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Final Cut Pro X

Lesson 9 of 17

How to Dissect an Edit

Rob Adams, Vanessa Joy

Final Cut Pro X

Rob Adams, Vanessa Joy

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Lesson Info

9. How to Dissect an Edit


  Class Trailer
Now Playing
1 Introduction Duration:18:50
2 Optimizing Your System Duration:11:30
3 The FCP X Interface Duration:43:20
4 Importing and Organizing Media Duration:1:05:14
5 Projects/Timelines Duration:43:06
6 Working with Clips Duration:37:22
7 Editing Audio Duration:1:00:09
8 J and L Edits Duration:15:49
  Class Trailer
Now Playing
1 How to Dissect an Edit Duration:1:24:19
2 Let's Edit Something For Real Duration:1:18:45
3 Introducing Music Duration:1:18:56
4 2:45 pm - Audio Mastering Duration:1:22:18
  Class Trailer
Now Playing
1 Introduction Duration:05:14
2 Color Tools and Effects Part 1 Duration:1:07:44
4 Effects and Titling Duration:1:17:04
5 Exporting Duration:47:49

Lesson Info

How to Dissect an Edit

Today we are going to focus on my final cut pro ten workflow we are gonna watch a film first it's a short one, we're just gonna watch a film and then identify its parts. So I'm gonna break down certain things that I want you guys to look for as we watch this and then you know, we'll sort of dissected after it's done, and we're going to use the same footage that was used to make that film today in our edit and it's really important for you guys to be able to look at a film and reverse engineering because I'm sure you guys see, you know, a ton of great films that you love but it's not going to help you out if you see a film that you love and don't know how to replicate it or don't know how to grab certain parts of it and apply it to your own work and your work flow when you're editing. Yeah, and it's not so much about copying somebody else's work as more as it is turning to find the workflow and come up with a format you can't be in business and reinvent the wheel every time you make a v...

ideo like every video I make is not completely one hundred percent unique, this is no way. If I was hired to make a short film, my approach would be completely different because it's a one time thing, but, you know, I'm twenty, twenty five weddings a year, I can't make them all totally unique. There has to be some sort of, ah, of a spine, so to speak sort of this this backbone to it, and we'll talk about that more. We're going to get into video and audio synchronization many of us event cinematographers do recorder audio off camera s so we have to be able to sync up those two assets were going to get into that were used except mail to do that and use a program called pleural eyes, which allows us to synchronize footage outside of final cup per ten uh, we'll get into more of that later. We're going to focus on story building, obviously, but we're going to actually do this on the timeline, so you see how I take things after their synch up and actually build a story from pieces of what we've seen it up, and we're going to have worked with sub stories and what our sub stories well, you're gonna have to identify those in this film that we're going to show sub stories are little things that are happening aside from our main action. So the main action might be a ceremony. The main action might be a toast. It might be a mix of the two and then there's like these little sub stories happening in my wedding films, and we'll talk about those compound clicks. Compound clips are really, really a powerful tool in final cut pretend to help you to consolidate large amount of clips, so if it looks like clips have vomited all over your timeline and it's just kind of hard to go through and look at him or try to decipher what's happening, we can use compound clips a to just bring them together and be to just have a separate place to work on that one particular scene, which is really helpful. We'll get into that a lot, too. We're going to some scoring music today, we're gonna get into how I work with music and how I prepare music for the edit. You're going to learn a little bit of music theory today, which will really help you learn to take music, make it more dramatic, or use it teo to make your story more dramatic. It has a lot to do with music theory behind you's get a music lesson, we'll take you back to elementary school music class. All right, audio sweetening mixing, we're going to really get into the audio end of things as well. Today, after we have our story built, we're just going to be rough cutting it. We're not going to be getting not gonna get we're not going to be a perfectionist as we go along, we're just going to kind of flesh out the story, then we'll go back and do a lavar tweaks, and then we'll sweeten our audio and do a final mix, and we'll get to see how that works. And then, hopefully by the end of the day, we'll get teo foley art and sound design, so we'll get into how I use sound effects and natural ambient sounds to really bring a piece to life and to bring it into the real world and keep that that's the one thing that will keep your videos from looking like music videos is learning how to incorporate real world sounds into the story, and we'll get into that. So what is in the story? A story as faras event filmmaking goes, in my opinion, is what makes the bride go? Wow, you can have beautiful images and put them to music and it's still powerful emotional anytime somebody's looking at images from a special day like a wedding day, they're going to get emotional. That's why photography is so powerful but with video we can choose to either leave it like that and just have images to music or we could take it to the next level and what I've tried to do in my business is take it to the next level and even in my corporate work I definitely try to take things to the next level I see a lot of corporate videos that are just music and shots it can be effective but I try to engage a viewer on all levels all senses I want them to really be drawn into a story so what does it take to do that that's what we need to define well my stories all have a couple of common denominators number one they all have a main story anchor okay there's always one thing that's happening throughout the entire video or if it's a longer film there's one main thing that's happening through each scene that ties everything together that it's the glue between the mortar between the bricks and then on top of that we have substance and sub stories are