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Apple Final Cut Pro X: In-Depth

Lesson 25 of 42

Transitions Part 2


Apple Final Cut Pro X: In-Depth

Lesson 25 of 42

Transitions Part 2


Lesson Info

Transitions Part 2

There are three types of transitions there are cuts there's dissolves and there's wipes ah cut is an instantaneous change in perspective it's you do a cut when you want to show the audience new information one of things I enjoy talking with the team here at creative lives we have discussions on when you should cut from one camera to the other and a lot of directors when you're starting out feel that they need to cut frequently I know that I did when I was first starting out because I needed to show the audience that we had the ability to cut from one camera to another but in point of fact you should only change shots when you have new information to reveal to the audience if you don't have any new information then don't cut from one camp to the other think of the difference between music videos today and fred astaire e ginger rogers down sequence front astaire and ginger rogers would do it down sequence you cannot take your eyes off the screen and they would have maybe one camera cut i...

n four and a half minutes the camera was locked down sandbagged in place and the performers were charged with keeping the audiences interest. Now we're seeing that and I hate to tell the guys on the couch because I know how this is going to disillusion them but there are some performers today that can't sing and can't deaths yet somehow they're a performer, and our job as an editor is not to reveal the fact they have no talent but to hide the fact they have no talent. So the very first thing that we do is we make our camera go hand held a hand held camera is an instantaneous trigger to me that says that whatever we're shooting is so dull and so boring that the director has to go hand held because they want to distract us from the fact that whatever we're looking at is dull and boring. Then you surround the dance group with naked dancers because people will look at naked dancers and ignore the fact that the performing group has no performing skills whatsoever. And then ideally with your handheld camera, you shoot interesting odd angles like up at the lights and down inside the drum kitten and the back of the of the tattoo on the neck of the lead singer because anything you can do to come up with some sort of weird, distracting angle or or aspect of the group hides the fact that the group itself has no talent whatsoever. So if you want to have a director telegraph, the fact that the performer is zero performance quality one camera's handheld to they're shooting the light's number three there, surrounded by naked dancers on number four there, cutting so rapidly to so many different cameras that you never really figure out where you are you're always off balance and you're always left wondering exactly where am I in the stage right now? Because cutting quickly and crossing the axis means that the audience remains confused which is the state you want them in because as soon as they figure out the fact that this group has no talent they're going to change channel and as an editor you've failed in your mission of hiding that fact same thing with transitions ah cut is a change in perspective revealing, he said changing from one camera to the next ah cut reveals new information a wide shot of the set or back to a close up on the set a dissolve is a change in time or place I dissolve from day tonight I dissolve from seattle to chicago ah change in time or place or a change in perspective changin change in time replaces what a dissolve is used for but a dissolve us also an amplifier of emotions if we have a music sequences still sequence and I'm cutting from one shot to another everybody says hey, that looks good but if I dissolve from one shot to another I'm amplifying the emotion of the music and leveraging that up so that by the time that sequence is done the emotions are stronger when I use dissolves then if I were to simply cut in the beat to the music not exactly sure why this is true was discovered a long time ago with some of the early film editors like sergei eisenstein, who was practicing the art of montage, which he invented, or the the idea of when do we want to cut in the juxtaposition of shots, changing the emotional level and when dissolves makes sense. But what we've seen is a dissolve amplifies the emotion of a particular scene, but a wipe wipe is something different. Ah, wipe breaks the story and takes you somewhere else. Probably the best example I can think of this sports, if you remember sports and in the fall where football's a good example, football has got a bunch of very large men running around very quickly on the field run, run, run, run, run on cock, cock, cock, cock, cock, cock, cock and then all of a sudden, when they're all done jumping on top of each other, a committee meeting breaks out and they spend time discussing what a wonderful job they had running around and jumping on top of each other. Television hates committee meetings. So what is television? Do it wipes in the nfl loco and now it tells us what breaks the story that we're no longer in rial time were in replay time. We're in slo mo time we're in fast mo time it's the helmet cam the coach count the quarterback count the linebacker council blimp cam the grass can the opposite side of the field camp the shots of the cheerleaders can