Apple Final Cut Pro X: In-Depth

Lesson 17 of 42

How We Hear

 

Apple Final Cut Pro X: In-Depth

Lesson 17 of 42

How We Hear

 

Lesson Info

How We Hear

Take a look at what the keyboard shortcuts were at the end of our proceeding section this is the letter a select the arrow tool be selects the single blade track tool and if you type shift, believe me, which is what I was just blanking on at that moment it cuts all clips with the blade tool, so be cuts a single clip and shift be cuts all clips t selects the trimming tool, comma or period moves the selected at that point, the selected clip left one frame with the comma or right one frame with period shift comma shift period moves the selected edit point or clip ten frames to the left or the right command be command to be cuts all selected clips at the play head or if you have the skimmer active, which is why I hate having to skim a timeline, it cuts everything at the skimmer position and something you end up with sliced clips. You didn't know what you were doing control d changes the clip duration and shift x moves the selected edit point to the position of the play head moves the selec...

ted at a point now there's someone that I don't have here, which is a command g, which turns a connected clip into connected storyline what I want to talk about in this session is I won't explain how we hear talk about some audio basics will use the audio meters, adjust audio levels and pan used key frames to create audio animation, work with multi channel audio, discuss rolls and work with dual system sound I think I've got this ninety minutes section down to about four and a half hours so I think to get it all to fit inside ninety minutes I'm just going to drop every other word it's easy to say and hard to do anyway will try and squeeze as much in this we can that's why questions are so important let's define a few terms first mono is a single channel audio that place back equally on both left and right speakers giving the illusion the soundest centered between them amano sound does not come out one speaker it's the same sound coming out both speakers the left speaker and the right speaker which means that when the sound is equal in volume coming up both speakers it gives the illusion of coming from the center between the two mano is a really, really important concept for audio mixing we'll see that more in a minute stereo is two channels of audio one for the left hand speaker and one for the right hand speaker that gives the illusion of sounds moving between the two speakers car panning from left to right or from right to left stereo is the default audio output for final cut pro tem surround I was having a conversation with some audio people last night for dinner and surround is now up to ten point two channels, but normally we think of surround us five point one, six channels of audio playing on speakers that surround the listener horizontally, giving the illusion. The sounds are moving in a three hundred and sixty degree horizontal circle around the listener. Multi channel is a special form of mono audio. Ah, multi channel audio clip contains more than one channel of audio. The most common number of channels is, too, and this leads to what's called dual channel mano audio. This is probably the most important audio for most of us to use when we're recording our projects. Dual channel monitor is a clip where one sound like an interviewer is on one channel on a second sound, like a guest is on a second channel. The two channels are in sync, but they are not related. For instance, just compare jim to myself. If I was doing an interview with jim, finding out what it's like to be a world class art director, I would have gyms, audio on one channel, and I would have my audio on the other channel that way, I'm able to edit jim's audio and adjust his levels from his very soft and dulcet tones into my very loud tones because I just have learned to speak louder so I want to have separate level control over my volume than over jim's volume I can't do that is a stereo pair I can do that as dual channel mano we'll talk more about that as we go farther into this session remember that with dual channel mano each audio sources monaural means it comes equally out the left and right speaker giving the appearance of being in the center and it's recorded two separate tracks recording interviews or recording each actor to its own audio channel makes a great deal of sense because it simplifies editing so at great personal expense we have added a very high quality demonstration segment because this is the kind of show that needs no stops withheld I want to talk about how we here let's go over the white board imagine if you will that I can draw uh this is going to be so much fun for me and so much pain for you human hearing is considered a range of sounds that goes from roughly twenty cycles per second at the low end twenty thousand cycles per second at the high end twenty thousand cycles per second is such a high pitch it sounds mohr like wind going through the pine trees where twenty cycles per second is such a deep pitch that it feels more like a vibration than it does a ah specific tone the lowest note on the piano all the way to the left when you push that deep bass key is twenty seven and a half cycles per second, and the highest note on the piano the highest to the right is four thousand one hundred eighty six cycles per second. So the range of a piano starts pretty close to here, but not all that way down and ends about in the middle everything that we hear, whether it's music or speech or sound or noise, whatever it happens to be. Every sound we hear is essentially a range of rick since he's from twenty cycles per second to twenty thousand cycles per second, and that assumes that you're eighteen years old. A three year old here's far below and far above that in a sixty year old is restricted in terms of what they can hear, because as we grow older, our ability to hear that wide a frequency range diminishes. Well, frequencies are essentially pressure waves that looks something like this. We have a wave that flows through the air from whatever source originated the sound to art your drums. In fact, the way that sound is created, wait, take a big lung full of air, and the muscles in our chest compressed the air and force it out in short. Blasts across our vocal chords which causes our vocal cords vibrate setting up a pressure wave which flows through the air till that slams up against decide our ear drum causing