Apple Final Cut Pro X: In-Depth

Lesson 3 of 42

System Configuration and RAID Storage

 

Apple Final Cut Pro X: In-Depth

Lesson 3 of 42

System Configuration and RAID Storage

 

Lesson Info

System Configuration and RAID Storage

One of things that I want to talk about is configuring the system because there's a lot of conversation about this and I get emails saying what's the best computer and what's the best camera any mac any mac except the mac mini can run final cut pro tem any mac that can run final cut ten is powerful enough to edit hd media this obsession that we have about kenny the absolute fastest computer is wonderful but we're wasting money any mac and I mac mac book mac book pro a mac pro old mac crowed new mac pro any mac can run final cut sorry period and hd is not that big a format anymore what you want to do if you want performance however now clearly some actual run final cut ten faster than others some will do maur be more capable but that doesn't mean that you that you have to buy the absolute most expensive macintosh to do video editing what yes sir rp sees chips final cut ten requires a system capable of running ten nine or later so you have to be on mavericks or later to be able to run on...

intel so the gating factories can it run mavericks and the answer is most older systems can't run mavericks that are more than safe four years old final cut is designed to take advantage of the latest operating system and that requires processes which are sixty four bit compatible the way that final cut is now designed unlike say final cut seven is the graphics processing in it the gpu is mohr important than the cpu the graphics processing unit is doing more heavy lifting than the central processing the microprocessor so if you're going to invest money in the computer you want to spend money get the best graphics card that you can afford eight gigabytes of ram is the minimum sixteen gigabytes is better thirty two gigabytes is fine if you have the money but it's not necessary and mohr than thirty two gigabytes most of the time is more than you need now if you've got the money spend it but if budget is important investor money first in the gpu get the fastest highest quality gpu your computer will support get a reasonable amount of round but don't max it out necessarily mohr ram is always better but the gpu is more important and this is the most important statement media needs to be stored separately from the boot drive now remember jim when he was modelling his computer he was waving about this computer has exactly one hard drive in its own ssd drive but there's only one this is wonderful for doing things like updating facebook pages or reading email or writing word processing documents even number crunching a single boot drive is perfectly fine but it is not sufficient for editing with editing we must have to orm or drives must I called one of these the internal drive I call that the boot drive the boot drives the one that holds the operating system and the second drive, which can be either internal or external depending on what kind of computer you've got. A second driver is the one that holds your media and this is really, really important before I die aggress on storage question bernard well, just a quick question about why the why you feel in the mac community is not a computer to run five foot ten it has ah graphics card which is inadequate so it's using until chip which is ok but it isn't fast enough to do any kind of serious video editing and because we can't upgrade the graphics card inside the mac mini it it's just it's just inadequate it's a wonderful server back in the office I've got four mac minis for servers but it just doesn't work for final cut we obsess about the computer we obsess about oh it's only three point four gigahertz it needs to be three point five gigahertz that extra point one gigahertz long the computer is not the issue. Storage is the issue you will spend farm or on storage than you will ever spend on your computer virtually any computer connected video mac mini as the exception. However, not all storages optimized for video video files are huge with long durations raids are ideally suited for video now music creation music sampling an audio editing tend to use smaller, shorter files but many files for audio editing when you're working with lots and lots of small files what's called a j budd just a bunch of discs j bod system is preferred but for video editing because the video files are very large and very long duration a raid his ideal a rage stands for a redundant array of inexpensive and here a fistfight breaks out it's either drives devices or discs whichever you prefer a redundant array of inexpensive devices gang in multiple hard disks together to act as a single drive hang on I'm just reflecting for a second there are multiple types of rage there's a raid zero raid one five, six and fifty there's also a raid three, ten, eleven sixty and probably more and I'll just ignore those last ones which are just for bar fights anyway a rave zero is fast it's cheap has no data redundancy, it has exactly two drives in it and what happens is we write data toe both drives at the same time. So a piece of my data piece of my file is on first driving a piece of my file is on the second drive and because I'm writing simultaneously to two different drives, I get twice the speed that I would get off a single drive a raid one is just the opposite of a raid zero also two drives but this time I write the entire file both to drive one and to drive to this gives me two complete copies of the file red ones our slow there also inexpensive and they provide total data redundancy raid zero simultaneous writing to both drives very fast but if one of those drives dies because pieces of the file are on