the shots of the people in the stands camp it's back to wipe real time and a guy's running around jumping on top of each other again ah wipe breaks the story and takes us somewhere else for this reason you never use a wipe in the middle of a narrative story because the audience is going to say what just hit us but you would use a wipe coming out of the open into the start of a program or ah wife coming out of a commercial into a program or a wipe when I want to say this is over let's try somewhere different let's go somewhere different instead you want to use dissolves to keep people in the story or cuts use wipes only when you want to interrupt this story real time sports and take us somewhere different replace sports where time has no value slow motion fast motion are equally valid but slow motion in a really time game people would look and say wait a minute what's going wrong here wipes break the story and take us somewhere else with that is ah wrap up on transitions jim are there any questions on transitions before we shift over and talk about titles people were fascinated by larry's soapbox they're like that's so great because they love to hear people talking passionately about you know whatever it may be so they definitely appreciated it so let me let me take a look at this I'm going to use wide eyes pictures if you've cut up a single shot or take and have it dispersed over several areas of the timeline can you replace that clip with something else and have all the instances on the timeline update the answer is yes but maybe not the way that you want let's just try and experiment here let's get rid of this clip and let's find this will work no no no no I want to be appear this is this's such an amazing shot jim did I show this shoe when we're doing premiere last week no that's no it's beautiful this is this is a guy who's making this is molten glass just look at this that's we deserve an art break this is an art break you want to see an artisan at work watch this there's no particular sound here but this is molten glass coming out of the furnace and this is bare handed just watch this for a second look at that we got a horse it took a minute if I tried to do that we'd end up with class dripping all over the floor I just I love watching people who know what they're doing do what they know to do and this is just I love that shot so let's use this use this horse shot here and that sees go up to here and we'll set it in and we'll set let's just do this let's do in out and we'll set the play head up barrow the letter w do an insert at it trim this back by grabbing the edge trimming it if I have different elements off the same clip in the timeline let's just see what happens I haven't done this publicly before so let's just see what kind of trouble we get into and we'll set it in and out here and hide the transition browser and now I've got my horse clip here I've got another horse clip here I've got another horse clip here and as you can see, I have one, two, three, four, five, six seven clips okay, still with me I'm going to select these clips let's just see what happens and see if I can replace this with that's just replace this with this clip right there, turn on skimming find that shot I control d will make it a two second shot and I grabbed the clip noticed the clips down below are selected let's see what happens if I nope nope nope nope I wait for it to turn, white says, replaced from start okay, when I have effects now, I haven't answered jim, when I have effects, whatever clips that I have selected can have the same reflect applied to all selected clips at one time when I have multiple it orations of the same clip in the timeline, I cannot replace multiple iterations of the same clip pichon only replace one clip at a time, and the way you replace the clippers to drag the shot on top of the new clip on top of the old clip, wait for the old clip to turn white, and then you say, replace from start and it will automatically be replaced. So the answer is it depends upon what you're trying to do if you're adding effects, yes, if you're replacing shots, no, so if we could be really tricky and be really deceptive, we could actually maybe rename another file with the name of the file we have in the browser already, then re forced to conform that it's a replay pre linked the media and have it do it that way. No in final cut seven you could, but in final cut ten, you can't final cut ten uses a more powerful form of lincoln called a sim link it not only looks at the file name of the clip it's looking at the characteristics of the clip one doesn't have time cody if so what's the time code what's the kodak it's looking to match the clip not just based upon file name but based upon metadata associated with the clip with it and if it finds that the clip that you're trying to replace isn't really the same as the clip it thinks it is it's going to pop up in error message saying I'm sorry but these two clips don't match we would then have to import that renamed clip as a separate clip and deal with it does not was a separate clip other questions jim um final cut newbie would like to know what are larry's favorite transitions to use when you do use transitions a transition which two thirds of a second and the way we set that is to go up to final cut pro goto preferences which I haven't had time to discuss and I want to just take a couple seconds to talk about real quick because I don't know what else I'm gonna have time to talk about