Apple® Final Cut Pro® X - In-Depth and Up-to-Date

Lesson 13 of 42

Compound Clips and Auditions

 

Apple® Final Cut Pro® X - In-Depth and Up-to-Date

Lesson 13 of 42

Compound Clips and Auditions

 

Lesson Info

Compound Clips and Auditions

The timeline index is really cool because it allows you to find eclipse. The ability to use markers is like sticking yellow sticky notes on your screen without the mess because it allows youto leave a marker and jumped two markers to indicate the beginning of an act or a problem with the clip or something that legal has to approve the two deuces nice I've used them in my class is I'd never used them in real life, I used marker's constantly, I use chapter markers constantly, I don't use two duis at all just so, you know, but you can use it to impress people at parties and say, hey, I can leave it to do inside my my project and and I'm sure that the guys that apple that developed it or really thrilled with that whether you use or not the world does not care these next three things that I want to show you compound clips and auditions and open and timeline are specialized function there's a there's an advantage to using each of them. Whether it works for your particular style of editing to...

tally depends upon you. We're gonna talk more about compound clips when we get to actually we'll talk about auditions first we'll talk more about compound clips is part of effects, which is where they have a greater relevance, but for right now let's, take a look at this dr cerf video and let's just time out a second here see if we can get ourselves over so far messed up we'll just take that out there and let's kill the audio because I don't need the audio and I'm going to play this clip and I've got a flash of black okay, this is close to what he's talking about we're going to the outer planets what toe I've got this I don't know what I want to use for my last shot, so I'm going to go to my new b roll dough I want to use the flaming son so I want to use the martian rover maybe I should use something from oh, I don't know maybe I should use something from, um from the space shuttle, so let me just hold the command key down of select this command click command click notice that I've now selected three different clips, each with three different durations go up to the clip men you go down to audition and I'm going to create a new audition what auditions allow me to do is to compare and contrast clips easily I'm auditioning the clip noticed this little spotlight thing it could be an alien flying saucer but it's actually a spotlight if you look really closely we wantto take that audition, turn this to video on lee and type the letter q and the audition is now located in the timeline command plus to zoom in just a bit and let's open this up so we can see more what's going on okay by the way with a scroll wheel mouse with the trackpad you just swiped two fingers left to right to move side to side to move side to side with the scroll wheel mouse hold the shift key down and shift scroll wheel so there's the icon that indicates this is an audition and as I play my clip even able to support communications terrestrial but we have now is that okay? It's not bad but have a nice if I could compare those other clips this is where the magic of auditions comes in if I go up to clip goto audition and select preview and now I now see my three clips and when I hit the space bar in the same way we've been able to support communications terrestrial but we have now a set of standards for this we're hoping we being j pl okay do it again but I want to click on this cleanse we've been able to support communications terrestrial okay hang on a second do it again in the same way we've been able to support communications terrestrial look at that by just simply clicking on the preview widow it allows me to preview between the three shots and notice that the duration of the shot changes as I click on the different scenes this allows me to quickly look att version one version two version three dough I like one ending in better do I like a different ending? Better? I really like this ending right here and notice that it automatically goes to the end. I could, of course, trim this will learn about trimming tomorrow, but the ability toe quickly look at different alternate endings, whether it's video on ly audio and video talking head b roll, whatever is really cool, and if I select this clip once I'm done goto audition and select, finalize and it releases thie other clips, so it goes back to being a single clip against so I don't have those three tied together auditions. Allow me to quickly review multiple clips I pick three you could pick two or twenty, makes no difference, hit the space bar and just keep selecting through command z clip audition preview in the same way we've been able to support communications terrestrial, not value way we've been able to support communications in the same way we've been able to support communications terrestrial tara, is that not cool, very fast, very easy way to review between clips it's called an audition, by the way, if I took this clip here and drag it into the audition way toward to turn white let go, I can say add this to the audition and now when I preview clip audition preview in the same ways in the same way we've been able to surprise in washington I now have the fourth clip that's added down and the audio is because I didn't disconnect the audio before I dragged it in we'll just delete that compound clay take a little bit of planning no it's not true the compound clip takes a bit of thinking about what a compound clip is a project inside a project a compound clip is what final cut seven calls a nest what avid calls a sub sequence we can take a group of clips and make them act as though they were a project now the reason for doing this let's go back to this