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Apple Final Cut Pro X: In-Depth

Lesson 11 of 42

Editing an Interview Demo


Apple Final Cut Pro X: In-Depth

Lesson 11 of 42

Editing an Interview Demo


Lesson Info

Editing an Interview Demo

This is the meat of everything we're to talk about for the next for the entire three day training at all centers on this one session naturally it's the end of first day naturally our brains are already full eyes are glazed over tears coming down your cheeks, but this is the money segment, so watch this. I want to show you what we're going to end up with this is where we're going to finish by the end of today, this is the segment, and if we watch it and make sure we can hear it, I'm going to give you a sample of what we're what we're going to be creating in another role that I have the jet propulsion laboratory we've been working for the last six years or so on the design of an interplanetary extension of the internet way want to standardize the communications standards protocols they're used in space because if we do that each time we want a new mission to go to saturn or jupiter one of the outer door around mars, if there are existing communications assets that are already out there f...

rom an earlier mission waken use them because of the standardization, but what we'd like to do is to make space exploration effort supported in the same way we've been able to support communications terrestrial but we have now a set of standards for this were hoping we'd take we're hoping to have a mars telecom order for bitter in orbit around mars around two thousand nine support missions for the next decade on the surface of mars and possibly going to the outer planets okay, that interviews recorded in two thousand four. Dr cerf was talking at van nuys high school. It was shot standard four by three, but the techniques I'm about to show you work standard f hi def two k four k makes no difference the process and op aeration of editing remains the same. So let's, start off and go through how we built that we're going to create a new project file new project keyboard shortcut is command end and we'll call this internet because I've already used it planetary internet we'll just use internet, but this time I want to use the custom settings. This is shows up whenever we create a project automatically, it will configure the project to match the settings of the first clip that you added into the file or I can say I want to have the time code start at a particular time code number. I wanna have the video properties member we talked to the very first sexual talked about video format video format us frame size frame right scanning, which is a progressive or in relation kodak. Well, multiple cameras shoot multiple different formats what format do you want your project to be a project can only be one frame size one frame rate one scanning in one kodak which means if I add multiple code extra multiple frame sizes into the project they have to be rendered converted transformed from what they are into matching the settings of the project. Normally the project would configure itself based upon the first clip that you add it into it but I could say I want to create what that's going to be I want it to be standard death or I wanted to be to k or I wanted to be seven twenty progressive or ten eighty interlaced say I wanted to be ten etienne released I can pick what exact size I want ninety nine percent of the time you select nineteen twenty ten, eighty, fourteen, forty, ten, eighty is htv we don't normally care twelve eighty ten eighty is dvc pro hd with early panasonic cameras we don't care about that either and we can also set the frame rate that we're shooting. We can also determine what we want the audio and the render properties to be it defaults to stereo forty eight k programs for two to but I could customize it to have it be surround rather than stereo a different sample right although forty eight kilohertz as you'll learn tomorrow afternoon is ideal for video and you can also change the render format to a variety of pro rest which is used for hideout for un compressed ten bit, which is used for standard death progress for two two is a wonderful comp rem eyes between smaller file size not small but smaller and really, really good image quality. So the only time that are really mess with their custom settings is when I need to change my mind video properties to be something other than the first clip that I add it into it. In my particular case we're going to set this based on the first clip and we used to default audio and render property settings. But what is time code if you've never worked with time code before time code is a unique address that individually describes defines pinpoints the location of every frame of video because video runs over time time codes expressed his a pair a siri's of pairs of numbers first paris hours ten minutes ten seconds than frames this is very similar to the numbering of your house your house has a number and it has a street. This represents the house number. The file name represents the street so the time code allows us to precisely determine every frame remember that strip of film that has individual frames of film inside it? Every frame of that film has a unique time code number and each time code frame is one frame higher than the one next to it? So for instance here let's, go back to that other project notice that here I'm a twenty six seconds and zero frames in if I type the right hiroki I'm a twenty six so one twenty six oh two twenty six o three going backwards to a one okay, this center section shows the time code which describes in hours minutes seconds and frames the precise location off every frame that goes inside this project on the project is thie edit of all the media that we're working with. This is the story that we're telling the story of the interplanetary internet we work with time code because it's easy to calculate durations if I know what the starting time code is and I know the duration of the shot runs six seconds it's easy toe add six seconds to a number which is described this time and a much easier way than if we were dealing with roman numeral. So