it preferences are stored inside the final cut setting there's five preferences across the top that I talk about this stuff or is it just my imagination okay good the general tab allows us to make backups of the library this is a backup of the library database it does not back up media it is on by default and I recommend you keep it that way it also specifies where the backups are stored by default the backups are stored inside your home directory I don't have a problem with that because the backups themselves they're small the databases air small they have to be stored someplace you don't want to keep it on a drive different than your library so storing it in the home directory makes perfect sense you can also specify what our time display is and I'm old school enough that I like hours minutes seconds and frames so I'll just leave it set to the default in other words I don't change the general settings at all editing settings I do change editing settings allows us to say do I want to show you detailed trimming feedback when I grab the edge of a clip notice these two windows that show up those two windows show up because detailed trimming feedback has turned on if you leave this off you don't see the two windows when I'm doing trimming I love the detailed feedback I love being able to see the the out of the clip on the left and the end of the clip on the right I like being able to compare and contrast I turn this on positional play had after an edit operation means that the play head will move whenever you add a clip so that it jumps to the end of the clip I don't have strong opinions about this I leave it on pixels means that when you are doing effects, you can either measure the effect in terms of pixels or in terms of percentages I've spent so many years working with with image sizes of seven, twenty four, eighty seven, twenty five, seventy six, twelve, eighty seven, twenty I know them all. Some working in pixels is very comfortable for me. If you don't know screen sizes that well, you want to save, move up, make a five percent change or a ten percent change, you may be more comfortable working with percentages. All this is his different ways of displaying the same thing we've already talked about show audio reference wave forms if you if you want to be able to see your way forms a little more clearly, this could make life easier. Personally, I find it distracting, but that's only because I've been looking at wave forms for a really long time, so this is again personal preference. You can set this to whatever you want. When you are importing still images, they default to a duration a distance between the enemy out of four seconds. I never know what I want my stills to be this this is good a numbers any, and I generally change at once it gets to the timeline, but if I'm doing us an image montage where stills all run three seconds and twenty one frames because that's the downbeat between the music all changes to three twenty one and that way my stills import with the enemy out perfectly set on there's no problem this is what I do change it defaults to a one second duration for all cross dissolves it's too long lingers too much I prefer two thirds of a second so I said it to point zero six seven and that means that I get a nice, consistent dissolve which is a dissolve but still fast enough that the audience doesn't get bored in playback when I'm doing live broadcasts from my computer which is not what we're doing here because the technology that creative live uses is more sophisticated than most people have, but when I'm doing a live broadcast I turned background rendering off. I also turned background rendering off when I'm on a slower computer because background rendering can slow down a slow computer too much you can turn that on and off most of time on a fast computer when it's just me editing background, rendering us always on and I could determine how long background rendering will wait before it starts in five seconds this is good a number as any I don't set this to zero I do have it wait a couple seconds just because this is something where the default settings are not once I disagree not once I agree with create optimized media for multi cam clips means that all of your multi cam clips will be converted to progress for two to this makes multi committing a lot easier I recommend it a frame drop drop frame means that your hard disk is too slow I always want to know if storage can't keep up, so I always check the second because I will want to know I don't want to have stuff gets screwed up without me knowing and I always check this third one where if I've got a problem with storage or computer performance, I want to know that there's problems and I can't play it back pre roll and post role is when you hit the shift question mark it will back up two seconds before the added point play through the outer point and continue to seconds after the other point I used to think I would use this all the time I really don't use it at all you can set this to whatever you want and final cut is capable of driving an external video monitor. We talked about this during setup on yesterday morning import dialogue this is exactly the same settings that we've looked at whatever we import a clip final cut will always remember the last settings you used when you import a file and if you want to standardize on a particular setting, for instance I do optimized media, I always import folders. I always analyze the clip, so I'll set. This is