maybe some b roll of the broad from getting ready maybe some natural sound mixed in there maybe it's we cut away to the maid of honor working on a speech that that would be considered a sub story okay and we'll explain this more but as we watched the film you kind of see how you know, it should become apparent to you what is the main action and what is a sub story on dh then, on top of all that, we have transitions, and I don't mean transitions like cheesy wipes between two shots. Transition shots, transition transition shots are a shot or group of shots that tie two scenes together. They can be an establish er to kind of let the audience know where we are. Here's the outside of a building and it's snowing. Ok, it's the outside were in new york in wintertime. Okay, those transition shots help you to tie those sub stories and the main action all together. Okay, so we have a work floated to lay this all out and then merge it all down and then work with it separately if we need teo. So you're going to want to try to identify the story elements the main action of sub stories in transitions you're gonna look for b roll. I want you guys to kind of be aware of what's happening with audio and video simultaneously. What audio are you hearing in? What visuals are you looking at? And that the visuals are something not completely related to the audio, but sort of still give emotional impact that that is b roll that's the type of b roll I look for in my films remember yesterday we got into jnl edits right? We got into how we blend audio and video together to make it seamless and it kind of tie together nicely. I want you to try to look for the j and l edits look for parts where you hear audio first and then we see what's happening with that audio look for times will receive video and you know, audio comes in, then we go, then we finally jump to something else look for those types of edits in here because we are going to dissect this and actually reproduce it when we do the editing you want to look for time shifting as well. Time shifting is something that I use in my films frequently I don't like to just start off in the morning and then go through to the end of the night with my wedding films I really like to maybe start with the toaster than that happened close to the end of the night and then go to the preps and then from there maybe go to the first look, which doesn't happen until later and then go back to the preps or sometimes all I'll start off with the first dance it all depends on how I want to build the story to make it compelling it's also gonna depend on what are you, what your strongest elements are that you've captured if you went on a shoot and the toasts were horrible but the ceremony was really good we're gonna want to focus on that as a time shift as an anchor the kind of piece things together and it just helps build anticipation I feel and create more emotional impact when you're using time shifting it's just one of the greatest techniques of the short form at it yeah cz used quite frequently have any of you seen the film walked the line about johnny cash if you haven't seen it I highly recommend it even if you're not a country music or johnny cash fan it's just filmmaking wise it's a really well done film for a romantic film or a biopic the very beginning of that film is the perfect example of time shifting we open up with an outside shot of a rave in outside of a prison and we just hear like johnny cash is distinct teo teo and it just keeps going and going and going then we cut to a shot of ah a band saw we have no idea why there's a shot of a band saw there's a glass of water next to it I wish I hadn't seen in which we could play it so cool on dh and then we cut then so so at that moment time we're seeing this prison and then all of a sudden after a couple more shots were in diess arkansas in nineteen forty two okay so it's completely you don't know what that means until later on we come to find out that that is where that's folsom state prison where johnny recorded that famous album and that is sort of like that time shift there it was foreshadowing it totally told us what was going to happen later on and it set the tone for the movie which I thought was fantastic so I would like to say I want a ruined movie watching for people and really I want you to watch movies and dissect them for the story and that will make you a better editor I'll make you a better storyteller it also gets your husband to come to a romantic comedy movies with you way have this running thing we say well okay well she wants to go see the lucky one and I'm like but honey the light's really good look at the trail of crumbs all with the eye patch up the trailer she's looking nice the cinematography is I'm like all right and by the way the lucky run that's a really great one just to look at visual light cinematography it's beautiful it really is bullshit well it's les miserables too if you guys have not seen the screen adapt the news the newest screen adaption of les miserables cinematography he's unbelievable unbelievable just from a a camera perspective it's really good okay so time shift we want to focus on that. I don't want that dress too much. We are going to talk about the role of music as well music you shouldn't just be picking any old song and putting it to your film. There should be a reason why you're using that song and there's certain things I look for in music that determine whether I'm going to use it, okay? And I have a flair for the dramatic I don't like to use, like little frilly like now, like butterfly music I like to use like score strings, buildup, explosions, I like I like I like big action drama, I don't mean like action movie drama like don't don't don't do that we're not talking about doing it, she seen I want music that just has emotion, but if I put the right music under just the vows the bridegroom to see, even if they're just the set like a catholic ceremony where they're just repeating what the priest says, if you have the right music under that, it will, it will completely change that piece, and really, when I see my brides crying like bawling hysterically like ugly face, cry, cry, face, ugly, I know I've done my job right and that's what I'm looking for that's what I'm looking for, okay? All right so we're also gonna want to notice the mood and the mood could be set by the music and then all these other things above it on the keynote here but color grading the I want