are riding out the number eighteen as e I g h t e n so time code exists because it's easy for time based media to be able to do its calculations so let's go to the project called internet doubleclick toe loaded up by the way to change between projects simply double click on the project icon here or this itty bitty little arrow down here this allows us to back up to the last open to project it's called the timeline history this allows us to go forward to the previously open projects, so if I click and hold this, this describes all the projects that I have opened into the timeline, not that are simply displayed in the browser, but that have been opened into the timeline, or I can click and hold this arrow, and it allows me to move forward, too. The last opened timeline this call the timeline history arrows, ice call this stepping into going forward and stepping back coming out of, well, see this little later in the sections we talk about compound clips will also see it in terms of switching between projects, and we'll see it when we do multi cam editing tomorrow in this case, double click on internet to load it into the timeline let's click on the project the library called dr cerf I've created a serious of audio files that's what the green represents green means audio only, and it happens to be music in another role. No music up here or I've got sound effects or even more so max, and you also need to have the sounds of spaceships because spaceships make noise, you know that, don't you anyway, we've got we've got b roll b roll is a technical term. That is used to describe pictures that illustrate what the speaker is talking about it's an old film term because we used to edit film on what are called flatbeds things like kim and there would be two roles in front labeled a and two rolls in the middle labeled b and are talking head sync sound would go on the a role and the pictures that illustrate the sync sound would go on the b roll. So back in the old film editing days after movie yolande around camp km we would call b roll it's the pictures that illustrate what they're talking about us talking about it the term stuck and even now there is no such thing as an a roll or a b roll but us old fogeys keep calling it that and force all the new people to call it the same thing we also have dr cerf being interviewed and here is dr cerf talking about the interplanetary internet the whole clip runs about three minutes but I'm going to just play the first little bit of it because this is what we're gonna be editing into our sequence there are some really exciting things coming on the internet you can see the leading edge of this already voice over I p is an example of that we experimented with this in my community back in the nineteen seventies but not in any quantity so today we've got a telecommunications industry that's on its ear. Thank you. Because we could do things now with the internet that no one ever really seriously thought we could do but there's more in another role that I have the jet propulsion laboratory we've been working for the last six years or so on the design of an interplanetary extension of the internet and some people imagine when you know what you do. Okay, close enough. So we're going to cut this down into about a forty five, forty eight second soundbite that describes what j pl is doing to be able to provide interplanetary communications via internet protocols between the earth and mars. So let's, go to the internet and let's find this start and I'm not going to adjust audio levels. And dr cerf was recorded very soft. So if we could boost the audio just a hair that would be great. Let's, take a listen to what he has to say it's on its ear. Thank you, because we can do things now with the internet that no one ever really seriously thought we could do but there's more okay, right after he says, um, I'm going to set it in so type the letter che to go backwards space bar to stop play it may spark in another uh, right there normally use the arrow keys and when a really zero and type the letter I to set an end in another role that I have the jet propulsion laboratory we've been working for the last six years or so on the design of an interplanetary extension on the internet okay sets base part of stop type the letter o to settle now type the letter e and I've now edited that shot down to the timeline hit the home keep playing another role that I have the jet propulsion laboratory we've been working for the last six years or so on the design of an interplanetary extension of the internet okay now let's just arbitrarily pick another shock someone to illustrate something and I'm going to pick something from b roll and I'm going to work with uh let's create something new option and new b roll gonna stored inside that library obviously I can't spell and command I'd import let's go to the source media and find the nasa clips that I've sized properly for this click import yes and all that stuff is good close the window and now I've got my national clips I'm going to edit this shot here of a screaming yellow sun I'm gonna put it right next to dr cerf types the letter e and I'm going to change this display so we see all picture and make it a little bit bigger as we look at this this is all sound I don't see any picture this is twenty five percent picture, seventy five percent sound terms of the display, only fifty percent picture, fifty percent sound, seventy five percent picture, twenty five percent sound all picture and a reduced view, which allows me to see lots of tracks on screen at the same time. I generally work with either fifty percent sound or if I'm doing, I'm generally work. Yeah, I generally work between these two, but this fifty to seventy five percent picture for right now I work with seventy with fifty percent and close this shift z so aiken have it scaled to fit the image and now we'll just type command I to make it just a shade smaller. Not quite so much smoke out of control. All right, now what we've seen is if I said it in and if I said it out, you were there. Uh, kill this. Don't touch your audio, I'll control it from here. There we go control room is no longer talking to me because I gave them very, very