Skip to main content

Apple Final Cut Pro X: In-Depth

Lesson 42 of 42

Exporting and Sharing

 

Apple Final Cut Pro X: In-Depth

Lesson 42 of 42

Exporting and Sharing

 

Lesson Info

Exporting and Sharing

We talked yesterday about going to audition or pro tools and shy when it was asking about how to export to the different pieces of software. But I'm guessing that it's probably different for each. Actually, it's the same. Okay, Apple has pretty much standardized whenever you want to interface. Final Cut with any piece of software that whether it's ah reporting tool like producers. Best friend from Intelligent Assistance or X two pro from Marquis broadcast to go to pro tools or X to seven toe, create the XML for used to goto audition. In all cases, you take your project. Select the project. Go up to file Goto Export Project XML. This creates a single specialized text file called an XML file. Every utility reads that XML file and creates from it whatever it needs. The Marquis broadcast software called X two Pro The Letter X number two p. R. O. Converts the final Cut XML into an a F file, which pro tools can read the software from intelligent assistance. Called the letter X t 07 x 27 take...

s the XML file from final cut converted into an XML file which could be read by Adobe Audition and you can move the file into Adobe Audition. In all cases, the interface between final cut and any exterior application is exporting the XML file. Select the Project File Export Project XML creates a very, very small, very small XML file wherever you want it to be, and it does it blindingly quick. XML is extremely fast, even for very, very large projects. It'll take less than a second, maybe a second half output. I want to talk about out putting our final project. So let's go back to Dr Cerf. Let's go to the interplanetary Internet, see if we've got this and will close the effects browser and we now know how we've done all of this stuff. We know how to create a basic lower third and change its style. This is a really cool little title that flies in notice how it flies and kill the computer audio for second and flies in the title I like This isn't as a locator and the way that you get there is you go to the titles category, make sure you're on all type the word upper We're gonna type the word upper, but here we go and notice that there are a couple of different upper choices. You just simply click on it and find the upper title that you want. But the one that I like flies in from Oh, from somewhere It's there someplace. But it's on. There it is. It's under the sports category and it's designed is like a locator. I love this. It's a simple It flies in. You can retyped the name of description. We learned how to change the format of the text last yesterday, and it now allows me to use This is a locator. Well, if we think about it, everything else that's in this project that looks so intimidating. The first time we looked at it, we now understand. I've got Dr Serfs dialogue and audio and video. I've got sound effects. I've got music, I've got titles. The one thing that I want to do is I want to be able to take Dr Surf and apply a limiter. Filter toe all of his clips, notice I've selected Dr Cerf within that I now go to file new compound clip. I'm gonna call this doctor, surf for audio and click OK. It now replaces all those doctor surf with a single compound clips. Select the compound clip. Go to the effects men. You go down to audio levels. Find the limiter filter dragon on top of the compound clip. And now the compound clip amplifies adds the limited filter to all the contained doctor serve clips. Go up to the effects menu. Go to there again. We want to set doctor surf. It's part of a mixed negative 4.5. Any number greater than 250. And let's just play this and see if we can get this Teoh play the clip we've been working for the last six years or so on the design of an interplanetary extension of the Internet. We want to standardize the communications standards protocols they're used in space. So now I've got the gain is being watched and amplified by the limiter filter. I've got the mix with all the rest of my clips going on, and the compound clip allows me to apply a single effect to a group of clips. If I wanted to, I could then type double click the compound clips, select all of my clips, noticed they're all selected, go to the volume and pan setting and click in here and just set this 20 which resets all of my audio clips to zero so that they're not Upton 12 db they were before click the timeline History to go back, select this space bar to play it because that each time we want a new mission to go to Saturn or Jupiter one of the outer planes are around Mars. If there aren't existing communications, he is wildly divergent. Sometimes I gotta pull it back. Sometimes I've gotta push it up. That's why the limited filters so helpful that evens out his levels. And now my mixes done in another role that I have at the Jet Propulsion Laboratory. So the question is, how do we export this? And there's three things that I want to talk about exporting in the time that we have left. The first and most important is how do we export a master file the highest possible quality, and we want to export it in the least amount of time. The reason that we want to export a master file is because I don't know what the client is gonna want to do with it. Maybe they need to go to YouTube. Maybe they want to post it to their website. Maybe they want to put it to a DVD. Maybe it needs to go to a blue, right? Maybe it needs to go to Teoh. Ah, small little add on somebody's website. And the way the clients normally workers, they change their mind after the project is done. So I want out. Put this in a form that doesn't require me to go back into final cut every time I need to create a new version. The project. I want to have a signed off complete lock down, finished up with movie that I can then drop into compressor or media encoder, tell a stream episode and compress based upon what the client needs done. So I always always output every project is a master file and then compress that master file that way. Final cut is used for editing and compressor is used for compressing. Select the project. Go up to file. Go down to share share is Apple's new term for exporting and notice. We have a number of choices master file, save current frame as well as other devices if you remember. When I was talking about preference settings yesterday, one of things that I did not talk about was the fifth preference setting the destination preference. This allows us to configure the place libraries back up. This allows us to configure how we edit this allows us to configure how we play back. This controls importing. This controls output. We have all these