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Apple Final Cut Pro X: In-Depth

Lesson 22 of 42

Multicam Editing Part 1

 

Apple Final Cut Pro X: In-Depth

Lesson 22 of 42

Multicam Editing Part 1

 

Lesson Info

Multicam Editing Part 1

We're going to talk multi cam specifically I want to talk about multi cam editing creating a new multi cam clip, the multi cam angle editor, the angle viewer and its related event viewer editing and trimming multi cam clips and a few cool multi cam tricks that will try to work in many productions now shoot using multiple cameras at the same time for example live performances, soap operas, weddings or sports final cut uses a process called multi cam editing to simplify editing these multi camera shoots multi cam editing collects all these cameras into a single clip called a multi cam clip for a multi clip and place them all at the same time which makes it easier to decide which shot to take while watching playback. Multi cam editing requires all cameras to be recorded before editing we cannot use multi cam to switch live events they have to all be recorded and the recording has to be finished just to define a few terms. Angle means the media from a single camera in a multi cam clip a mu...

lti cam clip is a special clip created in the browser that combines different camera angles in tow one clip for editing multi cam clip can contain angles each having a different image size a different frame rate or a different kodak though it is generally a much better idea to trans code all angles to proxy and optimized media for editing efficiency a sink point is a specific frame in each clip that's used to align each angle with the others, so all angles play in sync in harmony together and bank is a set of multi cam angles, which reduces the number of cameras that we're looking at at one time to simplify the display and switching between shots. Multi cam clips are created in the browser, edited in the timeline and identified by a special ikon multi cam clips it can contain video, audio, audio and video or still image is the number of multi cam angles you can edit at once is essentially limited by the speed of your storage, which gets back to that first discussion we had on day one we arm or limited by our storage than by anything else in our editing system. Multi cam clips don't contain media. They just point to the separate video files on your hard disk and gather them to display in one clip. We cannot have multi climb clips, we can add it, multi cam clips live during playback remember their recorded there, not a live camera. We get out of the live switching as it's playing back in real time or at it one shot at a time, whichever you prefer, I tend to generally edit it, live during playback and then trim to get the shots to transition when I want keep in mind that each clipping a multi cam clip is a full video strength, which means that multi cam clips really tax your storage roughly speaking and depending upon kodak, a firewire eight hundred eight hundred drive should support up to four optimized video streams to dr thunderbolt raid should support upto eight optimize streams. A five dr thunderbolt raid should support up to twelve optimized stream ah better approach for multi cam editing is to convert all your media to proxy files for editing, especially if you're editing more than, say, ten cameras, which were small enough to play dozens of angles. Then for best quality, you, khun switch toe optimized media for final output. So the way that we create just a zen. Oh, by the way, jim, how many can I know? You are a opera aficionado? Oh, yes. How many cameras does the metropolitan opera shoot when they're doing alive from the metropolitan opera? Not nine cameras. Nine cameras. Do you want to stay with that number? Do you want to change that number? I'll stay with it. Right? Good. I'm glad you did. Who's twenty four they with twenty for cow. And the super bowl generally shoots with between twenty and twenty four campers pro football generally shoots well cameras getting lighter and are adding more and more cameras but for a long time they were between a seven and twelve camera shoot, but what we're seeing is the number of cameras that were working with any given time is increasing his cameras become cheaper and as uh, cameras become more portable, we don't need to have massive trucks moving cameras around anymore so but that camera is still generating a full resolution full size video stream and remember that roughly progress for two two is eighteen megabytes the second so if I'm doing ten cameras that's one hundred and eighty megabytes the second and we learned yesterday that a single hard drive only goes in one hundred megabytes a second so if I'm into multi cam editing, I really have to be into a raid to be able to deliver the data fast enough for me to be able to edit so just keep in mind it all keeps coming back to storage I was making that up, but storage is essential to being able to to be able to edit multi cam smoothly so the way that the workflow works is we import media and assign the camera name an angle and here we can create proxy files I'll show you how we do that in fact make a note because otherwise like jim fails to remind me about keyboard shortcuts I'll forget to talk about proxy files we then create the multi cam clip in the browser and we synchronized using a common sync point there's a variety of options we'll talk about those in a minute then we'll modify the clip as necessary in the angle editor edit the clip in the timeline using the angle viewer and then trim the clippers we would trim any other clip okay that's the workflow and that's what we're going to go through over the next half hour so let's see it let's get out of here and let's go to multi camp first if I am importing a file command, I and I decided I want to import this file let's go tio here notice that at the point that we import we can create proxy files by simply checking the proxy media chuck box this will happen during import that file's air optimized which means converted to pro