loved sound, but their ears will recover in just a bit. I now have this martian footage right here if I click this button, which is thea pendant it or types the letter e noticed that mars is added at the very end of the timeline which is what we would expect, but what happens if I don't want mars added to the end of the timeline? What happens if I wanted inserted between two shots? We don't know how so I select my martian footage, and this time I click on this second icon keyboard shortcut is w and when I do, my martian clip is inserted between dr cerf and the solar flare from a story point of view, this makes zero sense, so I'm using this simply to illustrate how the technique works, which is that why put the play head where I want the inserted shot to occur? Select my clip, click this middle icon or type the letter w, and I've inserted the new shot between the old shot so so far we've done independent at it, which adds to the end of the timeline and an insert at it, which inserts at the position of the play head a new shot between two old shots. But what happens if what happens if notice? I'm one, two, three, four sons in I've got a total of four more sons to go to, so I'm only four sons into that clip. What happens if I want the martian clip to replace what it lands on is called an over right at it and there's no over right here there's a secret keyboard shortcut that we can't tell jim that when I typed the letter d as in david, watch what happens in two one d at the position of the play head, the new clip coming in from the browser totally replaces the old clip not only replaces it but makes it disappear. What I'm doing is adjusting the audio levels to make the audio be silent, so for right now we'll talk about that more. When you talk about audio, I just want to explain that that that's what I'm doing this adjusts audio levels hold out till later highlight the clip hit the delete key. I can also do one other thing, and this is the coolest thing of all remember in premier or in final cut, we need to target tracks to determine if a clip is going to appear on a bass track or ah higher track and when we were dealing with targeting tracks and we have to worry about patching the audio and patch in the video in the final cut it's a whole lot easier, you simply select the clip that you want to add as a b roll the image that illustrates what we're talking about and you click this button right here it creates what's called ah connected clip notice that automatically without me doing any patching this mars rover clip now appears above higher than dr cerf this is a connected clip and the rules of video and final cut ten are the same as the rules and video in premier as in avid clips on higher layers block clips on lower layers now jim put your photo shop helmet on in photo shop if I have a layer above a different layer which is in the foreground the the above layer the the top layer the top layer same thing here the nasa marsh clip totally blocks the clip that's below it in fact as I play through here we've been working for the last six years or so in the design the instant that clip appears final cut switches to the higher layer it's exactly like photoshopped except stuff is missing stuff is moving not missing but moving working for the last six years or so on the design so a single keystroke or this icon what's the key stroke the keystroke has put the play head where you want the clip to go select the clip click this icon or type the letter q the letter q automatically in search the new clips on the design of inter on top of the old clip now jim you're the only person that keyboard in their lap I want you look at your keyboard for just a second notice the letter e what's immediately to the left of the letter e b w doesn't insert at it what's the left of the letter q the letter w q and that would do a connected at what's immediately below the letter e d that would do and over right at it so with a single hand e w q d although the letters themselves don't make any sense, it means that I don't have to move my hand. I just have all four fingers on that. Q w d d and I've got one hand on the mouse or the shuttle pro. I've got a second hand on the keyboard and without moving my hands as fast as I can imagine what the clips are. Boom! They're edited down to the timeline e a pendant a w insert d overwrite q connected at it all with the keyboard, all with no patching, all with no gaps and everything automatically going where you expect it to go well, let's quickly put, this is making sense so far. You still with me? Okay, now let's, build the rest of this talking head out because there's a really cool thing I haven't shown you yet. Let's, go back to dr cerf last six years or so on the design of an interplanetary extension of the internet, and some people imagine pointing out, what are you doing? You're building this interplanetary in and and hoping somebody will come and no that's, not what we're doing, what we're saying is that we want to stink, okay? I'm going to do the right after he says what we're saying is that I'm gonna cut after that so we want to standardize is the end j x no, we with his space bar tell saying is that we left our okay right there in the letter I too set in in we want to standardize the communications standards, the protocols they're used in space, because if we do that each time we watch a new mission to go to saturn or jupiter, one of the outer planets or around mars, if there are existing communications assets that are already out there from an earlier mission, we can use them because of the standardization. Okay, now I'm gonna edit out of standardisation before that out the letter e noticed the play head is the middle of clip type the letter e it adds the clip, but listen to what playback because this is the big problem. The magnetic timeline provides the extension of the internet we want a standard extension of the internet, we want to stand extension of the internet, we want to stay it's too tight, there should be room for a breath there were losing the rhythm of him talking because those two clips are magnetized together they're so tight that we can't get a natural feeling it sounds like it's art officially