different pre built settings, including custom settings that we can create inside, compressor and load up so we can custom compress whatever we need. Our video, compressed for by default, are putting a high quality master file. Is is the default. The reason that default is important is the default maps to the keyboard shortcut Command E Command E allows us to export our file. I can add a transition. Yoku, for instance, is a is a YouTube site in China. I could say I want output for yoku or toe. Do I can add my yoku log in information here the same way that I can add my log in information for YouTube right here I can add my my log In information. Aiken, remove a destination by right mouse clicking and say, Let's just delete that. I don't want to go to video someone to believe that I don't want to do. I do want to do Apple devices. I don't need YouTube, although I can. I can log myself in so it automatically puts the file compresses for YouTube and loads to YouTube. The reason that I don't do that has everything to do with humiliating myself in public. I want to output the file from Final Cut. I want to look at that output file and make sure that it plays okay that I up with the video, I'll put the audio I up with the chapter markers. All my text is spelled correctly. I have discovered more mistakes after I upload a file, because I'm now in the mode of looking for the mistakes and when I'm inside Final cut. I'm in editing boat and I've discovered I don't watch the screen as carefully as I should, so I always I'll put a master file, look at it, verify that it's correct and then compress it for YouTube or compress it for video or compress it from my website. So for me, it's all about making a master file that I can review the format is determined is preset here, and my basic feeling is if my render files are set to progress. 42. That's what I output. If my render files are set to progress four by four, that's what I output. I use Pro Rest 42 for anything that my camera shoots. I use Pro rest four by four For all my screen captures, there is a material difference in image quality. Off screen captures but not video. If I set screen captures, like Tell a stream screen flow, which is what I use for my tutorials, I used tell the stream screen flow and Apple Pro Rest four by four because it looks better for video. I always use Apple Pro rest for two to because I can't see a difference in stuff shot by the camera between 42 444 But I can see a difference when it's a screen capture. Why the method of capturing the image is different, so I set this to match my render. Kodak in the sequence. Select this Go to file share master file, keyboard Shortcut, Command E. Or you could click this icon right down there. Info allows me to add information about the video. I just leave that and move on. This is estimating how big the file is going to be. Clicking this check box says that if you up with this the way that it set its only playable on a Mac, that's fine. I'm gonna use it on a Mac to compress, and once I have a compressed format, it'll support whatever format I needed to have it be. Supporting settings allows me to override this. I wanted to be video and audio. I want to be progress for 22 It's going to be a standard def video. Linear PCM means un compressed audio. That's always a good choice if I'm using chapter markers and remember we talked about markers at the end of day one. I would include chapter markers when the project is done. What do you want to have happen to it? Well, in this particular case, I wanna have nothing happened to it, and I'm gonna have the roles be left alone. We'll talk more about roles for exporting when we've got more time, but where I want to make sure I cover off on the important stuff. Once that's done, click next. Given a name, give it a location, and when a store to the desktop click save off, putting is always a background process. Click the clock icon, open the background tasks window and you can see that I could be editing in the foreground are opening a new project whatever while that background output is going on. Command H to hide the application Command H Command W There's my movie double click it to load it up into the viewer. Closed the inspector. There's doctor surf, and it sounds like in another role that I have at 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. We want to standardize the communications standards protocols. They're used in space because if we do that, each time we launch a new mission to go to Saturn or Jupiter. One of the outer planes are around Mars. If there are existing communications assets that are already out from an earlier mission waken use them because of the standardization. But what we'd like to do is to make space exploration after supported in the same way as we've been able to support communications dressed, really. But we have now a set of standards for this. We're hoping we being JPL, are hoping to have a Mars Telecom Order orbiter in orbit around Mars around 2009 support missions for the next decade on the surface of Mars and possibly going to the outer planets. Now think about what you've just done from a standing start on Monday until the afternoon of Wednesday. In three days, you've learned everything you need to know to be able to achieve a really high quality documentary, a really high quality video drama, all using final cut. Now there's two more things I want to show you. That I'm gonna give it to Jim. One is, let's say that I want to create a still frame of the spinning earth. I need to use this for marketing purposes. How do, by export a still frame? We've learned how to create one, but not how to export. Put your play head on the frame you want to export, go to the file menu, go to share and notice there's a choice called save current frame. Leave the info alone. The settings, the defaults are all fine. You can specify. This is tiff. PNG Tiff is always an outstanding choice. Gives you the highest possible quality. Click. Next will give this a. Still we'll just call it Still store to the desktop. Save that command H and in a second double, click it open up. Still, it'll play inside. Goodness knows, own not Adobe. Let's just do hit space bar And there is the still again we can export stills. We can export master files. And if we get to the right software at the right time, we can also go to share. And we can export this to say for Apple Devices, which creates an MPEG four final cut, gives you all the ability you need to be able to import at it. Add effects to an output. Your project, Jim questions. We got him, sir. We got him. So I'm gonna start with a couple. There's more, a little bit more on topic to what we've been talking about just now. Why pictures would like some clarification. Can you Onley export a section of