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Apple Final Cut Pro X: In-Depth

Lesson 41 of 42

Audio Effects Part 2


Apple Final Cut Pro X: In-Depth

Lesson 41 of 42

Audio Effects Part 2


Lesson Info

Audio Effects Part 2

There's another thing that we can do that this's doctor, surf again. This close this with some music. This may be a shade loud. Be careful. Okay, we have music, which is too loud. And dr cerf, which is too soft. This is typical. Most the time dialogue is recorded to soft music has recorded too loud. I'm gonna pull dr surface loud as I can wait. I want to pull the music down. Okay, jim, I'm gonna ask you a question in a second way. Learn. And then I'm going to ask bernard the same question. Jim, you're ready? We're sitting down. First question to jim. Same question goes to bernard. Jim, why do we add music to a project? We have music to a project to givet atmosphere. I would say okay, bernard, why do we add music to a project? I believe it adds. Feeling emotion kind of gives it. It adds to the to the the how the piece exactly like dialogue tells the audience what to think. Music tells the audience what to feel now. In the old days, if we watched films in the forties and fifties, music w...

as used in the open. And maybe towards the end, when he got to the really dramatic scene but the rest of time it was all sound effects. It was all people talking, but there was no music because audiences off forty, fifty, sixty years ago were easy. They attended theater, it was easy for them to project what the emotion was based upon, what the actors were acting in the nineteen sixties, producers became very nervous. They felt that the audience was not smart enough for the actors were not good enough to be able to convey emotion the producer needed to trigger to telegraph the emotion by adding music to a scene. And if you watch movies from the nineteen forties to sixties toe eighties, music went from being periodic toe blanket wall, the wall music and now we say the soundtrack of the music is so extensive we can sell the soundtrack separately. I've never heard the soundtrack of casa blanca being sold separately, nor, for that matter, the maltese falcon, because music was used in such a spare fashion. The reason we use music is it triggers thie audience on what they should feel the way dialogue triggers on what they should think. Well, if music is an emotional trigger, why do I pull the volume of the music down that's like saying the music is not important, the emotions they're not important because I'm making the volume of the sound softer. This is stupid. I want the emotion to be justus high as thie intellect. But how do I make the emotion of the music nice and loud without drowning out the voice way. Use a different kind of filter. Select the music, go back to the effects and this time we're gonna grab a channel e q filter. Remember that I said that audio human speech, human hearing runs twenty to twenty thousand cycles. Human speech is only a portion of it, but music runs the entire twenty to twenty thousand cycles. So when I select this and go up to the filter, this is the exact same concept. Twenty cycles on the left, twenty thousand cycles on the right, but a slightly different interface. I want to reduce the music around two hundred cycles by about ten d b, and I want to reduce the music again and create this channel, which reduces the frequencies of the music that correspond to a voice frequencies. So the voice consider right inside the channel. But the low end frequencies are nice and loud bass drum and the high frequencies are nice and bright trumpet, piccolo flute and the mid range frequencies are still there, but they are lowered to give me a channel upon which to set the voice. Now madison avenue has been doing this since the nineteen sixties. They have discovered that music is thie emotional driver, but we need to tell the audience what to do, which is why the narrator is saying, go to the store and buy today! I don't want the emotion to drop. I don't want the narrator to be invisible. I want to create a channel for both and that's what the channel filter does now, we still have to tweak the level's a little bit, but notice I brought my levels back to zero let's, just take a listen and see what this sounds like with the filter off unchecked, the blue chuck box and space bar to play way. Okay, now, this time we're going to turn the filter on pulled the master gained down just a bit because dr cerf is a bit quiet. I haven't shown you how to bring him up the way I would in a real live mix, teaching is a problem solving activity way learn by solving problems way, learn faster by example notice that here my gayness set to zero a supposed to mind a six I've got the deep on the high end portions of my music at the fir full level, and I can now start to mess with this channel until it sounds the music sounds the way that I want, and I can still hear. Dr serve, I'm zoning way learned way learn now if dr cerf was where he needed to be instead of iran minus seven around minus three, I could pull the music up a bit more. We don't yet know we will in just a second howto bring dr surf up because I've already pulled the