added it, and we can only get away with that inside the commercial, but if I grabbed the clip and drag it, if I grabbed the clipping, if I grabbed the clip on dragon, if I grabbed the clip and drag it, obviously the magnetic timeline snaps into place and there's, no way to leave a clip hanging out. Oh, I just left a clip overriding the magnetic timeline this is caused by a really cool tool. I have noticed you two yet it's called the position tool comes from the toolbar. Let's, take a look at how we've been working our way across this does importing this allows us to rape favorite on delete this does keywords. This does editing the tool bar the tool palate thes tools here allow us to do specialized functions zoom tool allows us to zoom in, zoom out that's command plus command, minus the hand tool, allows us to move stuff. Frankly, I don't use either one of these, but I used the rest of these a lot, and the position tool allows us to override the magnetic timeline. I congratulate clip, and it doesn't snap to the edge of the other clip when the position tool is lip instead, it adds gaps, which are physical pieces of media, it adds gaps so that I can have a distance between the first clip on the second and listen to what happens in that distance is relatively short on interplanetary extension of the internet. We want to standard up. Okay, let's make a little bit shorter, but notice how now it seems like we're adding a breath, we're adding time for him to think about his next sentence pension of the internet. We want to standardize the now the astute among you will say, hey, larry there's a flash of black there I'm going to cover the black with b roll we already saw the nasa fighters covers that, but I need to get the rhythm to sound right mentioned in the internet, we want to standardize the community. So what the position tool allows me to do is to override the magnetic aspect of the timeline so I can position clips anywhere without them snapping together than to turn the magnetic timeline back on again. Go back to the select tool and now when I snap it, it's going to snap back and touch against that gap that I've added right there, another cool thing you can select the gap control do hush control d that's how we separations I want to have this be a seven frame gap, I just type seven and now when I play it on the internet we want to standard up on the internet we want us so just asai conceptual rations up here, which I did before with three seconds or four seconds I can highlight anything in the timeline type control d it displays what my duration is I'm able to change the duration simply by typing a number and by the way, you just type numbers final cut will automatically add the punctuation if you don't want to make any changes hit the escape key and you're back out again. All right, so what we've just seen is that we can now add clips to the timeline shift disease so I can see what's going on let's uh go to the end of the time let's go back to dr cerf and if you follow the rules, then you could interconnect to and interact with the seven hundred, eight hundred million devices that are already on the internet today, but what we'd like to do is to make the space exploration effort supported in the same way as we've been able to support communications terrestrial okay, so what we'd like to do with seven hundred, eight hundred million devices that are already on the internet today, but what we'd like to do is to make space exploration effort supported in the same way we've been able to support communications terrestrial so it turns out and e and let's do one more while we're here and the thing that works to rest early called t I p doesn't work very well over interplanetary distances because the delays are literally astronomical is a speed of light it's twenty minutes one way for a radio signal to get from earth tomorrow when the tour for this department orbits that forty minutes round trip time believing protocols that are not prepared for that kind of roundtrip time delay that have to be changed but we have now a set of standards for this were hoping we'd be ok back up changed that your name's vanessa and hey well but we have to right their well but we have ok that's my end I'm now type l twice to go at double speed sound standing holding leading teo we'll be having more snow reporter in record numbers without knowing to sport space far l for admissions for the next decade uh on the surface of mars and possibly going to the outer planets stop out and e so what I've just done now select the position tool the letter p and here's another cool tip with the position too well selected I don't have to drag it type plus seven sector seven frames at whatever is selected moves whatever time I type in select this clip plus seven enter I just moved the selected clips seven frames to the right which automatically creates a seven frame flash of blacks and now when I play this standardization but what we'd like to do is to make the spate feeling so but we have now okay let's trim that back a bit control d seven thank you ization but what we like to do is but double breath will leave it for right now normally tomorrow I would teach you how to trim that out of their terrestrial but but I don't want to do that today he's dressed really but but it violates my directorial ethics to leave it and drives me nuts but we much better okay, so shift z and we're finished we've got dr cerf and he's doing a piece of presentations about fifty four seconds long we've built what I call the radio cut the radio cut concentrates on lee on getting the story right notice I haven't added any titles I haven't added any b roll I haven't done any color correction I haven't adjusted any audio all I want to do is focus on getting the story a cold once the story is told then we go back and we start to polish it but at the minimum I have to have a story do I have ah beginning a middle and an end and the answer is now I do I've got the whole thing complete, it runs less than sixty seconds it's got a nice beginning middle and an end and people are interested in what he has to talk about now we have to go back and cover these flashes of black we want that's bad flashes a