you to notice the color grading in this film from scene to scene pay to pay special attention to the opening of the film in the color tone and then as we go into the ceremony look at the color tone then look at the preps and look at the color tone there's this was done intentionally my color my white balance is not off okay this was done to create a mood and in films a lot of times films have a very distinct look and that's intentional okay it's not that they don't have to use their cameras. Okay it's totally intentional so here are the story elements and yesterday we spoke at length about the magnetic timeline the primary storyline will this really comes into play today and we're going to get in this heavily here's our primary storyline running right down the middle member were yesterday we made the analogy that that's the highway through the desert and we have the wild wild west on the other side it just helps us to remember that there's rules along that highway and then like the matrix rules are meant to be broken sort of there's like we have these matrix powers with our tools that we have any movie now wears a cinema, of course, of course I'm going to make movie analogies, right? All right. So our main anchor story and when you watch this film, you'll be ableto what kind of identify? The main anchor story always goes on our primary storyline. Okay, then there will be some b roll. Okay, associated with that main anchor because he can not everything is shot perfectly clean. I can'tjust take part of a ceremony angle. There is three camps perfect. Now we move cameras around and things get messed up. Sometimes we have to kind of covered up. We'll use b roll to do that. So main anchor story will continue to repeat. This process will put main anchor story down on the primary storyline. Add some b roll okay to each of these and then will kind of make some space to do a secondary storyline member. We talked about using gaps to do this. We'll use a gap to kind of make some space on the primary storyline so we could insert some secondary story and the principle behind creating the secondary story is very similar to the main action story it's just not main action story. We're kind of building these sub scenes. And final cup pretenders these great things called story lines like connected storylines and where we can take a group of clips and make them their own story line and we'll get into that with that. We didn't really touch on that yesterday. Eventually the idea and after we add b roll to our second story, the idea will be to create these connected story lines out of the all that b roll because we don't want those clips to just be floating in space. We kind of want to merge together, so we're gonna try to merge them into the storylines that things were nice and neat. I like to keep things neat on the timeline because it helps me to remember okay, this is one scene, this is another scene, this is another scene, and then I can literally go in and click any one of those toe expand it and work on it in minute detail. All right, but this is my work flow for building the store in the timeline. Ultimately, what I want to do is take those connected story lines in red there, and I want to merge them down to the primary story line. Why? Well, I just want things to be nice in uniform, and I wantto have specific scenes for different parts of my video, so we will ultimately merge them down using compound clips we'll get into this so I will merge them down until we have a nice neat package right along our primary storyline and then remember we talked about transition shots how they tie scenes together transition shots will play that role okay? So that's sort of a visual representation of what we're going to do today and there's a lot that goes into it so let's go on ahead and let's watch this film and then we'll talk about actually building it hateful we'll get right into it way begin I ask that all of us especially chung in annie take a deep breath, look around and savor this very memorable moment look around of the wonderful company of family and friends who join in the celebration tonight for is there presents for your wedding is a blessing to you so is your expression of love for one another a blessing to all who are gathered here that way my brother grew you know, not just a brother but a best friend too and you know being such a good partner to my brother and also a good friend and assistant to me now well, I'm in his empress sister five years on growing up she really was like my second mother I've always been so blessed to have someone so willing to take care so excited for you to find someone that way we both celebrate this marriage and sunday sarah good evening, everyone. Thank you so much for making out our wedding this evening to ever say that I have to separate to try to make friends long walks on the beach because we have way I have been the third wheel and annie and chung's relationship for the past few years we've shared many beautiful moment it's dinners trips to the south of france walks on the beach in the caribbean so many that when chung showed up in monte carlo to propose I was honestly little confuses us visit her is in me little disappointed to see one ring so wait yeah this looks delicious way was made out of crystal baccarat crystal dad it's for my dad and his friends you know and the feeling was filled with love and happiness that tow any I'm plus with our wonderful keep any my border so many my life completely happy I wish any and tone hildy merrick good has a good head on I hope there will be on any one thing I want marriage is a coming together of two lives and a celebration of the love of two people love that annie and chung feel for one another is the flowering of a seed their families planted in their hearts many years ago yeah, my way crap holy crap this is what I wanted wow wow that's pretty amazing anne anne chung in presenting yourselves here today before these witnesses to be joined in marriage you are performing an act of love and it's fitting to speak briefly about love way live in a world of joy and fear and search for meaning in the seeming disorder of things way discover the truest guideline to our quest when we realise love in all of its magnet for love is the eternal force of life love is the force that allows us to face fear and uncertainty with courage today you proclaim your love and commitment of world way wow oh any in chung in closing way all wish for