gain up on the clippers high as it can go, but the concept of the channel filter allows me to keep the emotion hi and the intelligibility high at the same time, the which gets me to the next filter of all the filters that exist inside final cut, this is probably my favorite the limiter filter, which is similar except easier to use than a compression field compressor compression filter. What the limiter filter does is the limiter filter takes the soft passages of the audio and makes them louder without making the loud passages of the audio louder. We don't use the limiter filter with music we don't use the limiter filter was sound effects. We do use the limiter filter with narration and with action now, in point of fact, that's not a true statement limiters and compression filters air used throughout the music creation process, but that gets me into way too much off topic conversation. When you get the music after the music has been mixed and delivered by the sound studio it is fully compressed it's fully limited and you don't have to mess with it you're dealing with music it's a finished entity during the music creation process compression and limiting filters air used constantly but not true with dialogue dialogue is recorded on the microphone on set and that dialogue has brought in in its raw form ready to be processed what the limiter filter allows me to do is to guarantee that while the louder portions of the audio remained pretty much constant the softer portions air brought up and it limits or guarantees it limits that the audio will never exceed a level that I specified so here's how this gets applied notice that my gayness set to zero normally for dr cerf I'd have to crank him all the way to twelve let's go back to zero let's just look at where his level is on the eu meters so if I play this starting about there we learned by solving problems we learned faster by example ok most of his audio is hovering around negative twenty negative eighteen he's got this big spike that bounces to about nine and it goes back then we learned by having somebody give us two between negative twenty and negative fifteen as the guys in the control room yelling each other right now saying will somebody turn the volume up we would all agree that this volume is too soft so we need to fix it I could grab the game and drag it up listen to what happens now we learned faster by example then we learned by having some problem is I've got that big spike it faster I could drop key frames and we learned how to do that yesterday and drop it down but even then my audio is gently bouncing between negative six and negative nine this is too low I wanna have my audio bouncing around negative three consistently around negative three hold the command key down I'm going to reset my volume back to zero select the clip scroll farther down stroll up where my hope it's not under q it's under levels this is my absolute number one favorite filter of all filters that exists inside final cut its inside levels inside the logic category and inside that is called limiter the compressor filter is a good filter and if we had more time I would show you how it works I use compressor all the time when I'm doing a more full bodied mix using adobe audition which is an audio package that I send most of my heavy mixes from final cut ten to audition to do the mix but when I'm mixing inside final cut I want something simple fast that works great I used the limiter filter grabbed the limiter filter dragon on top of the clip the filter is now applied to all selected clips or to all to that to that clip or all selected clips select the clip go up to the audio tab inside the inspector there's the limiter this is the interface. There are five controls here. Four of them are always set the same way soft knee should always be on the release needs to be any number greater than two hundred fifty look ahead should always be left to two milliseconds so two milliseconds any number greater than two fifty and softly should be lip if this's thie on ly person talking in this case this audio is on ly dr cerf if dr surface the on ly audio in this or the narrator is thie only audio there's no sound effects there's no music set the output level two negative three. What that says is at no time will my audio ever exceed negative three d b. If this narrator or actor is part of the mix, sound effects, music, that kind of thing you need to allow room for the sound effects and moves music toe occur set this level two negative four point five negative four point five allows room for sound effects and music to fit underneath the voice without causing distortion because remember, your audio must not not once not ever, ever exceed zero d b because this is dr cerf talking by himself and there's no other music there's, no other sound effects, not yet, at least all the way I'm going to get over to the doctor surf interstellar internet that we started tow put together over the last couple days. I'm going to set the output level two negative three negative three when the clippers by itself negative four point five when the clip is part of the mix, so look ahead to release any number greater than two fifty soft knee on output