the eardrum toe vibrate now there's nerves inside that ear drum that sense the vibration and convert the vibration of the year drums into electrical signals that nose neuron is those electrical pipes go from our ear drum into the brain and about a year and a half ago we finally discovered the part of the brain that actually turns those electrical signals into sound senses that our brain interprets is sound whether it's noise or music or speech what's interesting is the bundle of nerves that goes from the ear drum to the brain is composed of neurons and those neurons or biochemical job ese and the on ly fire up to five hundred times a second to this day we have no idea how we hear frequencies higher than five hundred cycles per second because biochemically the neurons don't fire any fashion than that, but clearly we hear far beyond five hundred cycles per second in tow two thousand cycle's twenty thousand cycles per second and we're still not exactly sure how that actually works so we now know that we're dealing with a pressure wave well let's take a closer look at this pressure wave because as jim so beautifully did last yesterday, he pointed out the fact that computers don't have ears so we got to find some way of converting a pressure wave which looks like this into something the computer can hear now this is a pure sine wave and the actual sounds that we hear are much more your regular than that but if we can explain it for sine wave we can explain that for everything else here is the problem this is what's called a smooth down a long curve there's an infinite variation and changes move from on area of high pressure either positive high pressure or negative high pressure or an area of zero pressure and engineers love to measure stuff so they measure this isa siri's of voltage is where the maximum pressure is plus one vote the minimum pressure is minus one volt in that line across the centers called zero crossing line zero crossing linus where there is frequency information but no volume information there's essentially this is dead quiet positive and negative and it doesn't make any difference if a sound is positive or negative it's equally loud regardless of which side of that zero crossing a line it's on well the computer hates smooth curves because the computer like storing numbers in binary form oh jim, wake up! This is the really important exciting stuff do you know that there are ten types of people in the world? The first is those who understand binary and the second is those who don't I will wait. I'm not counting that up to ten, please. Okay, so we have zero. One, two, three, four, five, six, seven, eight, nine everything inside the computer is stored as a one or a zero. So when we count to ten that's actually two zero. One, two, three, four, five because all we have the store inside the computer are ones and zeros. So when we're storing information inside the computer, we have to reduce that information. Binary numbers there's a bucket there's, not a one and a half there's, not a ten and three quarters. I've got these individual buckets, which store stuff, and what those buckets mean is is that I can't have a smooth curve. So what we did from a computer point of view is that we took this perfectly smooth curve, and we sliced it into time. Slices called samples, and we measured the average voltage across each one of those samples. And then we store the average voltage in the computer as a single number that says, for that duration of time, the average voltage, the amount of pressure is that number, and we end up with a stair step look of our audio now, assuming that I can draw, which is not a safe assumption, this stair step. Starts to approximate the shape of that curve so we can get it to beam or accurate by making the samples closer and closer and closer together. So we end up with this pointillist drawing where each sample is like a dot, and I have the dot again, assuming that I could draw, I could draw a serious of dots, which would be close to, but not exactly the same shape as that analog surface. Now, as I know you remember from high school physics, the nyquist serum states that if I take the sample rate and I divided by two, that equals the frequency response you you do remember the nyquist serum from high school physics? Yes, nyquist theorem and y q u esti. Well, the nyquist theorem states that if you take the sample rate divide by two, that equals the frequency response, which gets too this interesting point. If we record audio at a sample right of forty eight thousand samples per second, and we divide that by two that yields off frequency response of twenty four a thousand cycles per second, which exceeds human hearing. So the reason that we're recording audio for video at forty eight thousand samples per second is it gives us a frequency response that exceeds human hearing, which means that everything we record we can hear. So now you're wondering why we picked a sample rate of forty eight thousand that's because it represents the full range of human hearing plus just a little bit extra just to be safe so sample rate controls and determines the frequency response of the audio that we hear audio however, is much more complex than that audio is not linear audio is log rhythmic what that means is it's not a straight line it's a hockey stick if we go back to frequency remember the frequency response that we have is what's twenty thousand twenty cycles to twenty thousand cycles and for those of you that studied music every time the frequency doubles we go up in octave so if I started twenty cycles per second and go up to forty, that doubling of frequencies increases the pitch by an octave from forty to eighty eighty to one sixty one sixty two three twenty three twenty two six forty rounding slightly to twelve fifty twenty five hundred to five thousand to ten thousand twenty thousand. There is as much difference in pitch in these ten thousand cycles up here from ten thousand twenty thousand as there is in those twenty cycles down there from twenty cycles to forty cycles human hearing is a ten active range and human speech is roughly in the middle of it from about two hundred cycles to about seven thousand cycles and there's a little bit of grounding and there there's about two and a half octaves of sound below the deepest human voice and there's about an octave and a half of sound above the human voice guys voices air on the lower side. Girls voices air on the higher side. The reason I mentioned this is that human speech