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Apple Final Cut Pro X: In-Depth

Lesson 33 of 42

Effects Q&A


Apple Final Cut Pro X: In-Depth

Lesson 33 of 42

Effects Q&A


Lesson Info

Effects Q&A

Philo farnsworth says pre multiplied mix is always a stumper for me can you help explain no I've never figured out well, actually that's not true what happens is a pre multiplied mix happens when you're working inside photo shop and what it does is it pre calculates the alfa channel and deals with how the edges to be treated, whether the edges tohave a white edge or a black edge and basically if you don't like the edge of a superimposed alfa graphic changing the pre multiplied mix will make a difference it's one of those things were changing if you like it it's better if you don't it isn't yes sir j goodrich would like to note, can we animate a generator? No, I don't think hang on it varies by generator and the answer is in almost every case the answer's no, however, generators are motion projects you can create your own generator from inside motion when you open up motion, you create a new motion project you're able to specify do you want this to be ah motion project a title, a genera...

tor and effect transition if you select generator, you can then build your own generator anime and how animating it however you want inside motion when you save it, it automatically appears as part of your custom category inside generators so you can create emotion project that does anything as faras as animation is concerned, you just have to create it inside motion you don't created inside final cut terrific. Another one from philo farnsworth. How doe I import my own textures and generators into final cut pro ten you don't. What you do is you import your own textures in your own generators into motion and then what you do is you go to motion, you create a new motion project you specified as a final cut generator, all the facts and they distrust this all effects inside final cut are actually motion projects anything that you create in motion. Khun b saved so it's available inside the final cut but the step to getting any custom setting, any custom effect, any custom clip aside from just media because media you important final cut as normal but a custom setting is imported into motion and then from motion you save it, it becomes available inside final cut motion is the graphics processor them the graphics created the motion effects creator for everything. Everything inside final cut terrific and richard would like to know if I want to add an effect to multiple clips. How do you do it? Is there's something like an adjustment layer in final cut pro acts like in premiere? The answer is yes and no let's back up a step if I go to a timeline and we'll just click this clip and we'll just click this clip and we'll just quick this clip, okay, notice that I have three clips here, I'm just going to make them the same length just to make this easier to see effects are always stored per clip. So if, for instance, I wanted to here I have the text clip that I used in that other project, and I want to have this text clip appear over all of them. The effect in this case, it's the difference effect, it takes the opposite color to whatever this clip is on top of, because I've applied the blend mode to the text clip as I move from one piece of video to the next piece of video, the effect of the color changes okay, that's. One way to do it. The second is let's say that I wanted to scale this to fifty percent, but leave it in the middle of the screen. Go to the transform setting, change the size two, fifty percent on notice that now my images fifty percent size, but these guys, they're full screen aiken, select this clip, go to copy, select the clips I want to copy that effect to goto edit paste effects will paste all selected effects from the first clip to the selected clips or paste attributes. Allows me to say I just want to paste the position setting or I just want to paste this scale setting or I want to pace the color settings or the spatial con form setting I want to paste all these different settings in my case just scale to the new clips and now everybody is at fifty percent size, so one way that I can copy and share effects between clips is to use copy and paste attributes the problem is is that the settings are now specific to this clip so if I do assist you this okay, so here I've got fifty percent, fifty percent and fifty percent if I go back to this clip and I say I really don't want it to be fifty percent I wanted to be eighty percent all right, this clip and largest but I can't like an adjustment layer change these two clips because of settings are on a clip by clip basis not based upon the adjustment layer so here's the way around this you select the group of clips that you want to apply the same effect too. You go to the file menu new compound clip and we'll just get let that be the default you would call that whatever you want now all three of those clips are built into a single compound clip which I can now go to the inspector and scale this to say fifty percent and all the clips are at fifty percent and if I change the scale all the clips changed because the compound clip the effect is applied to the compound clip but the clips themselves are contained in the compound clips so it gives us essentially an adjustment layer to all the clips were contained by the compound clip jim okay I'm going to ask my water answered that one so if you jo jo would like to know if you do a custom project will it auto update as changes are made across the software you want to read that again slower sure uh if you do a custom project will it auto update as changes are made across the software if I do a custom project well it auto update his changes are made across the software would you care to guess what that question might I mean, I'm having a bit of a problem I think what we could do is maybe get more clarification from jo jo let us can more clear and we can move on to another another question project's settings can always be changed the problem is I'm having a problem with the phrase auto update can we create custom projects which are of arbitrary size yes we create projects which have arbitrate frame rates within reason can we create projects which have variety different codex again