level negative three the way you set this filter is you play the clip and you increase the game while you're watching thegame reduction, you know that you're starting to reach the peak where it's throwing away gain it's limiting the output. When you start to see this move in this particular case, it's going to be around eighteen d b, you adjust the filter because this gain setting is different for every clip you adjust this game setting, so you're throwing away between one and three d b of gain. This means that the loudest portions of your clip are being limited at negative three d b while your softest passages are being amplified, I'll illustrate this in just second, so let's, go back to here and let's start to limit the clip, so we're going to play it. What I'm going to do while it's playing said you don't have to listen to me talk while dr surface talking I'm going to be increasing the gain of the clip you'll hear the clip get louder as it gets louder after a certain point you're going to start to see it pulsing in here I want to have a pulse so at the loudest portions of the clip it's throwing away one two three dp of game here we go we learned by solving problems we learned faster by example then we learned by having somebody give us some rope teo procedure case have notice how everything is louder we learned by solving problems we learned faster by example and notice how when he hits the word faster it prevents it from getting any louder the negative three d b so if throws away a lot of the game what's happening is let's pretend this point right here is that negative thirty just pretend I'm adding nineteen devi of gain which takes that soft passage to negative eleven let's pretend this point is negative twenty I ad nineteen d b of gain except I hit the limit of negative three so twenty plus nineteen but it throws away to di b so that at no time does the output level exceed negative three ah limiter filter makes the soft passages of the audio louder and prevents the loud passages from exceeding the level that you specify we learned by solving problems. We learned faster by example notice over here. It's. Right. A negative three. Well, let's, go back to the channel filter. Select this clip. We've already applied the channel. We cue the music let's, apply the limiter filter and again, we can save presets the exact same way. Select the limiter filter. Get rid of that one limiter filter. Click here. Set this to negative three. Set this to any number greater than two fifty which simply determines how long the filter is going to stay in force. And I remember the number was of nineteen d b and we'll pull the game down back to zero. Hold the command key down. Here we go now, let's. See if we can hear a difference in dr cerf versus the music teaching is the problem solving activity way learned by solving problems. Now let's, go back to the channel and I can bring the channel, leak you up a bit more solving activity way learned by solving problems way. Learn faster by example and hear how suddenly the combination of the channel q on the music allows me to make the music nice and loud and it allows me with the use of the liberty filter to make dr cerf nice and loud, and yet the two of them don't fight each other this is this is like commercial audio production wanna one you have to hear the narrator you have to have the music you have to punch the emotion and you can't have it exceeds zero d b these filters give you the control to do that many times we want to create a telephone effect and in the old days I would use a high pass and low pass filter to be able to achieve that however there's a filter inside final cut that makes that a lot easier if I select the clip go to the effects filter I can never remember where it is so wanna click the all category and typed the word telephone and here's the telephone filter just grabbed the telephone filter drag it on top and well it's just you want to think undo that so like the razor blade tool I'm going to cut hit the pier and cut the clip here and I'm going to apply the telephone filter to this middle clip so you can hear a before cuba before six outside hand is a son I'm effective having been trained as a mathematician okay, so now we go to the the telephone filter when we click on telephone filter we have a variety of different choices smooth analog cordless, etcetera, etcetera go with cell phone, ear piece I think that's the one that I want it sounds the most degraded anyway, take a listen certificate here, a different sect of having been trained as a mathematician and later is a computer scientist thinking logically trying to do designs that air rational uh, understanding the consequences of architectural decisions are all part and parcel of the architecture of the internet and it's. Now, if you've got a close up of somebody listening on the phone and nodding their head, I recorded this at the highest possible quality on set I drop in the telephone filter, cut to a person listening on the phone I still use the same on set audio, but you buy that isthe listening on the telephone in a heartbeat one more time, just take a listen. This is before computer scientists thinking logically trying teo