we go. Just a bit much. I'm going to pick this. What about this one? That's quite nice. This download that into MP3 WAV. You can do what you want. Let's check him in music. Import her men asset. There we go. And here it is. We'll say if u is getting a bit messy and you've got too many, remember, you can go to your drop-down here and go to just your music, and then you have all your music tracks here. And let's just try and drag it on. And normally this one's only 30 seconds, so you'll have to loop it a law. But I like to put my music about like 2520, between 25 and 30. Let's try that true. Originally coming from humbled waltz all in the West Midlands, she started making trips up to the big city. And I just keep looping that Alex sounds quite nice. It's all in the West Midlands. She started making perhaps up to the big city to work with the likes of Maverick cyber, the maximum mythical sounding washed up musician in London. Eventually she moved up to London full-time. I like to loop until my next title starts. As you can see, I'm just pressing Alt and dragging it to multiply it, but I am putting it when I think the audio wave starts getting quieter. I tend to like just do this roughly firstly. And then when I do a final like sound mix and everything at the end, I'll put my headphones on and really listen to it, see if it's, it's really subtle and you can't hear that it's being looped and that the levels are correct and everything oh gosh, this is quite a long first title as the first title that we miss it out here. We've added too many hits, those. And I like to just cut the song at the title because I like to put a new one, so that's just grab a quick new one. Oh gosh. Let's pick one that's longer than 30 seconds so we don't loop it so much. And let's pick one that is kind of like chill out. I don't know how I feel about that. That sounds quite cool because we're going into like a romantic kind of sounds as download that, drop it into our music, re-import that guy sets. And it is this one. So let's see how that is. And you can pick whatever you want of it. I think I might start it where it really gets loud. Let's start it here. Put it to the beginning and maybe have it slightly crossfade in like we have Lunt. And so I want it loud when Ross isn't speaking, we just see the title and I want it to be quiet when Ross comes in. So what we can do is create some keyframes in our audio by to adjust the volume. So pressing Option click, and I'm going to create two keyframes like kind of EVA side of the cut. And then, so here where Ross is speaking, that's put it down to like minus 25, like we said. And where there's a title, I tend to put it at about minus ten. Again will be can play with it, do some proper sound mixing at the end of your headphones to make sure everything's correct. And let's play that, see how it is. From a little bit before we're going to get the sensor and original Drake go. Jennifer Lopez. Drake had been trauma smash Shiloh for years because she'd been his childhood crush. Lucky man. Because by the time that I get Charleston, Yeah, that's pretty nice. And remember, if you're duplicating this one to the end of where your oven is, remember to remove the keyframes because you don't want it loud in the middle of the sentence and that's duplicated. So it's about here. And there you go. That's just me roughly putting some music. They're a great way to make sure everything's really well and levels are good and everything is to do it with headphones at the very end. And then just play everything in real time and adjust to what's best for your headphones. So you're making sure the viewer isn't constantly decreasing and increasing the volume. It is hard to do, but with a bit of practice, it gets easier and easier. And there we go. That's just adding a couple sound effects and some use it.
23. BASIC COLOUR GRADING: Almost there. Once you've finished with your main edit and the sound and everything, you can start playing with color. And color, again, is where you really transform your edit. But like I've said previously, sound mixing, sound design and color grading is like a whole job in itself. And I'm not a professional color grader. I let she just play around with settings until it's correct. And this is why you have people who specialize in color grading. But I'm going to quickly show you where all the color grading tools are so you can just play for yourself. And yeah, let's quickly just grab a little bit of Ross. And then your color grading tool is this little arrow up here. I don't know if it's an arrow as the color inspector. And basically, here are the kind of areas you can play with things. So you've got the exposure, saturation color tabs. And this is literally just what it says. Play with the toggles until you like it and being really refer them to really show you exactly what each one does. So that's like very basic color grading by paying of these tacos. But he then you can go into the color wheels and the color board and the color curves, and this is where it gets so, so sciencey and complicated. But I like to brighten things up a little bit. Let me go to my color wheels. I'd like to bring my highlights a little bit up. It's just all playing around. And then you have your human saturations and everything. This is quite fun because you can change like specific colors. Things. Pick the little dropper. Let's click on the blue of Ross's T-shape and you can kind of change the color of it so you could make it, well, gosh, let's make it a nice turquoise be yeah, that's just very basic color wheels and where everything is. I cheat a little bit, and let's remove that. But I cheat a little bit and I use a special lots that you can, again find online and import them in. If you're going to use them regularly, you can buy them, you can get them for free. And how you do that is you go into your effects and search for custom lot. It is, drag it on. And once it's there, it's going to appear in your Inspector. And I have quite a few here already. And that's just grab I don't know, a random one. And once it's on, you can see the difference and it's applied someone who's specially created these Lutz lot on my video. And then again, you yourself can play around with these. And how you import lots is quite simple because if you click on a, let's remove that lot and then do it again so I can show you, drag your custom LUT on. And as you can see here, none is selected. So if you press that and then go into reveal in Finder, you can see all your custom lattes and you can let you download them and then put them into this folder. And you should be able to see them here in drop down. But there we go. That's literally the most basic, basic paths and color correction. If you're not a professional, just play with it. You can have a lot of fun of color correction and color grading and all that. But there we go.
24. SHARING AND EXPORTING YOUR PROJECT : Congratulations, you've made it to the end if you have well done and thank you for sticking around. I hope I didn't ramble too much. But we are now going to export our video. Let's pretend it's finished because we have actually just been working the first three minutes of it. But yes, that's just pretend. And if it were done, it's very simple to export a video. You can go into your project and select your, in this case v1 and go File, Share. And then you have a lots of different final destinations. And these destinations are like preconfigured export settings that Final Cut has done. But you can also add a destination or if you're going to master file, you can also change the settings. But in this case, we're just going to keep it as is because I'm in Apple devices, you can export just video, just audio, video and audio. But as you can see, the size jumps up because this is like the master version, but we're just doing it for YouTube or the Internet. So the one I like to use as Apple devices, computers also quite good and web hosting. But I like to use Apple devices where exploiting in 1920 by 1080 because that's what our project is. And the codec we're going to use is the H.264 faster encode. And H.264 is the codec for the Internet and everything like that. Roles do not worry about it. And then we're going to call this one again, georgia times Drake V1. And then we would say Next, and it would take us to where we want to save it. And in this case, look, we've already made a folder called exports and you press Save. Up here, you will see your export exporting. You'll see your video exploiting. And it might take awhile if you have a powerful computer, I will go faster. But once it gets to a 100 percent, it will be fully exploited and you'll be able to see it and share it and upload it. And there we go. But let's cancel that for now because I also want to show you there's a couple of ways to do it. You can also go up to this little guy here, and it's the same option, DVD master file. We did master file. And the final one you can do is Command E for export. And that's just your keyboard shortcut for both those things we just did. And it's that simple. And I hope you guys enjoyed this video. And yeah, that's your finished project.
Cam Ra, Video Editor