example here hide the timeline index if we if we look at this I've got one two three layers of video four layers of audio that's not really complex but it's not simple I'm gonna just whips up sub sub sub sub sub sub steps and we go if I select all the clips command a go up to file new compound clip I gather all seven layers of these clips together and I say what I'm going to call this I'm going to call this compound um internet clip and they're now all reduced to a single clip the benefit this provides is my timeline is still seven layers hi it's his complexes that ever was but I'm ableto co elect all that complexity into a single clip, which means that my timeline becomes a whole lot of usual toe look at baby, this is clip for act one in a clip for act two to be able to open a compound clip double click it this steps into the compound clip, and we can see all of our different layers are there and to get back, I click on the go back button right here in the timeline history, and I go back to that containing compound clip when I create compound clips inside the timeline, I use it to consolidate really complex sequences this works, but I don't recommend it. Compound clips tend to be a bit tricky, and I found that they do have some issues with, um, you want to be careful toe on li yu's compound clips when you really need it, which is generally toe apply and effect to a group of clips. Rather than apply in effect to each individual clip, I can now have a single color correction setting that applies to the entire compound clip. We'll talk more about this and effects, or I can apply a single sound effect like the limiter filter or nick, you filter to a range of clips without having to do that to each individual clip. Simply to use it for the purposes of housekeeping, I think is going to cause you potential problems using it to apply a filter or in effect to a group of clips makes a whole lot more sense to deconstruct a compound clip, select the compound clip, go to clip and say break apart clip items and all your individual elements are back the way they were. Where compound clips become a whole lot more valuable, however, is when you select one or two clips inside the inside the browser. With those clips selected, go to file new compound clip and now let's call this opening title. I now have a compound clip than when I double click it to load to the timeline this's like a stand alone project. This is a project that I could build the entire open inside a compound clip. I could have titles, music, sound effects, multiple cues, transitions, multiple layers as complex as I want, but because I'm putting it inside a compound clip when I then add that compound clip into my project will just make this small again. When I add the compound clip into my project, it comes in as a single short clip single small clip, even though it could be multiple layers high, it could be really deep, it could have lots of different affectionate acts like it's, a standalone movie the benefit is by double clicking on it. I'm able to step into the compound clip and make changes to my opening text, so I can say my stars this week or fred smith and mary brown, my stars next week are our mary smith and fred brown. I can change the text without having to go back and re. I'll put a whole new movie without having to go back and change all my animation about being an after affection without being in motion to step back again, you click that go back button, this ability to create compound clips by first selecting clips inside the browser, double clicking on it toe opened up, then we could add additional clips by selecting a type the letter q, for instance, and we could then grab this title and make it shorter. And now, when I save the clip that is now instantly reflected inside my my compound clip, this dynamic linking of one project to another becomes a lot easier, and compound clips don't even have to have the same project settings. It could be different. Frame size is different frame rates, different, codex, totally different, it's going to automatically be rendered to match whatever project you drop it into, which gets me to the last point that I want to cover before I turn it back to jim. We have a feature called open in timeline what opening timeline allows us to do is to take a layered photoshopped graphic to take a compound clip to take a multi cam clip and simply double click it when we double click it it opens with second thoughts there it is this is the icon, the little interlocked hands okay that's the icon for a compound clip this is the icon for an audition we'll see a different icon for multi cam clips double click this icon and it now opens that compound clip inside the timeline so I condone editing I can grab this clip and moving around, grab this clip and drag it around so now and I could grab the audio levels and make sure the audio levels are down so audio doesn't yell at me when I get out of the studio, so I start with this I'm purposely avoiding doing any kind of picture and picture where transition because we haven't covered that yet both of those air coming in course, but I just want to talk about what we've already covered then when I go back and I take that compound clip and drag the compound clipped down, we have now changed the order we see first the mars footage and then we see the burning suns, then we go back to our shuttle stuff we can trim it the way we contribute any other clip the compound clips give us the ability to create projects which are then loaded inside other projects, and because they're stored up here in the library, I can use this project inside multiple projects, which is something that I can't do with a compound clip that's created inside the timeline, wei have covered a ton of material in a very, very short period of time. We took a look at all the preparation that we've done in terms