you a wonderful life together may your marriage bring you all of the exquisite excitements of marriage should bring and may you have love may you find it in loving one another I have hardly met anyone as kind and loving as any until I met chung I have to agree with your dad because I've seen the baby pictures make the babies make the baby make theo power vested in me by the city in the state of new york I'm very proud to declare a wife please kiss your lovely bride second ah wei woo that piece um I would really made me so happy about the way that peace turned out was that their personalities really come through especially heyes especially the groom's he's such a smiling happy guy all the time he's always joking around and he's always got a smile and he's always talking to somebody every time I I saw him that day he was talking to somebody he was never all off on his own being introspective he was always engaged with somebody and I really wanted to show that I wanted that to be something that was highlighted in the film and she was very reserved she was very quiet in fact during bride's prep she barely said a thing so I had to sort of compensate for that so he kind of overpowers her but when she saw the film she was like that's exactly what the way it is in real life she's like yeah he's like always talking and I'm always the one that was like sitting next to him and I said that's perfect cause that's that's what we want we always try to kind of capture that that realism there now that film had a lot of different things happening unfortunately, there's no way I'd be able to do that today all of that stuff the rehearsal dinner and all that stuff so what we're gonna do, it was really kind of looking capturing the essence of the main action there and then we'll cut in some sub stories just so you get a sense and you'll start to see eyes were editing today you'll start to see how that starts how our editors they will mimic that sort of cease common elements now that you've seen that film on you'll see how I build them and that should give you enough of a basis to go okay, now I see how you did that that's my goal because all that video really waas was a conglomerate of different scenes they were just blended together really well did you know this what the main action was? Can anybody tell me what the main anchor was of that story? Is that the ceremony? Yes, the ceremony was you know is how the homily of the officiant was what we kept going back two the entire time it book ended our video we started off with a cut from him we ended off with a cut from him so that way reference him probably four or five maybe six times throughout that video especially during the real emotional part of the first look that big dramatic build up to that he was here you know that his voice was there once we established it was him talking did you need to see him again to know that that was priest talking? No, so once we've established who it is, we can sort of we can use that as an anchor throughout the video we don't have to go show him every time, okay? What were some of the sub stories that we that we put in there. Anybody disco. Just grab the mic and go. Uh oh. The preparation. Yeah, preparations was one. What about any of the weather? The weather? Yeah, absolutely. The weather was very underlying sub story there. We do reference in a couple of times. Yeah. Gift giving. Gift giving. Yeah. That's a huge one because it's something that usually will happen on the wedding day. Take advantage of it if you can. Some of the other ones were the first look, the first look was a huge substrate that the first dance, although it was more in the role of b roll, we only showed it a couple times and a few shots of it. There was an underlying sub story there. It came in the form of when they were walking into the room and then they were being cheered for. And then we cut back to the first look, so I kind of cut the first dance in with the first look and when she came down the aisle so there's sort of this three prongs story happening there, um and the rehearsal dinner that's another sub story. Okay, so after you're able to identify the parts and I'm going back to my kino here once we identify the story elements and know where the b roll lies and we know where the jnl edits are. Did you notice the jane ellen it's? Could you kind of tell where they were? It was the part where you heard the audio and then you would see something happened. It's very common element and I can always spot somebody who's new to video editing when they don't make use of jnl edits. It really is the difference between, you know, a good production and a really polished production, something that blends really well together on but there was a lot of times you thing happening there, you know, so lots going on, but it really I mean, once you understand how it comes together, it's really not that difficult to kind of get your head around your own footage in the same way. What about the color grading? Did you guys notice the color grading notice how in the beginning was very blue and cold when I was outside it was snowing that day? Well, if you walked outside was perfectly white, this is what is these lights outside, you know? But I added that in to create a cold, dreary kind of feel because that day was cold and dreary, she was so disappointed that we couldn't go outside you know, she wanted to go do her first look outside, she was hell bent on it. I mean, she was at the plaza in new york city, she wanted to go outside and use the front of the building with his iconic new york scene, and it started blizzard ing about ten minutes before the first look, you know, so there's, no way we're going to we're going to try to do it in the snow. We couldn't, so we had to kind of tie into the story a little bit of a mood there, and and it made her feel something she went, you know, that's like, yeah, I remember that day it was like just miserable outside, even though she never saw the light of day the whole day she was inside the whole day, so we're it was good that we were able to capture that for. So since we've talked about how to build our main anchor story adds and b roll add gaps in sub stories, this is sort of what we're going to be doing today. All right, be rolling secondary stories, connected story lines going to merge it all together. They're going to add transitions, right? This is my actual work flow construction and review the folder organization. Remember