rest for two two and proxy files are created which means converted a pro rest for two to proxy automatically in the background so I can start editing and final cut will do the conversion automatically but assuming that you didn't create proxy files during import and I generally don't until I figure out what the heck it is that I'm doing I want to create proxy files now so here for instance is a us four camera proxy file sorry for camera multi cam file hang on while I get myself to function here here we go okay, here is a four camera multi cam shoot I'll turn skimming on I've got a high wide tripod based camera this's ah I stance called moscow on ice which is recorded by ed green of green hd productions and as you can tell because it's of sd four by three this was recorded a few years ago but fun to talk about because it's a good illustration of how multi cam works I've got a high cover shot camera on a tripod I've got a low close up camera also on a tripod which is essentially dead center in the ice rink I've got a jib arm camera off to the right hand side which is changing the height and giving me some different looks from the side and then I've got a backup side camera also on a tripod that's used for cover shots and close ups it's just sort of given free license to do whatever it feels like, so those are the four angles that I'm working with. How do I create proxy files? Select the clip, go up to the file menu, go down to trans code media when you select trans code media notice that I've already optimized it's so optimized just great out but I can check create proxy media click okay and final cut homes and whistles and creates proximity you can see what it's doing by clicking this clock icon opening up the background tasks window this shows the percentage of completion down here twirl down trans coating and noticed that it's busily creating proxy files of each of these multi cam individual source clips and it doesn't take long because final cut has harnessed the power off the graphics processing unit as well as the the cpu to get this stuff generated so that being the case now let's just do something here I'm going to take this close up camera at it no just hush let's go to here okay let's create a new project command and we'll call it moscow on ice there should be echo their ice ice ice ice ice ice like pigs in space but nobody watches the muppet show anymore we're going to leave the set the first video clip we're gonna leave the audience video rental property set alone I could use the automatic settings that would work if I want to change the time code as we learned with creating projects we could do that click okay I now have a project I'm going to edit this down to the timeline and because I don't need to see the audio we'll just make this all video and let it go as is okay it's a beautiful thing now I want to change this shot from the optimized media to proxy media this change is done up here it's a switch you click the switch we haven't talked about this except when I first introduced the interface yesterday, but notice here I have the choice of of being able to do optimized or proxy switching between camera, original or optimized media and proxy files is as easy as checking the checkbox I'm now playing proxy files. I'm now playing optimized files. The difference is significant if I open up the utilities menu and open up one of my favorite programs inside the utilities menu, which is activity monitor activity monitor allows me to see just how hard I'm working my hard disks. If I play this clip here, make sure we're an optimized format, so we're optimized and hit the space bar to play the clip notice that when the clip is playing back, it's playing back at roughly o to test six megabytes a second, I would be expecting it to be about three point seven three point nine somewhere near so we're getting playback of around we'll just say four megabytes a second. It varies because there's cashing, going on and pre loading and all the other stuff that any kind of video software is doing, but if I switch this now to the proxy file, look at how the data rate is reduced notice here it's playing back just a fraction of the speed that we were working with before partly because it's been cashed into round, which is just really disgusting because it ruins my entire speech but proxy files take almost no overhead on the hard disk because they're tiny to begin with ah great way to measure this is using activity monitor which ships with your system it's located inside the utilities folder just open up utilities and play activity monitor I am always looking at disc usage and I'm looking at cpu usage and I'm looking at memory loading those air the three tabs that I have always checking and I see the results down here at the bottom and I ignore the stuff that's going on in the middle for right now we're going to close this will come backto activity monitor actually will open out shift command you to open the utilities folder, double click activity monitor to open it up and now we'll set this two disc and just ignore it for a couple minutes so switching between proxy files and optimized media is literally that it's a switch you go up to the switch inside the viewer and you switch it between optimized and proxy you will export whichever of these two you have selected, so if you select a proxy file which by the way is getting every other pixel on every line in other words it's one quarter resolution compared to the optimized file proxy files are tiny, they're designed to show you what's there, but not to give you the world's highest quality it's designed for speed and toe. Limit the amount of disc transfer speed you need between the hard disk and your computer, and it makes editing multi camps really easy, but it's, not the world's highest quality you can edit in proxy and and just before you're ready to output, switch this back to optimize don't have to change a thing. All of your effects air automatically applied all of your speed changes, timing, transitions, titles the world is it is applied to the optimized