a preference the next time that import dialogue appears. I've already said it, and I don't have to think about it destinations I'll talk about tomorrow when we talk about exporting someone to hold that for right now. So that's, that is where I set transition, because jim, I know you forgot that. I thought I'd forgotten where I was, but I don't like the default setting of one second. I like that. I like changing it to two thirds of a second. Philip, you've got a question, I'm kind of lazy, I don't want to go through one hundred thirty transitions to find my favorites. Could you tell me a handful of your favorites dissolve? Next question, I try hard not to use wipes now, if I'm teaching high school kids, I go right to transitions, and I showed them where the transition browser is. Now let him play for twenty minutes because giggling ensues, but if you watch a future film there's almost the only time I can remember a wipe in a feature film is nineteen seventy seven. When I'm sitting in the theater, watching the first star wars and there's, that little desert thing, he popping along the desert following along behind was a vertical pipe. And you're not the popcorn out of the hands of a nexus look that there's a vertical white but a feature film who knew ah vertical level I've lost try I have no idea what that little thing it was doing across the desert because for five minutes I was talking about the vertical wipe I had to go back and re watch the film to figure out what happened after that why it broke the story it's hard enough to get people to pay attention to the story that they want to sit and watch a two minute youtube video I have to really sweat rivets to get him to watch a ninety minute feature film and I'm going to get something in the way like a wipe I'm not that stupid ninety percent of my transitions or cuts the other ninety percent of what's left is a dissolve and on lee when forced to at gunpoint by a spot by a by a client that has no clue what they're talking about. Well, I use a wipe and even then I will complain because a wipe just gets in the way now if I'm being hired to do a project for somewhere that needs all the help they can get translate that meaning zero talent, lots of money I'm throwing wipes in all the time as many wives as I possibly can or if I'm doing a radically different transition where I'm wiping from the open or I'm wiping from chicago to seattle I'm clearly breaking the chicago story going to the seattle story I'll use a wipe but if I'm telling a story no, I want to have us few distractions as few transitions and no wipes as possible so the audience doesn't have a reason to to now makes sense so I want to talk now about titles and to do that we're going to go back to the doctor surf clip and notice here that I've added a lower third title and I've added a locator title well let's spend some time talking about type o oh jim, you didn't ask would you ask if it's possible to apply transitions to clips that are not in the primary storyline? Is it possible to apply transitions to clips that air not in but not in the primary storyline? Sir the thing I love about you is your grasp of technology is just really amazing race and leaves me speechless on multiple occasions yes we can and I need to explain why and how so let me do that. This is dr cerf and if I play a clip if I play this clip noticed that at the instant the bee roll clip appears the higher layer clip we're going to cut from one clip to another in order for me to apply a transition to a connected clip you simply highlights the edit that you want to apply the connected clip to notice I've selected the other point and type command tea or open up the transitions browser and grab the transition you want to use and dragon on top of the clip. So now as I play this, I dissolve from dr cerf to the the b roll and now I have ah mohr interesting organic wipe which if I'm doing a science narrated school project, I think it's kind of cool not that I have opinions on wipes or anything and it's a very end notice here I have a transition to dissolve coming out the way this works is if I have a connected clip, let me just add another connected clip when we just add this will set in in well setting out well connected notice that here I'm in a connected storyline see that grey bar across the top here I have a connected clip there's no story line across the top weaken on ly apply transitions two storylines so watch what final cut does when I select the leading edge type command t it automatically converts it to a storyline see the gray bar and it adds the transition in the past early versions of final cut we had to do this manually here it's automatic now you'll notice that I have a problem the grand canyon is sixteen by nine and dr surface four by three we'll solve that tomorrow because I want to talk about a siri's of effects which are controlled from the inspector. But for right now, just imagine, if you will, that this dissolve happens and the two videos perfectly aligned themselves. See how we have that dissolved going on. It would look like this because this also was sixteen by nine video for the b roll and four by three for dr surf. But in this case, I fixed the b roll before we presented it here at creative live, so can we add transitions to be rolled? The answer is, yes, you select the edit point and for dissolves its command tea for anything else. You go to the transition browser, grab the transition, you want to drag it on top of your clips.