designs that rational and here's another cool thing if I select the trim tool highlight the attic point and trim filters, air replied, based upon the duration of the clip, I just changed the duration of the clip, which means the filter has also been restricted. Scientists thinking logically trying to do designs that are rational uh, understanding the consequences of architectural decisions I love playing with audio audio gives us a chance to make stuff sound the way we want always always, however, on set, record your audio with the best possible quality and make sure that at no time your audio levels exceed zero do you have some general guidelines on where to set fully music and dialogue? Dialogue? He said between three and six yeah, foliate and and what I recommend is set your member our audio levels cannot exceed zero d b I set my my total mix bouncing around negative three I tend to have speakers bouncing between negative six and negative nine when it's part of the mix, I tend to have sound effects bouncing around negative twelve and I tend to have music bouncing around negative eighteen so total mix around negative three speakers around negative six effexor on negative twelve music around eighteen now if I've got an orchestra, the orchestra be softer if I've got a slight little flute or acoustic guitar guitar will be louder but those air those are in the ballpark kind of settings and and you use your ears to make it sound good? I'm going to ask for questions and we'll talk outputting jim what's got generally and on top of that wide eyed productions are what had pictures would like to know in what order to usually lay down your tracks usually start with the voice and then you go to music and then to fully or what's what's that general order usually work on I always build the story first, so I always start with the story all of my talking heads and then all of my narration even if it's a scratch track narration if I'm hiring a narrator than ill, I'll get them working on it but I'll use a scratch tax I could start to cut picture the absolute number one thing you have to have to do is you have to have the story if you don't have a completed story nobody's gonna watch so I do what's called a radio cut I added all of my talking head, all of my interviews, all of my principal action all of the narration, whatever it is that's driving the story from a on audio point of view I edit all that in the first pass then I go back and add sync sound b roll that has sound attached with it then I'll go back and start to spot in sound effects then the last thing I do is go back and add music so the orders always build your story first because people watch a story with no music and watch story with no sound effects but they won't watch a story when the story doesn't exist always be mindful that does the deadline khun change so build this story sync sound wild sound music great and f r sorry vfx by art would like to know in what order should we set the filters? Should we first used the to make you the voice, then the limiter to fix the peaks the limiter always needs to be the last filter you apply it always needs to be at the bottom of the stack. So for instance, if I was supplying the limiter filter and I was applying the fat chick you filter I go to fat e q uh let's clear telephone fat que les just drop uh here fat there is dropped the fat geek you filter and then dropped the limiter filter in and notice when I select this clip fat geek you filter is listed first limiter is listed second the limiter or compression filter must always be at the bottom if you get your order incorrect just grab the name of the filter and changed the position by dragging the filter from one position to another the limiter filter must always be at the bottom if it's anywhere other than the bottom you lose it ability to prevent distortion this is ah amplification and distortion prevention tool that must be at the bottom of the list off all the effects before you do anything else and when you are using the limiter filter volume needs to be set to zero you don't raise the volume sorry the volume needs to be set to zero so that you're not amplifying it after it goes to the limiter the last amplification occurs through the limiter volume is done set to zero which means the same level of which it was recorded other questions? Terrific. Yes, um, I'm going mad, like I would like to know. Does larry have recommendations regarding how to measure levels so it means different television dial norm loudness levels. Try that one more time. Jim. Does larry have recommendations regarding how to measure levels so it meets different television dial norm loudness levels? Yeah, we can't measure loudness inside final cut if you take a look yesterday at the session on on audio, I gave you a link to some third party audio filters that give us meat oring for both for both lk f s and for average loudness, and you can apply those meters is a third party plug into final cut, which you can then use for measuring final cut. Natively only supports peak measurement on the d b f s scale, but those filters would lie to the kind of measuring that you want for broadcast. Final cut out of the box does not.