files as though you had done that originally, and all I've done is I've swapped out the proxy for the optimized just make that change export button and you can create a master project and you're done so when I'm doing multi can't work, I'm almost always switching to proxy files. If I've got more than, say, five or six cameras below five or six cameras with the raid and current macintosh computers, you can edit that natively or edit that optimized with zero problem. But as you start to get into five, fifty, ten, fifteen, twenty cameras, then having a high speed raid and editing proxy files is going to make your life a lot easier. I was doing a test of a raid over the weekend just before I got out here I was editing twelve streams of progres forty two optimized media in real time off for dr raid with zero problems so most of the time is long she got high speed storage you're gonna be ableto work with it easily without any difficulty. So now let's go to the effort of putting this clip together remember I said that we have to synchronize the clip well, the way that we synchronize clips could be based upon the time code associated with the clip for instance here what ed green did is he had the same timecode going to each one of his cameras so when they all started recording they all have the same timecode which makes synchronization with the easy or we can work with a clapper slate I'll show you that second or we can work with the date and time that you recorded it there's a lot of different ways that we can sink. So how do we put the multi cam clip together? Number one select the clips that you want a group number two go to file new and there it is multi cam clip and it opens up to create multi cam clip dialogue will call this moscow on ice we're going to store it inside the moscow on ice event and notice I have angle assembly automatic clip angle ordering automatic and I could leave angle synchronization on automatic what angle synchronization does it determines how the cameras are going to be aligned when this is set to automatic final cut will do its best to figure out how to sink the clips generally what you would do is you would have all of these on automatic check excuse me check the audio for synchronization and all the cameras will be synchronized based upon matching the audio track now ed I'm going to ask you a question you may not know the answer this and you're welcome to say I don't know but assuming that you have audio on both on all your cameras when would it not make sense to synchronize the camera's based upon audio halftime coat pardon when you have time code were okay but let's pretend that we don't have matching time code let's pretend that we have good quality audio recorded on all the cameras this is a hard question and again you're welcome to say I don't know you have good audio properly recorded on all cameras and the audio is the correct audio we haven't made any mistakes of production works there's no matching time code why would I not want to sink uncommon audio because sometimes the audio was too low on one camera and or one source and you're not going to be able to get a sink that way ok a very good answer because the audio quality varies too widely or the audio of levels air recorded too low, but in this case, the audience recorded properly, there are no technical reasons in the way the audio or the video was recorded. There are no technical reasons in the way the audio where the video was recorded that would prevent you from using audio to synchronize the camera except for one and it isn't obvious. Well, you got me on that one. Imagine your fill you want take it, gus, I didn't know this either, but I was working with a gentleman named mitch jacobson. Who's written a book called multi camera editing techniques, and mitch does a lot of stadium recording where you've got music groups in seventy thousand person stadium for every thirty five feet the camera is from the stage. The audio was delayed by one frame. If I have a camera, which is three hundred feet from the stage but got a huge zoom lens on it, I'm nine frames delayed because of the time it takes the sound to get to the camera recording on the counter mike, because of the distance involved. If I have a feed from the audio console it's not issue because electricity travels at one hundred eighty six thousand miles per second, but if I'm recording off a camera, mike and the camera is too far removed separated from stage than the audio that hits, the camera is out of sync to the video by one frame every thirty five feet so it's a perfect recording the levels are perfectly okay, but the camera is so far away that it's out of sync, having the ability then to either have matching time code on all the cameras or ah clapper, slate or ah flash camera that goes off, you can see the flash and you've got some sort of visual representation to sink the camera's makes more sense when we set this to automatic, and you thought I forgot where I was, but when we set this to automatic final cut is going to synchronize your cameras based upon the audio. But in this case, because I have matching time code on all four cameras because they were professionally recorded with time code fed to all the cameras, I'm going to set this to time code and click okay, almost darn it moved to trash sink my camera's file, new multi cam clip and uncheck audio for synchronization because if this is checked, it overrides the timecode selection so uncheck that click okay, and almost instantly, the multi cam clip appears notice that we're on ly seeing one angle, which is the number one camera and the reason are only seeing one camera is each one of these cameras this full screen I can only see one full screen image at a time by the definition of what full screen is on. I always see the first counter selected camera one unless I change it now show how to change it just a second before I change it, though, let me click on this camera one clip and show ewan interesting setting that we can adjust with this clip selected, go to the inspector goto the info tab and changed