your timeline? You can export the entire timeline or section the timeline. If you want to export a section, select the range tool with the range tool selected. Draw a range. You will then export every track from the beginning of the range to the end of the range. Or if no range is selected, it will export the entire project so you can export the project. A single shot or a range of shots. Great Boris would like to know eyes. The final cut pro x X ml readable in Premier CC and vice a versa. The answer is yes and no. It's not readable natively, but its readable after you converted with intelligent assistance. X to seven utility X to seven converted into a final cut, seven compatible XML file and final cut. Seven. XML is readable by Premier, however, and there's a big if you're not a big if but a big thing. You need to know when I'm sending files between applications. If I'm going from final cut 10 to final cut seven Final cut. 72 Final Top 10 Final Cut seven to Premier final Cut seven to media encoder Media Composer When you are moving files from one major application toe another, the media will transfer perfectly. Your cuts will transfer perfectly. Your transitions will in dissolves and cuts will transfer virtually perfectly. Titles will not transfer perfectly. Effects will not transfer perfectly and clip re timing will not transfer perfectly. They will always screw up. And that's because the effects engines of all of these different Softwares are different. Consequently, if you're planning to move projects from one to another, as long as you're still in rough cut mode, you'll be able to move it from premier to final cut toe avatar anywhere you want in any direction. But as soon as you start adding effects when you move it from final cut anywhere or anywhere to final cut, you're gonna lose your effects. So what you really need to do is you need to figure out what you're gonna standardize for editing. Do your rough cut on one package, if that's your choice. But before you start adding any effects, move into the product, you're going to finish on auto desk, avid final, cut, whatever and then do all of your effects on that second package. Don't try to move stuff back and forth. It's going to break. Yes, sir, G money would like to know. Can you record a voiceover straight to the project? Yes, What you would do is you would select arranged with the range tool. I'm going to select a place to put the voiceover go up to and here I have to find it, because it takes me a moment to find it. But record audio. And now you can see my voice bouncing on the microphone, which is built into this Mac. I can say it's going to be stored inside the project events. I'm going to use the built in microphone. Or if I have a USB attached microphone, it'll record that I can adjust the level so it's loud or soft, depending about what I needed to be. And if I've got headsets, I can monitor it. And if I don't have had sets that I wouldn't check it, you would then click the button. It will then record, So the answer is yes. Terrific. We have ah question from Laredo and Florida for Larry. Will he edit my road trip video for me one more time? Will he edit my road trip video form? Absolutely. But you can't afford it. Awesome. So, Larry, we're coming down to that that time, and I would love to know if you have any keyboard shortcuts to show us. I was. We head on out on Lee one and that keyboard shortcut Is this command E what command he does? Is it exports of master file or whatever you set as the default when you are in the destinations? Preference. So if you are always exporting for YouTube, you can have YouTube be set to the default, which means command T automatically exports to YouTube, compresses the file and transfers it to your YouTube account. So when it comes to exporting or effects, it's almost driven. It's not keyboard driven, with the exception of command e amazing. Well, awesome. Thank you. So, um, any final words for those folks out there Larry who are just digging into final cut pro or have been doing it for a lot of years? Technology is important, but the reason that you're creating something inside Final Cut is not simply because you like using the computer. It's because you want to tell a story at the beginning. As you're thinking about what you want to do, you think about this story that you want to tell? Think about the audience that you want to reach. Think about what you want the audience to do. What's the call to action When they watched your commercial or they watched your documentary, they watched your short film. What do you want to have happened to the audience? Do you want them to do something? Think something. Feel something by thinking about what your story is. First, it makes it a whole lot easier to go and create that story in shooting or designing the artwork. And by keeping that story in mind during the editing process, you're able to make sure you stay focused on the audience and the change that you want to have happen at the end when people have done watching it, there's been a lot of controversy over final cut. 10 people have accused of being totally inadequate and totally different. It agrees it is totally different compared to premier or Abbott or even final cut seven. But it is also totally adequate for even the most demanding professional job. I have not been able to cover all the different features that are available to us inside Final cut. We've only had three days together, I could take another three or four days to cover some of these in more detail. Color correction alone would take a full day. But what I have tried to do over the last three days is to show you the breath and capability that the software provides so that you feel comfortable in creating your own project. Looking at your own media, editing your own story using final cut. The world is shifting very rapidly from a world in which people read books and read newspapers to where they're getting their information on Facebook and YouTube and social media sites, The world is not reading any more. The world is watching as I tell my students at USC. For people that are going to be leading the world in the future, leaders have to know how to create visually, not just communicate with text on a sheet of paper. Communicating, using video, communicating, using audio and powerfully communicating your ideas to the rest of the world is where we're headed. For the next years. Tools like final cut make that possible

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

ABOUT YOUR INSTRUCTOR:

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.

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.

Explore More Free Classes

THE CREATOR PASS

Enjoy the free classes? Get 2000+ more Classes and watch it anytime, anywhere.

Get The Pass