dr too and on drive one if drive to dies I've lost all my data no and I don't know about you but one word that scares a lot of people is I've lost all my data this generally causes editors to nash teeth and tear hair waved an option we need something which is fast and protects our data this is a raid five a raid five is very fast not necessarily cheap but if we lose one drive our data is still safe a raid six is fast also not cheap but if we lose two drives at the same time our data is still safe now arrange fifty is really fast and really not cheap but gives us data redundancy within men speeds and philip you khun buy me one for christmas so when you have in your spare cash the best balance we have between protecting our data and speed is a raid five the problem is with the release of thunderbolt first thunderbolt won in thunderball too with the exception of promised technology and a couple of other companies, raid fives have been really, really, really scarce because with thunderbolt, the problem we've got with thunderbolt is it's both a data protocol used for hard disks and a display protocol used for monitors and certifying something which is both for monitors and for storage requires technical expertise that a lot of storage developers didn't have and the specs are really, really tight so it's taken a lot longer for thunderball raid five devices to be certified plus it's taken longer for chips that's to be developed plus in the middle ofthe the raid one of the of the development of thunderbolt won we had thunderball two announced so all that thunder bowl one development had to get scrapped it had to go back to thunderbolt too and everything had to be re certified. We're seeing now at the n a v show in november that were getting announcements on raid five thunderball two devices they're going to start to ship this month and july and august will see most of them out in the market. I cannot wait a raid five is just really, really exciting because it gives me data protection, high speed, reasonable price and immense storage this is a a side note, one of things that we run into an editing as a process called dropped frames what this means is that your hard disk is too slow to play the video format that your editing sometimes it's caused by editing a video format like h dot to sixty four, which is mathematically intense uh, and your computer's too slow to be able to play it back, but a drop frame is almost always an indicated that your storage is too slow to do what you want to do. The best way to prevent dropped frames is either to buy faster storage or switch to editing using proxy files, and we'll talk about proxy files and we talk about importing in the next section. But a drop frame whenever you get that error message automatically points the fickle finger of blame to your hard disk. So justus the thought on the drop frame isn't it? Your source? Media is never affected your source media is always safe always, but we can't necessarily play it back fast enough, and the drop frame is a playback problem, not a damage to your source media problem. Okay, here's the math class take a deep breath, you'll survive this. How we connect our storage has a material difference in the speed the storage is able to create if you take a hard disk like I've got a hard disk attached to my computer and if I attach it via usb two to a macintosh because windows numbers are slightly different if I touch it to a mac, I'm going to be able to get performance at the ten to fifteen mega by the second range. Reasonably slow usb two is optimized for very slow mice and scanners and keyboards, not optimized for hard disks. An older standards. Firewire four hundred will give me a data transfer rate between twenty and twenty five megabytes a second. First, we can't buy firewire four hundred vices anymore, though there's millions of them hanging around ah better child choices. Firewire eight hundred, which total deliver state around eighty eighty five megabytes of second for older systems. I'm max and macbook pros before a couple years ago, firewire eight hundred was the fastest that we could get going into our computer, a stand alone external hard drive, spinning media, not sst. When it's connected perfectly well, just say, however that's defined is going to give us a data transfer rating between one hundred to one hundred twenty megabytes of second. This is an important number will come back to it in a minute, one hundred to one hundred twenty megabytes of second and ssd drive, which stands for solid state disks, is much faster, but the speed of an ssd drive varies wildly based upon the protocol that it uses for connection somewhere between two hundred and five hundred megabytes a second sateh which is an older standard but was very used in the old mac prose has a variable data rate it's around three hundred megabyte for second depending upon drives thunderball one is upto one point one gigabytes per second depending upon drives and thunderbolt too is up to two point two gigabytes per second depending upon drives now it's this depending upon drives that I want to talk about for just a minute remember that a single dr goes between one hundred and one hundred and twenty megabytes a second so philip I want to do some math forming grab a microphone if I have a single hard drive how fast is that hard drive going to go? I was communication major you're going to have to the math for me okay but if I connected perfectly looking at the screen how fast is a single hard drive go I'll give you a hint the one twenty there one hundred twenty megabytes a second if I connect that dr via east satya how fast is it going to go on e satya the answer is states of one twenty ok if I connected the a thunderbolt won how fast is it going to go one twenty by connected the a thunderbolt