yesterday we touched on folder organization, the color coding system. We're gonna go over that for this particular wedding. I'm going to show you how I broke everything down into folders for easy import, so when it comes time to import our media into final cut pro ten it's already gonna be organized in keyword collections for us remember, we're going, we're going to go through that were going keyword, tag any clips I feel like need what I do is when I get into the program, I look at my key work collections that have been created from those folders, and I kind of go, what else can I put in cure collections that would benefit me later on? And we'll kind of looked over our footage and see if there's anything else we need to keyword tag, then we're going to do our battery naming members have powerful this was yesterday, we're going to take some time and go through the footage that we're going to use today, and we're going to actually we're going to rename and I have all the presets made you not going to sit here and watch me do all the presets already made. I was going to go through and quickly renamed them right? Then we're gonna get into synchronization. We're going to take our we're gonna decide what our main storyline is, and we're gonna go ahead and sink all that up using plural eyes, it's a process in itself. All right, we're going to do that by the end, we should be ready to begin editing. I am your throughout some disclaimers just so everybody understands what's gonna happen today. Editing the film takes days, guys, that eight minute film took me, you know, defy the total of the time. Probably four, five days to put together. Okay, I really take my time. I'm a perfectionist with this, but this kind of stuff so it's going to be very difficult for me to put together something that polished, but I'm going to make it attempt to put something together, that's going to be representative of that so you can see how it came together. All right, even my same day at its take, like four or five hours of intense working. So today, as I'm teaching and working, it might slow the process down, but you'll still get a sense of how efficient we can be if we use final cut pretend the right way, I might have to move quickly at times just to kind of get things done so we could move on to the next thing I encourage you to ask me questions throughout this entire process today all right? Just feel free if you're if I'm doing something and you need to know a little bit more about what I'm doing just raise a hand I'll be happy to take questions on dh it's never completely smooth per process to edit alright, even as long as I've been doing this, I can't just sit down and go in his wisdom and I'm done it sometimes I have to go well, that didn't work out too well let's go back and try something else so there might be a little bit of hesitation there, so I like to disclaimer this stuff so people aren't looking at it as final cuts fault or, you know, looking at it as all robs a fast editor it's more or less we're trying to do something that takes days in the course of two hours so it's a little bit harder, but anyway let's begin editing let's get into this thing and let's start getting into the meat of things we're gonna move over here to the final cut system. Everything that we're working on today comes from our secondary work drive it's a it's a second hard drive that's built into the terminal remember you want always keep your media on a separate drive down here if we open up our just main drive here I've got a serious color coded fallible folders and the job we're working on today is this one right here twelve twenty nine twelve schoening ok this was there that this is how I label my jobs they all have the date first and then the bride and groom last name or sometimes when he sees the bride's name it depends on if I opened this you're going to see a series of color coded files or folders and it's broken down footage audio when we do work in plural eyes we'll put some of our plural eyes files in here graphics and stills when we're all done things will go in the complete folder and then when I finally burn dvds and blue rays I like to keep everything together and when we're all done with the project I'll take all this stuff and moving on to archive dr work stays forever it's nice that is just have everything together so everything we're going to be working with today is in these folders and what I've done is after the wedding I've gone through and I just segregated all of the individual day parts into their own folders because when I import all this into final cut it's going to create keyword collections of each of these folders named as they are any of the clips in these folders will be key word tag with that name all right, so it'll have this file name, but it will have a keyword tag of the folder name, so this is very helpful once we get in final cut to have that list of key work collections on the side that we could just kind of go through, however, there's a couple things I want to do to make sinking easier you're going to see when we get into sinking. It could be a little daunting, especially because we're sinking using what's called a round trip from final cut in deplore allies in them back into final cut. Why don't my sink files in final cut, final cut has its own synchronization tools? They don't work bottom line. They might work for one camera, one audio source, but it's very rare that it works with multiple cameras in multiple audio sources, so we use a program called paralyzed but there's something I want to do in my folder system to kind of get prepared for that to make it easier right here in this first folder under ceremony, I have separated all of the clip apps from the ceremony that air homily and vows. Because these are the parts I'm going to sync up of my ceremony, I might sink the marching up to and everybody comes down the aisle. But for today, we're not going to do all that, you know, in my films, I would probably do that. But just for the sake of today, I wanted to keep this a little simpler to see normally there's about let me see if I backed this up. Yeah, I would say normally there's about three times as many videophiles, then we're going to be working with today, but I didn't want to like throw a bunch on the screens would be really hard to kind of keep track of everything during a live broadcast, so we did kind of simplify it down a little bit. But all of these clips, if