itself is divided into two categories. Vowels and constants. Vowels are all low frequency sounds. They provide the voice it's, warmth, that's richness, its sexiness, it's identify ability. The low sounds a e I o and u are what make the voice sound unique to ju mar teau ad or to philip or myself or to you. But that doesn't provide clarity. Clarity has provided through diction. Diction is provided through continents and continents are all high frequency sounds. T and p and k jim, I'm going to embarrass you for just a second, but I need you to do an experiment. Okay, sure. Okay, I want you to say the letter l afis and frank f and I'll say the letter s and sam sam okay, bonds between a mess sf sf sf sf now the difference because both of those africa, tibbs and both of those reforms by having air whistle across the tip of your tongue on the roof of your mouth there's a hissing sound with the letter s and there's no hissing sound with the letter f they are exactly the same letter, they're formed exactly the same way if the hiss is there it's an s if the hiss is not there it's an f and that frequency of the us being able to perceive it or not, it's roughly sixty one hundred cycles for a guy and roughly eight thousand cycles for a girl. So if you're talking to me on the phone and you say let's, go meet it. S st if I can't hear the hiss that I don't know if you're talking about street, as in frank rs streets and sam and the problem is the telephone doesn't pass frequencies as high as six thousand cycles, the phone stops thirty five hundred. So even if you had perfect hearing, you'd be unable to tell the difference between the letter f isn't frank and ss and sam, because the actual frequencies required to distinguish that particular letter are missing because the telephone doesn't carry that frequency. The reason this is important is let's, say, and ed will pick on you for just a second. Let's say that you're doing an audio mix for, uh, program for sesame street. If you're mixing for three year olds they've got the hearing of bats you can put any kind of sound there you want they'll be able to hear it but if you're mixing for sixty year olds you want to boost the high frequencies to make sure that those those those high frequency sounds the continents are clearly understandable so that people that are actually listening to your program understand what's being said not simply hear that somebody is talking but be ableto understand what they're saying that ability to emphasize the high frequencies makes it possible for adults to be able to clearly hear your program so being able to distinguish low frequencies which give a voice its richness and its warmth versus high frequencies which give a voice its clarity is critical okay, well we've seen that frequencies are log rhythmic but equally important is volume and if you remember only one thing from this whiteboard speech I need you to remember this next statement and that is that audio levels must not exceed zero d b not once not ever not for a little bit not for a fraction of a second not because it sounds really good not because you want to not once not ever not at all period there are three fireable offenses for an editor. Audio levels that exceed zero is a fireable offense. Number one light levels that exceed one hundred percent white levels is is offense number two and chroma levels that exceed over saturate is offense. Number three. We're going to talk about audio today we're going to talk about white levels and chroma oversaturation tomorrow, there's no excuse for audio, which exceeds zero d b, and the reason is remember we talked before that that binary that the computers store information as binary numbers there's a fixed range of numbers that we can store audio volume two when those range of numbers is filled. When your volume exceeds zero there's no buckets to store the information she gets thrown out the back of your computer it's little bit feet falling, kicking in the air, dying slowly on the carpet while the audio sounds crackly and pop lian and distorted an awful enters not a technology on the planet that can fix it. Audio levels must never exceed zero d b, but audio levels like audio frequencies are also log rhythmic. When my level hits zero d b, my audio games that one hundred percent every time I drop the audio gained by six d b, my volume is cut in half. Negative six d b is a fifty percent game negative twelve d b is that twenty five percent game eighteen d b is twelve point five percent game every time might gain drop six d be the perceived audio volume is cut in half, so I wanna have my audio be as close to one hundred percent as possible and yet never go over one hundred percent, which gets to the last point that I want to make before we go back into the software. When we're recording people on set not for alive, but when we're recording people on set on audio engineer will always record audio a little soft because they don't want to make the don't want to run the risk that audio that's recorded on set is distorted, meaning that the audio can't be used in production, which would require that audio engineer to be fired. They never work again. Employment is a good thing, so audio on set is always recorded around minus twelve minus eighteen d b when the actors are talking normally, but in post we want to boost it up because negative twelve, the negative eighteen leaves way too much game on the table, we're not able to take advantage of the full power of the human voice music, on the other hand, has recorded entirely differently music is recorded as close to zero as possible. Most heavy metal music is mastered. A zero most loud rock music is between zero and one tenth of a d be below zero, and most accused of acoustic music is bouncing around negative six, the negative three it's all loud, which means that we've gotta pull the gain of the music down and pull the game of the actors up, which is the whole process of adjusting audio inside our video editing application. I need to make our actors louder need to make the music softer, and how we do that is what we work with software to do. So let's, go back to the computer. Is that not cool stuff? I mean you now you know what, what samples are samples, simply determined frequency response. This has a direct implication in terms ofthe when we do video compression on audio compression cause. By playing with the sample rate, we can reduce the file size without materially affecting equality.

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.