to how fast is it going to go? I'll just stays there the protocol doesn't make a difference if the protocol is faster than the hard disk the hard disk gates the speed this is why when you look at a raid that sound dealer shelf, you're off the hook. Now you can relax if you look at a raid that's on a dealer shelf. The box says this supports thunderbolt too upto two point two gigabytes a second. If it has two drives in it what's the fastest it could possibly go one hundred twenty megabytes. The second times two, two hundred and forty megabytes sets all the faster I can get out of the hard drive. This is where marketing is running amok because the manufacturers air absolutely truthful. It connects the a thunderbolt too. But if it's only got two drives in it, you're not going to get thunderbolt to speeds that drives don't go fast enough now I can already see jim scratching his senses. Larry okay, great! I've got a single hard drive attached to a thunderbolt want it's going between one hundred one hundred twenty megabytes of second? Why do I care? We care because of this table. This is the second table of the math class. If I'm editing a vc hd, it takes up to six megabytes per second to stream. I can edit that with firewire eight hundred I can edit that with a single hard drive I got together with thunderbolt won at it with thunderbolt too but notices my codex changed, remember kodak is the conversion between analog to digital abc hd is a kodak devia three point seven five megabytes is a kodak x d cam seven point seven five megabytes is a kodak pro rez proxy it five or four to two at eighteen or h q at twenty seven or read at thirty eight ah, fully un compressed high definition image is two hundred and thirty seven megabytes per second, two hundred thirty seven I can't do that with a single drive. I can't even do that with two drives. It's too big a kodak now I'm doing multi cam editing let's say that I'm doing multi cam editing with pro rest for two to eighteen megabytes of second let's round that up to twenty just to make it easier, I've got ten cameras that I'm editing that's two hundred megabytes a second, I can't do that with a single hard drive, I don't care how it's connected a single hard drive only goes one hundred to one hundred twenty megabytes the second, so here you are trying to figure out why I can't edit this stupid multi cam shot because I've optimized media because larry says optimized media on my hard drive is in fast enough it's got to be the software no it's, the storage, everything everything comes back to the storage how fast I go the codex that I support, whether I get dropped frames or not, whether I do multi commodity it always always, always comes back to the storage people obsess about the computer. The computer is fast enough. It's the storage that traps you up. This is so critically essential. We move into hyde really high def high resolutions to kay and four k formats. Some four k formats are requiring more than five hundred megabytes a second, five hundred megabytes a second for a four k twelve bit raw image. I mean, whoa, a terabyte every few seconds I'm supposed to this on a single hard drive. Poor hard drive, it's going to die it's a little bit feet kicking up a near squirming and dying on the carpet can't handle it. We have tohave raids and the way of raid works in a raid. Five is I take dough I talk about that back up their raid. Five here's how raped five works a raid five requires at least three hard drives generally for somewhere between foreign five given there's two types of raid five years for dr raids and eight dr wright's so let's, take a four dr raid. My data is written essentially to three of those drives and then data about the data is written to a fourth drive now this is actually the structure of a raid three so you engineers out there don't yell at me it's just easier to explain so I have my information about my data that I've got I've got my files and I got information about the data. If I lose one of these drives the combination of the other drives will automatically rebuild the data. I can still access it. I still get the same performance. Life is still good, but I can then take that drive and replace it with all this good. Okay, because one drive is essentially reserved for data about my data. If I have four drives, the speed of my raid is the number of drives minus one. So I have three drives so afford dr raid is going to give me the storage capacity of three drives and speed of three drives. So the fastest I'm going to be able to expect a raid five with four drives in it, the workers around four hundred megabytes, five hundred megabytes of second and eight dr raid's gonna be about a thousand megabytes a second. The more drives you have, the faster it goes to dr raid about two hundred fifty megabytes of second now there's some fluctuation in here. But the more drives, the faster the deeper the storage, the fewer drives the slower regardless of how you connected this is such an important concept. It's, a combination of the kodak that you use. How big is the kodak, how much space is rick acquired? How fast does it need to have a data transfer rate? How do you connect your storage? Thunder bowl usb three forgot to mention usb three has a maximum speed of four hundred sixty megabytes a second, so I connect us be three it's, slower than thunderbolt, won slower than thunderball, two, but faster than firewire eight hundred. How you connect determined speed, the number of drives determined speed the kodak determines speed all of these together and notice. Not once did I say that computer you use computers important, but not. We're nowhere near as important as connection protocol, number of drives and a kodak that you use.

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.