I just press the space bar a measly amount so we could say, if I just press the space bar, we're just going to preview these clips and what I'm looking at here turned us down. Um, and they're bigger because of the screen resolution. Let me see if I can just fifty screen here. These air in previous. Okay, what? These are these are individual files from all three cameras. Actually four cameras because we had a chip to so what I've done is kind of separated them off into their own things and I'm actually noticing here that the jib footage is not in there, so I'm just gonna copy the jib footage of our homily and vows because we have this beautiful twenty four foot jib that we used and I'm just going to go ahead and copy these in there and you could neither copy or just move them either way, I do want to keep them in their own keyword collection, so I'm not going to duplicate I'm not goingto just move them, I'm going to copy them into the other folder and we'll let that kind of go in the background there, consolidating all of the footage that we need to sync up for my ceremony essentially all right, and you'll see why that's gonna be helpful in a few minutes. We also want to do the same thing for our toasts and not a job of this scale. I would have done the same thing for the speeches during the rehearsal dinner. I would do the same thing for the first look all of anything that I'm going to sink using plural eyes will have its own folder, so when I go in the final cut and I click on that key word collection it's his homily and vows, what am I going to see all of the clips is all of the clips that need to be sync will be in one place otherwise I have to go through different keyword collections or I have to click on my event see all of the media in my entire project and then have to go through and find these individual files that's a pain in the butt I don't wanna have to do that so I'm just gonna consolidate everything into into folders I need to do this for the toast we have not done it for the toasts so I want to create a new folder in here I'm gonna open this up double clicked into my footage folder I'm gonna create a new folder I'm just gonna call it toasts okay, now my toasts footage as of right now is in my reception folder if I drop this this down and let me zoom in here so you can see I'm sorry you'll see that I've got the reception footage and what I mean by reception footage guys when I when I say reception I mean grand introductions first ants, parents dances and toasts dancing footage to me is not reception footage cake cutting to me is not reception footage that goes in its own sort of category okay because when I think perception I'm thinking ok that's the story of the reception not this b roll stuff that we might or might not use ok so this is all broken down by camera person if I treat this down you'll see all of l's receptions old lee is reception all of nino stuff okay, but this is all broken down okay? I just wanted to make sure that the toast stuff goes in it's own folder so I'm going to go through and find my toast footage all right? Normally this process would just involve me kind of you know, re sizing these clips and you know you're seeing it on a zoom screen so you're not seeing the whole thing but that's first dance that's the sisters singing the first dance song but these files and blue I've already gone ahead and label them just for the sake of speed here these are all the toasts okay? So that's leah's job during the reception is to get the reaction of the bride and groom so these are her three shots and why are there three shots? Well, the toaster kind of long and the camera only records like ten minutes at a time and you know that could be one reason another reason could be that after each toast we like to stop and start the camera just to give it a fresh file just helps if we're doing the same day at it to kind of keep track of what's what? So I've got these three files from leah all right? It doesn't matter that they're names something different right now we're just or that they have the original file name that's fine I'm just going to move them into our toasts folder ok and actually for the sake of this just so we don't get well that's okay? We'll probably have some missing media when we open this up because of the other projects referring to it but not a big deal lets his movement toasts are going to the same thing for my other camera people I have these already sectioned off we're going to drag him into toasts uh do the same thing here and what that when we don't need to because there's none in there and here's all mine I'm also simplifying we're only going like three cameras not for I mean it's the same it's the same workflow if you have multiple cameras I'm just going to try to make it simple for now in my toast folder I have all of the all the video files related to the toasts okay? I can't even take this a step further and go into go back into my project folder go to the audio folder and let's copy in the audio we're going to need to this way that will also be in the keyword collection so I don't have to go searching for that final cut pro to remember the theme of yesterday was organized, organized, organized save yourself time later on this doesn't take much time searching for clips takes time I'd rather so much rather take time to do this and be organized so we're going to grab the audio on bringing in there too was going to resize these windows a little bit so I can see what I'm doing here and you can see the final names a little bit more so what I have is ceremony tap that's my cap into the ceremony I'm definitely going to use that I'm also going to use the groom's mikes for the ceremony well I'm sorry we're just doing the toasts my bed let's just grab the parents dances in reception that's where my toast tap in audio is actually here in maine speeches to excite sized it down what I'd like to do once in a while guys if I have a really long audio file because I've let my recorder go the entire reception you know I plug into a deejay soundboard I just let it roll it'll be like a three or four hour audio file. Well, sometimes I'll shorten it down just to have my speeches seperated and it makes sinking. It makes it a lot easier on the sinking program due to manage and do the sinking, so I've separated my main speeches, which is my maid of honor and and best man and my dad dad gave a speech to I kept his separate and then made a shortened version of