the display from basic for metadata, which is in a low left corner. Change it to general, and when I do some new metadata fields open up, including camera angle and camera name, I could name the camera here, which is fine, but camera angle allows me to say, I want this to be camera one camera, two camera three or the camera. The big camera, the si camera camera angle is important because when you ask final cut to organize the cameras, it will organize the camera based upon whatever letter or number is typed into camera angle. If it is not blank, if camera angles blanket will organize based upon camera name, unless cameron name is blank, in which case he will then organize the camera based upon its best guests of the file name and noticed that I've named r w camp four r w is the name of the song and I named this r w so long ago I forgot what the name of the song is it's just called r w and camera four or camera three camera to it then organizes based upon file name if your file names don't make sense, then select each individual clip given an angle one two three you can't use left right center it doesn't know how to read words but you can use a b c d and it will then organize your clips based upon alphabetical order or numeric order once we have the clips named however that is we can then create our multi cam clip. Now I could instantly edit this down to the timeline and start editing it, but we miss one of the most powerful features inside final cut, which is the multi cam angle editor double click the clip, which opens it up into a special form of the timeline and notice here on the in the timeline I'm looking at each individual angle in its own little multi cam track so there's our four angles camera four camera three camera to camera one notice that this bar is highlighted this bar and all the other bars are not and on the left hand side I have this little monitor icon in this little audio icon when I play the clip the video that I see and the audio that I hear prior to editing it's called the monitor angle in the monitor audio the monitor angle that I see is based upon which of these tv sets I click on so if I want to say the clip that I see before I start editing is that jib arm kang camera on the side I click the monitor icon to illustrate it if I want to hear the audio coming from this camera notice I've clicked on the speaker icon when I play it the audio that I hear comes from the track that has the speaker icon click the blue well except I don't want to monitor from the high wide camera for some reason the audio feed is better from camera two so I'm gonna turn off camera one listen to camera two or let's say that I have a new interview guest here do that next so I can have actually multiple audio channels open but on ly one video channel khun b open at a time additionally, let's say that I want to change the order of my clips see this thumb here if I grab the thumb and drag it up, I can change the stacking order of my clips and I can tell from the quizzical look on ed's face that is saying, larry why in the world would you want to change the stacking order off clips in this particular layup and that is because of something else we haven't seen which is called the angle viewer let's hide the library and the browser control command one go to the window menu and turn on under viewer display let's show angle's window viewer display angles and there are the four cameras of my multi cam clip and noticed the order from top left corner camera one camera three camera to camera for why look at the stacking order camera one camera three camera to counter for I want camper too to be next to camera one grab the some drags the sum up up let go and now it's a little bit high grab camera to drag below camera one let us not get carried away camera one camera two camera three camera for dragging the thumb allows me to change the stocking order off these clips which changes the display inside the angle viewers so that if I wanted to have all my wide shots together I could do that if I want to have all my close ups together I could do that and the cool part now is as I drag across this multi cam clip I see all of my angles playing at the same time it's a cz though I'm the gentleman sitting in the control room with the power of multiple cameras underneath my fingers which is really kind of cool when you think about it so the camera the multi cam angle editor we get into it's called stepping into by double clicking the multi cam clip we can then determine what our angle order is we can determine what we're going to be monitoring what we're going to be looking at before we start editing and we could determine what angles we're going to be using and all that sort of stuff in terms of the order to get back out hit that go back button on the timeline history and now I have a multi cam clip notice it unlike the the audition which has got the spotlight or the linked hands for a compound clip, this has got four squares in it, which represents a multi cam clip. A multi cam clip is just like any other clip you said and in oran out where the end is going to be our star here at the our stars, this guy that's going to be right there he's in the center he's giving the queue to the whole company watch when he going to click here and play it watch where the guy in the spotlight drops his hands right there that's the cue to start the music theme music starts okay I'm going to set it in just after he drops his hands and type the letter I in a multi cam clip and then I'm going to set it out just before the camera pans right there, as it moves into this last guy just before he drops his hands, they're all taking about types. The letter o to setting out. Does anybody remember the keyboard shortcut to edit a clip down to the timeline, writes the letter e it's. Exactly the same for multi cam clip as it is for a timeline clip. Type the letter e there's our multi cam clip. And I don't see any of the angles in the timeline because they are all contained inside the multi cam clip.

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.