of media management and understanding how the system works, and we finally started to use it to tell stories. Now, in our particular case, we told a single storey of the interplanetary internet, and then we created a whole lot of garbage just to be able to show how the technology works without having to worry about the content, because when we ignore the content, learning goes a lot faster. We looked at how weaken doing upend at it by adding a clip at the end of the timeline, the letter e doing insert at it, which inserts a clip at the position of the skimmer if the skimmer is active or the play head, if the skimmer is not active, I don't like the skimmer in the timeline, and I love the skimmer in the browser, so I'm always toggle ing the skimmer on and off with the keyboard shortcut, the letter s we learned how to do an override at it, the letter d by which replaces whatever that clip lands on in the timeline with the clip that was selected inside the browser and we learned how to do it connected clip, which puts a clip in a higher or lower position higher for video, lower for audio at the position of the play head so that really was just keeping one hand on the keyboard. We can have one hand, not a mouse or the trackpad setting ins and outs the other hand on the keyboard, heading a pen's overwrites inserts and connected literally as fast as your brain can think, which is exactly what you want final cut has now faded into the background, leaving us fully in editorial mode, not in it rustling a software mode. Then we looked at a whole variety of of other techniques. We looked at how to do replace at it by dragging a clip from the browser down on top of the clip in the timeline, we looked at how to do a back time infront time three point at it by setting a range inside the timeline and editing a selected clip in the browser down to the timeline. Then we looked at things like, how do we select clips, potter, you d select clips. How do you move clips the position tool we looked at how to create clips, full screen shift command s we looked at the timeline index, which is a wonderful tool for being able to keep track of what we're doing, we also looked at some specialized functions. We looked at the timeline history, we looked at auditions, we've looked at compound clips and we looked at opening time line will be seeing all of these with the exception of auditions, will be seeing all of these in future editing audition simply allow you an easy way to compare one clip toe another while compound eclipse exist across multiple software packages. Premiere and final cut seven auditions in the timeline history and the timeline index are unique toe final content and very powerful features on their own there's one big piece that's still missing, however, and that's adjusting where two clips touch that's the process off trimming, which is what we're going to talk about tomorrow, but jim, I think we've covered enough for right now I'm gonna toss it back to you and see if there's any questions before we wrap up. Yeah, we do have a couple, so I'm going to read this one from john are you e x p if it changes made in a compound clip, does that change? Not tucker and all projects were the same compound clip occurs any change that you make toe a compound clip will automatically change every adoration of that compound clip that exists in that project. The way that you would fix that is that you would select the compound clip and once the compound clip is selected you would go up to and I can never remember where it is but you would go up to the choice that says make compound clip independent and you can create an independent compound clip which then live separately from the existing compound clip and my brain is malfunctioning at this very instance toe which menu choice it is but this was a new feature and a new behavior in the ten one release in that in ten one a change made to a compound clip appears everywhere. Jim david devi says in the old days sound editors liked the audio tracks on specific layer orders is it still possible in final cut pro ten are is it still possible if there are no number tracks there's a workaround there's no more tracks as such it's now layers think layers of photo shop but we're going to talk about a process called rolls when we talk about audio so allow me to defer answering that question any further until tomorrow and if you take a look at my screen here are the keyboard shortcuts control why toggles on or off skimmer information that's that little label that appears in the browsers you move the skimmer across skimming needs to be on and in control, why toggles that time, code and file name, display shift f is something I haven't shown you, but shift up when you have your play head in a clip in. The timeline automatically highlights the source clip in the browser, matching the position of the end. The out in the play head command. Why creates an audition option? G creates a compound to clip shift command. Two toggles to display, open or close to the timeline index command f opens up a find dialogue. Inside the timeline index letter m. An option will set a marker at the position of the skimmer of skimmers. Active play head if it isn't, or option m sets a marker and opens the open market. Dialogue control, semi colon and control apostrophe jumped to the previous or the next marker.

Class Description

AFTER THIS CLASS YOU’LL BE ABLE TO:

  • 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.

ABOUT LARRY’S CLASS:

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.

WHO THIS CLASS IS FOR:

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.

SOFTWARE USED:
Apple Final Cut Pro X (10.1)

Lessons

  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.

Reviews

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

plb42
 

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.