justice speech, so I kind of like winning trim down my audio files. It's a good idea to do this if you've got three hour audio files, I mean, paralyzed probably won't have a problem sinking that. But it's what I want, I just I just cut it down just makes it easier on me, so I'm actually a copy these, and we're gonna put them into our footage folder and into our toasts folder. This way they end up in the keyword collection when we import them. Okay, now we're ready to go in the final cut work, otherwise everything else and there is pretty much organized the way I wanted. I want to do things so let's, go ahead, open up the program any questions so far about that, he said, if you got a three or four hour long audio file, you'll chop it up into bits. What are you using to trim and cut that before you going to paralyze? Good question, you can actually use quick time, believe it or not, you could open it up in quick time and you can trim. So I'll just go through and find where the speeches start, I'll set you can just kind of move the end point to there, and you get trim back to the where the toast and and just save it out as a new file takes two seconds. You don't even have to open up an audio program for final cut. Yeah, it's really cool. All right, cool, so we're ready to start now, what's the first thing we have to do before we import footage, anybody with creon event if they create a bin for all the footage to go into ok, we can do that as we import our footage, or we could just go ahead and create the event on its own. So what I'm gonna do is just close those trees down so we can see things a little bit easier. There we go, we're going click on our main work, dr because that's, where you want the event to be that's going to be in the final could events folder is going to file a new event, all right? And where we're going, what we're gonna call our oven today, we'll call it a wedding at it it's hard to type, sometimes this cable recover on their wedding at it, we're gonna click on that, and then here's our import media button this can also be accomplished by command. I just click import media itself. The goal here is to bring in what we're going to be needing for this edit, and we're just going to navigate to our project file right here twelve, twenty five, twelve, twenty nine shown and we're bringing in footage and audio at this point that's really all I need at this point and I'm going to import selected this probably take a minute or two handle, but we have this nifty dialog window here, which we went over in detail yesterday, and these are some very important questions. So what kind of go through and see what we need to do? Yes, I want to add this footage that an audio that I'm gonna import into my existing event wedding edit. All right, we want to import folders s keyword collections because we that's why we made all those nice folders, so they come in a skewered collections and yes, I would probably check copy files to the final convents folder, but I'm not going to do that because it's going to be working in the background right now, I don't want anything working in the background, I just want to be speedy, all right? We can always do this later on, I could just tell it, tell final cut hay consolidate all my media and put it in the final cut events folder, and they'll do it. Yes, we would probably have it create optimized media and create proxy media too. I would highly suggest you do that. I do this the night before I work on a project this way. It's done, and I don't have to worry about it working in the background. Not that it's a big deal for you to have it working in the background on a fast system. We're not going to do anything related to analyzing color or finding people find people is one of those things where you go, I should go through and say, okay, well, you've got a two shot, a one shot, three shot with wedding footage, it doesn't know what to do with it. If we were shooting an interview would be different wedding footage it's goes, I don't know what you want me to do with this audio analyzing fix audio problems? Not really. I like to kind of do all that myself, so I'm gonna let it not do that right? So we're ready to hit import let's go on ahead and import our footage and let's see how long this takes hopefully won't take too long now dating files for import and it'll be nice once this populate because while these really nice keyword collections over here in our event library will be able to kind of go through everything, see everything segmented by day part and we've even got folders in there for the camera people to so I found since they were labeled like leah ceremony if I wanted this view leah ceremony self this click on ceremony, it'll show me all her stuff we're going to go through this footage and we're going to organize it even further. So now if I wasn't sitting, you're teaching you guys that would've taken me all of, like three minutes really, it would have been, but but but but but created folders organize this stuff in the folders outside of, you know, in find her outside of final cut and just importing it, and this is the longest part it's sitting here just waiting for it import, you know, usually go have lunch question was going to ask how many cameras you typically have operating on a wedding or like anyone seen? Yeah, I'm kind of nuts during that ceremony, we had five cameras, five cameras during the reception, usually three I don't go crazy with jim's during receptions they tend to be a little bit too noticeable during this that's that ceremony that you was so high over their heads most people didn't notice it it was there believe me, you could see it but you know, the bride and groom wanted a high end production I gave him a high end production uh but generally speaking all of our other cameras you won't even see them, you know they're really way like that in the crowd look, so I like to like him better ourselves with mono pods and a crown to shoot through people it's just kind of gives you that feeling that you're you're actually at the event was there another question? Yeah if you're copying into the final cut events folder anyway, are you importing directly off of cards and organizing on cards or do you copy on your hard drive and then import from the drive? I never import from cars I always copy to a hard drive first always has this really cool thing well, it will create camera archives for you basically so if you want to say I'm doing