Class Description


  • Import media into Apple Final Cut Pro X
  • Use its media management tools to organize your files
  • Explore the endless possibilities for creating amazing video effects and dig into audio.
  • Sharpen the skills you need to edit, trim, and combine clips to create a dynamic, engaging final cut.


Apple® Final Cut Pro® X has been rocking the film editing world since its initial release in 1999. Today, eleven upgrades later, the video editor's users number in the millions and its editing tools have powered major motion picture and small screen edits. Join Larry Jordan to learn what makes this video editing software so powerful, versatile, and indispensable.

Now an industry standard video editor alongside options like Adobe Premiere Pro, Apple Final Cut Pro X encompasses pro-level editing tools for Mac. Final Cut Pro is a Mac-only program with professional tools that blow the free video editing software and budget video editors like iMovie, Adobe Premiere Elements, and Movie Maker out of the water. The video software can handle everything from 360-degree video to Hollywood-level productions. But navigating those advanced editing tools is a daunting task for beginners. Pretending Final Cut Pro is an intuitive, beginners program will only leave you frustrated and missing the biggest features.


Whether you are brand new to editing, self-taught, or a seasoned pro, this course will take your editing skills and Apple Final Cut Pro X mastery to a whole new level, from upload to save.

Apple Final Cut Pro X


Larry Jordan is an internationally-renowned consultant, digital media analyst, and trainer with over 35 years of experience as a television producer, director, and editor with national broadcast and corporate credits. He is recognized as the foremost trainer in both Apple Final Cut Pro (Mac) and Adobe Premiere Pro (Mac and Windows) where his informative and entertaining teaching style provides video editors around the world with unique resources to increase productivity and enhance their skills. Jordan is on the faculty at both USC and Video Symphony and the host of the DigitalProductionBuzz.com weekly podcast.


  1. Introduction

    Larry Jordan says a majority of the Final Cut Pro X technical help questions he answers stem from jumping right into editing without understanding how the software works. In the first lesson, learn what to expect in the class and why, when you edit videos, you start with organization.

  2. Key Terms

    Video editing tools are often confusing for newbies because of the terminology. Walk through the jargon you need to know and key concepts for Final Cut Pro to get started on the right foot.

  3. System Configuration and RAID Storage

    Final Cut Pro X can run on any Mac except for the Mac mini. Here, learn the best system set up for video editing and learn how to make your budget go the farthest when setting up a computer for video editing, and why storage, not the computer is most important.

  4. Q&A with Creating an Efficient Workflow

    Video editing with Final Cut Pro is just as much about the actual tools as it is about creating an efficient workflow. In this lesson, find the answers to some of the biggest questions in the workflow.

  5. Interface and Media Management

    Understanding the Final Cut Pro X interface helps you navigate through the program from one step of the workflow to the next. Explore Final Cut's single window interface and the three broad sections, as well as where to find the hidden windows and what they do.

  6. Importing Media Part 1

    Final Cut Pro will import any videos supported by your computer, from files that already exist on a hard drive to videos from a camera's SD card. Walk through the import process and options, from basic options to marking favorite locations, when working with files that already exist on the hard drive.

  7. Importing Media Part 2

    Final Cut Pro will also import your media for you from a camera. Larry walks quickly through what's the same when importing from a camera and points out the important differences when using different import methods.

  8. Ratings and Keywords

    Creating a video often means working with multiple, long video files. This lesson walks through organizing video clips to make finding the exact clip you need easy. Larry then walks you through creating the actual project and getting started in the video editing process itself.

  9. Reviewing Clips for Edit

    Time to dig into editing -- but where do you start? Reviewing the available clips to see what to include is a good place to start. Larry walks you through the process, from the keyboard shortcuts, to marking a clip.

  10. Importing Clips

    Once you've identified some clips to work with, it's time to actually add them to your timeline. Jordan walks through the different options from using keyboard shortcuts to mark the in and out to using a simple drag and drop to the timeline. Whichever option you use, Jordan says, don't worry too much about getting it exact because you can fine-tune further later on.

  11. Editing an Interview Demo

    In this essential lesson, see a finished clip and walk through how the interview was assembled. Larry outlines the fundamentals of assembling an interview -- using techniques that work with any type of video edit -- in Apple® Final Cut Pro® X.

  12. Replace Edit and Timeline Index

    Continue to work with the timeline with tricks for replacing clips. Larry walks through simple methods, like using a drag and drop, to more advanced options like the three-point edit, as well as timeline tricks for working with chroma-key. Learn replacement edits along with other timeline tricks in this lesson.