Class Description


  • Import media into Apple Final Cut Pro X
  • Use its media management tools to organize your files
  • Explore the endless possibilities for creating amazing video effects and dig into audio.
  • Sharpen the skills you need to edit, trim, and combine clips to create a dynamic, engaging final cut.


Apple® Final Cut Pro® X has been rocking the film editing world since its initial release in 1999. Today, eleven upgrades later, the video editor's users number in the millions and its editing tools have powered major motion picture and small screen edits. Join Larry Jordan to learn what makes this video editing software so powerful, versatile, and indispensable.

Now an industry standard video editor alongside options like Adobe Premiere Pro, Apple Final Cut Pro X encompasses pro-level editing tools for Mac. Final Cut Pro is a Mac-only program with professional tools that blow the free video editing software and budget video editors like iMovie, Adobe Premiere Elements, and Movie Maker out of the water. The video software can handle everything from 360-degree video to Hollywood-level productions. But navigating those advanced editing tools is a daunting task for beginners. Pretending Final Cut Pro is an intuitive, beginners program will only leave you frustrated and missing the biggest features.


Whether you are brand new to editing, self-taught, or a seasoned pro, this course will take your editing skills and Apple Final Cut Pro X mastery to a whole new level, from upload to save.

Apple Final Cut Pro X


Larry Jordan is an internationally-renowned consultant, digital media analyst, and trainer with over 35 years of experience as a television producer, director, and editor with national broadcast and corporate credits. He is recognized as the foremost trainer in both Apple Final Cut Pro (Mac) and Adobe Premiere Pro (Mac and Windows) where his informative and entertaining teaching style provides video editors around the world with unique resources to increase productivity and enhance their skills. Jordan is on the faculty at both USC and Video Symphony and the host of the weekly podcast.


  1. Introduction

    Larry Jordan says a majority of the Final Cut Pro X technical help questions he answers stem from jumping right into editing without understanding how the software works. In the first lesson, learn what to expect in the class and why, when you edit videos, you start with organization.

  2. Key Terms

    Video editing tools are often confusing for newbies because of the terminology. Walk through the jargon you need to know and key concepts for Final Cut Pro to get started on the right foot.

  3. System Configuration and RAID Storage

    Final Cut Pro X can run on any Mac except for the Mac mini. Here, learn the best system set up for video editing and learn how to make your budget go the farthest when setting up a computer for video editing, and why storage, not the computer is most important.

  4. Q&A with Creating an Efficient Workflow

    Video editing with Final Cut Pro is just as much about the actual tools as it is about creating an efficient workflow. In this lesson, find the answers to some of the biggest questions in the workflow.

  5. Interface and Media Management

    Understanding the Final Cut Pro X interface helps you navigate through the program from one step of the workflow to the next. Explore Final Cut's single window interface and the three broad sections, as well as where to find the hidden windows and what they do.

  6. Importing Media Part 1

    Final Cut Pro will import any videos supported by your computer, from files that already exist on a hard drive to videos from a camera's SD card. Walk through the import process and options, from basic options to marking favorite locations, when working with files that already exist on the hard drive.

  7. Importing Media Part 2

    Final Cut Pro will also import your media for you from a camera. Larry walks quickly through what's the same when importing from a camera and points out the important differences when using different import methods.

  8. Ratings and Keywords

    Creating a video often means working with multiple, long video files. This lesson walks through organizing video clips to make finding the exact clip you need easy. Larry then walks you through creating the actual project and getting started in the video editing process itself.

  9. Reviewing Clips for Edit

    Time to dig into editing -- but where do you start? Reviewing the available clips to see what to include is a good place to start. Larry walks you through the process, from the keyboard shortcuts, to marking a clip.

  10. Importing Clips

    Once you've identified some clips to work with, it's time to actually add them to your timeline. Jordan walks through the different options from using keyboard shortcuts to mark the in and out to using a simple drag and drop to the timeline. Whichever option you use, Jordan says, don't worry too much about getting it exact because you can fine-tune further later on.

  11. Editing an Interview Demo

    In this essential lesson, see a finished clip and walk through how the interview was assembled. Larry outlines the fundamentals of assembling an interview -- using techniques that work with any type of video edit -- in Apple® Final Cut Pro® X.

  12. Replace Edit and Timeline Index

    Continue to work with the timeline with tricks for replacing clips. Larry walks through simple methods, like using a drag and drop, to more advanced options like the three-point edit, as well as timeline tricks for working with chroma-key. Learn replacement edits along with other timeline tricks in this lesson.