black or considered career limiting for an editor it means that you are completely inept and the producer will fire you after they get done humiliating you in public for being totally enough than having a flash of black and your video to begin with. So we're going to go to r b roll coverage and the first thing we're going to do is add the spinning earth here's the quiz philip you're ready for this? What keyboard shortcut would I use to set the start of my b roll? I believe it's eye what keyboard shortcut what I used to set the ending of my b roll oh is it not the same as my talking head? Yes is it not the same is importing yes is it not the same as final cut seven? Is it not the same as premier and why are people saying final cut is hard to use it's everything we already know anyway we're going to set the end what what letter do I forgot what I used to set the end? I think it's okay good I'm going to use the letter I wanna type control do you? I'm going to give myself a four second shot and this time I'm going to click this icon right here remember this icon does a upend add it to the end of the primary storyline that's this dark gray bar here this doesn't inserted it this doesn't connect it at it and there is the earth the extension of the internet ah there was the earth hang on a second let's get this right let's do this one hmm I'll work with that and we'll type that and so now we have the earth in a few thousand years extension I amused myself. All right, so we now have the inner planet the extension of the internet and we play this notice that as soon as I have one clip stacked on top of another clip the top clip becomes visitation in the internet we want to standardize and notice now you don't notice that gap. It just sounds normal because you don't see the flash of black calling attention to itself listen again planetary extension of the internet we want to standardize the communications standards protocols they're used in space because ok but I don't want to cut to him I want to cut to say this um oh this star footage right here let's find where that star footages I turn on skimming by typing the letter s type the letter I too set in and find where that er thing he disappears right about there type o and now when I added this down by typing q notice the position of play had does make a difference will turn off skimming by typing the letter s the play head is there. Q and I leave a gap, and if we listen, we have a train wreck that just occurred. Listen carefully, see if you can hear the difference. Pull the volume down just a little bit space because of washington d c o yeah, there's audio on my b roll see that way form right there. I don't want the audio in the b roll would be nice if I could edit this video down to the timeline and have it at it video on lee, or have it at an audio only that's the small downward pointing arrow look at this! We've been going in a straight line across everything we're now reaching the downward pointing arrow when I select this video on ly keyboard shortcut is shift to now it at its video only to the timeline. Select the clip, type the letter q no audio or select the clip point the downward pointing arrow notice I've got blue icons here, I want to go with green icons and type the letter q, and they're down below I've got the audio, but no video, this allows me to determine dough, I want to add it audio and video shift one video only, she shift to or audio only three now I count of course removed the audio remove the video you'll learn how tomorrow but it's easier to not put it there in the first place I select video on ly select the clip type the letter q and drag it over so the two clips touch if you need to move a clip typing period moves it to the right typing come moves it to the left and the clips do not overwrite each other notice here if they bump into each other, they instantly shuffle out of the way. This reminds me of the night bus in harry potter the building's move out of the way, the buses it's careening down the street period moves one frame to the right shift period moves ten frames to the wright comma moves one frame to the left shift comma moves ten frames to the left. I'm going to just use the arrow keys until the two clips nestle in next to each other and make this little bit shorter by just grabbing the end of the clip on dragging it and then using the up and down arrow keys up and down arrow keys allow me to move between shots, all right, let's, try one more, but, um let's use uh, the planet here, all right, we've got a planet flying out here at us all right that's our first shot left roky jakey type the letter I wait for the two planets to circle the son of the sun to circle a planet's o type the letter q that's good now let's try another shot here l a few times to fast forward to find the flying in planet and back up I'm using the arrow keys right about their types the letter I on types the letter o type the letter q we've got the planet flying in I'll just grab the end make a little bit longer find where our friendly neighborhood martian rover is wait for the dissolved wait for the dissolve to be complete type the letter I kill the sound coming off my system on dh find where the martian rover sails off to the sunset right about there setting out type the letter q noticed that because the play had was in the middle of a clip the two clips don't erase each other they overlap each other to make sure that there's no problem so again here's how it looks slips my fault it's how it looks but not how it sounds tears yourself on the design of an interplanetary extension of the internet we want to standardize the communications standards the protocols they're used in space because if we do that each time we watch a new mission to go to saturn or jupiter one of the outer planets or around mars if there are existing communications assets that are already out there from an earlier mission, we can use them because of the standardization. But what we'd like to do is to make space exploration effort supported in the same way. We've been able to support communications. Terrestrial. But we have now a set of standards were done.

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.