generally yes but definitely different different frame sizes auto update is a word I don't know and across the software is also a phrase I'm having a problem with okay trick so one hang on one sec shirt do you question it's a little off topic that's changed anybody in the chat room for him and sakes hold that thought, jim we're gonna have one last question and they will go to the room in here they want to know why you have out why does larry prefer to have auto render on that's from sound wise why does larry prefer tohave auto render on? Because that way I never have to worry about in effect playing in real time also yeah, I always have auto render on what let's just take a second describe background process jim could you ask me what a background processes larry, wait. Get a clarification from jo jo, by the way, but I will ask you what's ah wei what I'm asking I have no idea give me children's questions first. Okay? All right. Um it says if I make a change in the motion project generator with update in my final cut pro project uh if you have a generator that is in the timeline, any change you make to a clip in the timeline will automatically update if you select the generator in the generator tab you cannot make changes to it. You can only make changes to a generator once it's in the timeline once it's in the timeline let's say that I take this generator here we'll grab the let's grab natural and we'll just take the defaults if I select natural and I'm going to make a copy of it command see command v I now have two copies of natural okay it's the same generator but settings are based upon each individual clip so if I go up to the generator menu I change this to a flower okay this becomes the flower but I have not changed the settings of the second generation of that generator I could now change this to b say bark so it's the same generator but the individual settings are clip based there's not like a master generator where I change it once and it ripples through everything that's not the way final cut works there's a couple ways we can get around that but generators each each generation of the generator in the timeline is is distinct from all the others great we're good to roll maybe over here you're going to ask me a question that she forgot it already I did us yes well can you remind you what that question was could I define what starts with the word back and ends with the word ground all right can you define background rendering rendering that we go I knew and I knew you'd do you have a mind like a steel trap I swear jim you forget nothing through the definition of a background process is a background process will run as long as nothing is happening in the foreground, so when final cut is calculating something in the background, if I grabbed the mouse and I say play this clip, my clip will play and all the background processes will stop until I'm done playing the clip, then it waits whatever time you have certain preferences, and if nothing else is going on, it begins rendering again, so the background process always gets out of your way. So when you're playing something, you've got the full attention of the computer when I am exporting will exporting as a background process, but when I'm playing or trimming, whenever I'm doing something with the mouse, the play head or playback, all the background process he stopped this is the big benefit of having a background process is it waits on you? The good news is because the background process waits for me to get done playing, I never lose the full hardware capability of my computer. The bad news is if I'm really editing up a storm, stuff that was supposed to be rendering a background is going to take a little bit of time. Because it has to wait for me to get done editing in the background process won't calculate if I'm busy in the foreground that's why sometimes I'll be talking to jim because I'm hiding the fact that rendering us going on because if I were to continue playing, the clip wouldn't render because foreground takes precedence over the background and because the foreground is busy, the background won't render. But by talking to jim and and talking to you guys, I'm able to let the render occur because by weighting the background processes are nothing's going on? I give myself done, so if you want to render in a hurry, don't add it. If you want to just have a render and its usual due course, then just keep editing because final cut to get out of your way, it just means the background stuff takes a little bit longer. You had an off topic question I'm sitting down and anxious to find out what you got, but our night. We're talking about time lapse over break if I took my gopro out shot some time lapse photos, do I make it a compound clip and then adjust the speed in the timeline? Hasn't a single clippers in an image sequence image sink lits? If it's an image sequence than you're probably going to want to condense that? When you bring an image sequence into final cut, it comes in with each individual frame, a zits on little thing and it becomes really hard to manipulate one of the programs that's been around since the beginning of time is quick time player pro quick time player pro is on application that apple started selling with the dawn of computers, and it does a really marvelous job of taking an image sequence and turning it into a quicktime movie. Once it's a quicktime movie, you can drop it into the timeline you can add fage the top page, the tail speeded up. Slow it down as much as you want. Quick time is available if you do a search on the web for quicktime seven pro it's a twenty nine dollars upgrade to quick time and quick time ten doesn't have this capability. Quicktime seven does so just do a google search for quicktime seven take your image sequence converted to a movie. Bring that movie and you can change the speed as much as you want to simply play it at the speed that you shot it. You've got control over the speed of your time lapse and adding fades and it becomes a clip brother in the whole bunch of individual sequences quick time player pro twenty nine ninety five from apple's website uh it is outstandingly good not particularly current, but works great

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 DigitalProductionBuzz.com 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.