  13. Compound Clips and Auditions

    Compound clips and auditions are specialized functions inside Apple Final Cut Pro. An audition allows video editors to compare clips easily. A compound clip is a project inside of a project. Walk through the how, why and when for these advanced features.

  1. Editing Review

    Jump back into video editing with the editing review that launches day two of this three-day class. Larry reviews the first part of the class and gives you insight into what's next.

  2. Trimming Part 1

    The way clips are assembled in the final video plays a big role on how the final video influences the viewer's emotions. Larry mixes the art of clip trimming with the tools inside Final Cut Pro.

  3. Trimming Part 2

    Trimming isn't always adjusting the beginning and end of a clip. Larry walks through the process of creating a slip trim, as well as tricks like trimming multiple clips at once.

  4. How We Hear

    Jumping into audio, learn the basic terms to audio editing, how we hear, and get started on understanding audio tracks inside Final Cut Pro.

  5. Audio Key Terms with Q&A

    Continue unraveling audio editing with key audio terms that aren't specific to Final Cut Pro. Learn how sound is visually represented and how to set levels for the best sound.

  6. Audio Basics, Meters, and Inspector

    Work with levels and audio inside the Final Cut Pro timeline by diving into the video editor's basic audio tools. Larry walks the class through levels, audio meters, keyframes and more. Learn how to eliminate a cough from the audio, how to reset parameters and more.

  7. Audio Q&A

    Audio is a big component to understanding video editing. Find the answers to the most frequently asked questions with this quick lesson using questions from students just like you.

  8. Dual System Sound and Audio Analysis

    Video and sound are sometimes recorded separately -- often when the mic built-into the DSLR or GoPro used to record the video isn't great at capturing audio. Larry walks through the process of syncing audio to the clip with double system recording along with the audio analysis tool that allows Final Cut to conduct an automatic analysis and fix some audio problems.

  9. Multicam Editing Part 1

    Editing video shot with multiple cameras is a common task in the video industry -- and Final Cut Pro has tools designed just for the task. Larry walks through the basics of multicam editing and getting started with the multicam feature. Learn how to group the cameras, create a new multicam clip and adjust the order using the angle editor to prep the workspace for working with videos from multiple cameras.

  10. Multicam Editing Part 2

    Once the footage is grouped and ready, follow Larry through the process of finessing those multiple feeds into a cohesive video. Start with setting the audio to a single camera, then move into switching the camera angles with a simple click and more advanced multicam tools.

  11. Transitions Part 1

    Transitions help make moving from multiple cuts a smooth experience. Learn the keyboard shortcuts for transitions, timing transition adjustments, and adjusting a transition with a roll trim.

  12. Transitions Part 2

    Creating transitions is an art -- learn the three main types of transitions, when to use them, what emotions transitions bring, and working with transitions in Final Cut Pro.

  13. Formatting and Animating Titles

    Titles reinforce key pieces of information, Larry says. Learn how to use titles, how long to leave titles up, where to place titles, and how to format titles in Final Cut Pro.

  1. Additional Effects

    Titles aren't the only type of special effects you can create inside Final Cut Pro. In the first lesson of the final day of the class, get a peek at what's up ahead, including how to add video stabilization, correct rolling shutter, work with images and create special effects like the Ken Burns effect.

  2. Editing and Trimming Review

    Recap the editing and trimming essentials to review what Larry says is the most essential thing to understand on using Final Cut Pro. Larry puts all the editing and trimming together in a final look at the process.

  3. Changing Speed of a Clip

    The speed of a clip can create drama. Learn how to manipulate the timeline with techniques like freeze frames, variable speed, and slow motion. Decipher the retime menu and learn the tools for manipulating time.

  4. Inspector Effects

    The Inspector inside Final Cut Pro allows video editors to make changes, from adding video stabilization to adjusting the aspect ratio. Follow Larry through the Inspector Effects to learn the special effects hiding in this menu.