  13. Compound Clips and Auditions

    Compound clips and auditions are specialized functions inside Apple Final Cut Pro. An audition allows video editors to compare clips easily. A compound clip is a project inside of a project. Walk through the how, why and when for these advanced features.

  1. Editing Review

    Jump back into video editing with the editing review that launches day two of this three-day class. Larry reviews the first part of the class and gives you insight into what's next.

  2. Trimming Part 1

    The way clips are assembled in the final video plays a big role on how the final video influences the viewer's emotions. Larry mixes the art of clip trimming with the tools inside Final Cut Pro.

  3. Trimming Part 2

    Trimming isn't always adjusting the beginning and end of a clip. Larry walks through the process of creating a slip trim, as well as tricks like trimming multiple clips at once.

  4. How We Hear

    Jumping into audio, learn the basic terms to audio editing, how we hear, and get started on understanding audio tracks inside Final Cut Pro.

  5. Audio Key Terms with Q&A

    Continue unraveling audio editing with key audio terms that aren't specific to Final Cut Pro. Learn how sound is visually represented and how to set levels for the best sound.

  6. Audio Basics, Meters, and Inspector

    Work with levels and audio inside the Final Cut Pro timeline by diving into the video editor's basic audio tools. Larry walks the class through levels, audio meters, keyframes and more. Learn how to eliminate a cough from the audio, how to reset parameters and more.

  7. Audio Q&A

    Audio is a big component to understanding video editing. Find the answers to the most frequently asked questions with this quick lesson using questions from students just like you.

  8. Dual System Sound and Audio Analysis

    Video and sound are sometimes recorded separately -- often when the mic built-into the DSLR or GoPro used to record the video isn't great at capturing audio. Larry walks through the process of syncing audio to the clip with double system recording along with the audio analysis tool that allows Final Cut to conduct an automatic analysis and fix some audio problems.

  9. Multicam Editing Part 1

    Editing video shot with multiple cameras is a common task in the video industry -- and Final Cut Pro has tools designed just for the task. Larry walks through the basics of multicam editing and getting started with the multicam feature. Learn how to group the cameras, create a new multicam clip and adjust the order using the angle editor to prep the workspace for working with videos from multiple cameras.

  10. Multicam Editing Part 2

    Once the footage is grouped and ready, follow Larry through the process of finessing those multiple feeds into a cohesive video. Start with setting the audio to a single camera, then move into switching the camera angles with a simple click and more advanced multicam tools.

  11. Transitions Part 1

    Transitions help make moving from multiple cuts a smooth experience. Learn the keyboard shortcuts for transitions, timing transition adjustments, and adjusting a transition with a roll trim.

  12. Transitions Part 2

    Creating transitions is an art -- learn the three main types of transitions, when to use them, what emotions transitions bring, and working with transitions in Final Cut Pro.

  13. Formatting and Animating Titles

    Titles reinforce key pieces of information, Larry says. Learn how to use titles, how long to leave titles up, where to place titles, and how to format titles in Final Cut Pro.

  1. Additional Effects

    Titles aren't the only type of special effects you can create inside Final Cut Pro. In the first lesson of the final day of the class, get a peek at what's up ahead, including how to add video stabilization, correct rolling shutter, work with images and create special effects like the Ken Burns effect.

  2. Editing and Trimming Review

    Recap the editing and trimming essentials to review what Larry says is the most essential thing to understand on using Final Cut Pro. Larry puts all the editing and trimming together in a final look at the process.

  3. Changing Speed of a Clip

    The speed of a clip can create drama. Learn how to manipulate the timeline with techniques like freeze frames, variable speed, and slow motion. Decipher the retime menu and learn the tools for manipulating time.

  4. Inspector Effects

    The Inspector inside Final Cut Pro allows video editors to make changes, from adding video stabilization to adjusting the aspect ratio. Follow Larry through the Inspector Effects to learn the special effects hiding in this menu.

  5. The Effects Browsers and Generators

    Video editors can create their own videos directly inside Final Cut Pro using Generators, a tool that's helpful for creating backgrounds for infographics and other items. Larry walks through the Generators and how to use them, along with diving into the Effects Browser interface.