  5. The Effects Browsers and Generators

    Video editors can create their own videos directly inside Final Cut Pro using Generators, a tool that's helpful for creating backgrounds for infographics and other items. Larry walks through the Generators and how to use them, along with diving into the Effects Browser interface.

  6. Blend Modes

    Blend Modes originated in Photoshop, but introduce some interesting special effects for video editors as well. Learn how to use blend modes, change the opacity for regular clips and picture-in-picture, and more in this lesson.

  7. Effects Q&A

    Dive into the most frequently asked questions on special effects as Larry explores questions posed by students just like you.

  8. Simple Effects

    Final Cut Pro has a number of different special effects options. Larry walks you through the most useful special effects and how to use them, so that you'll know how to manipulate those oddball effects too.

  9. Intro to Color Correction

    Color correction is a big enough task that entire careers are dedicated to the task. Learn what you need to know on color correction basics to successfully create a color-corrected video inside Final Cut Pro.

  10. Video Scopes

    Final Cut Pro uses three main video scopes -- the waveform monitor, the vectorscope, and the histogram. Larry walks through how to use each tool in color correction.

  11. Color Correcting for Video

    Learn what colors are most essential to get right and how to manually adjust color in videos inside this lesson. Work with the vectorscope and waveform monitor to edit color in a video.

  12. Color Correcting Skintone

    If the skin color is off, the entire video looks off. Larry walks you through how to adjust skin tones. Every skin tone is different -- this lesson is designed to give you the tools and know-how to correct for every skin tone.

  13. Color Correction Q&A

    Dive into the most common questions on color correction with this short lesson taking questions from students.

  14. Audio Effects Part 1

    Visual effects are only half of the special effects equation. Walk through audio effects, from manipulating audio levels to creating a stereo mix.

  15. Audio Effects Part 2

    Continue digging into audio special effects with advanced techniques inside Final Cut Pro. Work with channel filters to mix voice and music and the limiter filter to correct audio that's too soft.

  16. Exporting and Sharing

    After all that editing, how do you share your video? Walk through the export process, from exporting an XTML and a master file to sharing to YouTube directly from Final Cut Pro. Learn about exporting to different file formats and video formats, including .mp4.


a Creativelive Student

Absolutely one of the best & easy to follow teaching / learning sessions for this product. Larry has a great approach & insight into delivering a wealth of information from his years of experience that budding video engineers will certainly benefit from with a product that is powerful & great to use. I'm enjoying the journey to better understand & use this great product, expanding my experience in producing awesome video presentations. Great work Larry, & also huge fan of creativelive Keep up the great work you all do to assist budding producers in mastering their skills. Noel Blake Melbourne Australia


Final Cut Pro with Larry Jordan has been of enormous help to me just stating in FCPX. Larry has a unique way of getting the message on the basics across in an easy to understand manner. I have not yet looked at the entire course as I am practicing the steps as I go through the course. Many programs of FCP are not presented in the easy to follow manner thatL array does so well. I am 100% delighted with my purchase. I am in Sydney, Australia, and, due to the time difference it is impractical to view courses live. So I had to purchase on trust which in this case was a good choice. It would be good if Creative Live could perhaps rerun programs so overseas folks could view them at a convenient time. The courses still need to be purchased as I find it best to run it on another monitor and put what is taught into practice. Well done and thanks for the special offer in July.

a Creativelive Student

Attending this class was really a life-changing experience. Larry is a wonderful teacher and clearly on top of the program and methodology, and the way he structured the course, did frequent reviews and constant technique reminders (naming keyboard shortcuts as he did them, for example) really added a lot to the presentation. The depth of the class was very much appreciated, and his command of a complex subject showed that it was possible. I have wanted to understand FCP for several years and have only gotten the beginnings of a handle on it in the last 6 months or so. This class was an exponential knowledge upload and I hope will allow me to do lots of things I've only wondered about. I thought Jim was a good foil for Larry and did a nice job keeping things together, even when there was a technical problem. The value for me of being able to sit through the class before deciding to purchase was huge, and I am very much looking forward to reviewing the videos as questions come up. The class was very thorough and I didn't feel anything was being left out. Thank you so much for making it available.