  6. Blend Modes

    Blend Modes originated in Photoshop, but introduce some interesting special effects for video editors as well. Learn how to use blend modes, change the opacity for regular clips and picture-in-picture, and more in this lesson.

  7. Effects Q&A

    Dive into the most frequently asked questions on special effects as Larry explores questions posed by students just like you.

  8. Simple Effects

    Final Cut Pro has a number of different special effects options. Larry walks you through the most useful special effects and how to use them, so that you'll know how to manipulate those oddball effects too.

  9. Intro to Color Correction

    Color correction is a big enough task that entire careers are dedicated to the task. Learn what you need to know on color correction basics to successfully create a color-corrected video inside Final Cut Pro.

  10. Video Scopes

    Final Cut Pro uses three main video scopes -- the waveform monitor, the vectorscope, and the histogram. Larry walks through how to use each tool in color correction.

  11. Color Correcting for Video

    Learn what colors are most essential to get right and how to manually adjust color in videos inside this lesson. Work with the vectorscope and waveform monitor to edit color in a video.

  12. Color Correcting Skintone

    If the skin color is off, the entire video looks off. Larry walks you through how to adjust skin tones. Every skin tone is different -- this lesson is designed to give you the tools and know-how to correct for every skin tone.

  13. Color Correction Q&A

    Dive into the most common questions on color correction with this short lesson taking questions from students.

  14. Audio Effects Part 1

    Visual effects are only half of the special effects equation. Walk through audio effects, from manipulating audio levels to creating a stereo mix.

  15. Audio Effects Part 2

    Continue digging into audio special effects with advanced techniques inside Final Cut Pro. Work with channel filters to mix voice and music and the limiter filter to correct audio that's too soft.

  16. Exporting and Sharing

    After all that editing, how do you share your video? Walk through the export process, from exporting an XTML and a master file to sharing to YouTube directly from Final Cut Pro. Learn about exporting to different file formats and video formats, including .mp4.


a Creativelive Student

Absolutely one of the best & easy to follow teaching / learning sessions for this product. Larry has a great approach & insight into delivering a wealth of information from his years of experience that budding video engineers will certainly benefit from with a product that is powerful & great to use. I'm enjoying the journey to better understand & use this great product, expanding my experience in producing awesome video presentations. Great work Larry, & also huge fan of creativelive Keep up the great work you all do to assist budding producers in mastering their skills. Noel Blake Melbourne Australia


Final Cut Pro with Larry Jordan has been of enormous help to me just stating in FCPX. Larry has a unique way of getting the message on the basics across in an easy to understand manner. I have not yet looked at the entire course as I am practicing the steps as I go through the course. Many programs of FCP are not presented in the easy to follow manner thatL array does so well. I am 100% delighted with my purchase. I am in Sydney, Australia, and, due to the time difference it is impractical to view courses live. So I had to purchase on trust which in this case was a good choice. It would be good if Creative Live could perhaps rerun programs so overseas folks could view them at a convenient time. The courses still need to be purchased as I find it best to run it on another monitor and put what is taught into practice. Well done and thanks for the special offer in July.

a Creativelive Student

Attending this class was really a life-changing experience. Larry is a wonderful teacher and clearly on top of the program and methodology, and the way he structured the course, did frequent reviews and constant technique reminders (naming keyboard shortcuts as he did them, for example) really added a lot to the presentation. The depth of the class was very much appreciated, and his command of a complex subject showed that it was possible. I have wanted to understand FCP for several years and have only gotten the beginnings of a handle on it in the last 6 months or so. This class was an exponential knowledge upload and I hope will allow me to do lots of things I've only wondered about. I thought Jim was a good foil for Larry and did a nice job keeping things together, even when there was a technical problem. The value for me of being able to sit through the class before deciding to purchase was huge, and I am very much looking forward to reviewing the videos as questions come up. The class was very thorough and I didn't feel anything was being left out. Thank you so much for making it available.