same day at it and I don't want to wait for the footage to copy from the memory card to the hard drive, I could just tell final cut hay take all this footage from the card and I'll show you all the footage it's on your card you could actually slept ranges of each clip of what you want to bring in it's similar to final cut pro seven's log and transfer feature if any of you are from we're familiar with that but it will take the footage from the car and create what's called a camera archive which essentially is a virtual hard drive storage in the final cut events folder and then you can access that later and copy to a new location for backup there's all these different things you can do with camera archives but I don't use it I generally will just wait we use fast card readers thunderbolt card readers and we just zip it in and just start working immediately all right so here we go under wedding at it event we now have all of our key word collections we have ceremony and reception audio which is just built just the audio itself if I just treat on where's his way form audio because again I like to keep things organized by file type it's right there all of my face time we didn't talk about what facetime facetime is basically cocktail hour people smiling, laughing just having a good time maybe those musicians and stuff and we'll use this and longer films generally not the short ones for the most part here's my audio for my first look anything that was put into a folder now is now in a keyword collection and we took everything out of gym marching so there's nothing in there is the final cut goes hey, do you really want to import that and well we really don't need this anymore something's going to delete the keyword collection we don't need that notice here excuse me under homily and vows this is everything we just organized for the ceremony okay so all of my jib footage is in here with one angle this angle for the ceremonies in here this angle couple clips for that this angle which was my angle on this angle which was my seconds angle so everything's in here it's not renamed or anything but it's all in one place so when I go to sync this up later on and I'll be right there here is awesome setup footage we have the first look you know so everything's really kind of segmented now first look is still broken down by camera person you see if any time you see a little letter there that denotes that I that's just broken down by camera person I would eventually probably go through emerge all these and that would sort of be our next steps you can see it's all in there so what do we want to do at this point? This couple things we could do we could kind of go through our footage go through each of these key word collections and decide whether or not there's there's things we want to break down into further keyword collections for further organization for example if I wanted to separate these into his only for four shots of set up here if I want to set the set up, separate these into, like, okay, they're working on the archway or if I've got a bunch of other ones that air for the reception room, we can separate that I kind of turning this down first. Look, we would probably consolidate those marching from the receptor or from the ceremony. So even though things were really kind of consolidated in one key word collection there's still broken down into individual parts and other key word collections for easy sorting later on, what I probably do at this point, let's go on ahead before we do are sinking and let's just do a little bit further. Organization s so we have some sort of an idea of what we want to work with in this film. Now I already know that I'm going to use my main action is going to the ceremony, and you need to take time before you even do any editing or sorting to think about what direction you want to take with you. Read it all right, I did before I edit a stitch of video, I kind of sketch out on a piece of paper were on the computer and all this right down. All right, I think, like I watched some of the footage and all remember from the wedding day and I'll say, you know, the the toast on this wedding were really strong what's kind of use that is our anchor you know what? The ceremony has some really emotional stuff I'm gonna plan on ending on the ceremony's that's really powerful emotional and then there was this part where they, you know, they went off into the sunflower field and they did this whole thing where they were running through the sunflowers and all I'll say that would be a great sub story and I'll just have an idea in my head this way when it comes time to do this stuff, I already know how I want to separate it, okay, so there's a mental game here we have to play, we kind of have to have an idea of the direction one thing that'll slow your editing process down a lot is if you just sit down to edit and you have no idea of the direction and then you start just piecing things together because what'll happen is you'll start laying the story and then you come across something great that would've been awesome to start with and you go crap well, let's see, how can I tie it in now and then that takes more time to backtrack so my editors in studio, they they all know to kind of sit down, take some time and just kind of coordinate a story, a plan, not storyboard. We don't draw on every shot, but we get an idea of where we're going to go. So what I'm gonna do here, let's go and take all of our first look footage and just kind of combined that into another key work collection, so I'm just going go appeared a wedding ed it I'm gonna go to the main event I'm gonna right click and go to new keyword collection and that's one way to do this I mean, we could easily do that and create a new key word collection, but I'm not going to do that let's do it the more fun way which would be to tag so let's, go into lia first look here and these are all of her first look clips and I'm just going to come up heating here and click command. Okay to open up our keyword panel where I can come down here to the little key and click that and let's, go ahead and tag these as just first look, okay, not first look audio just first look alright and I need to select all the clips first let's, elect all these clips first and now that it's already been made into a key word I could just click control foreign and oldest go ahead and do all that let's go down here too and first looking lets his highlight all those and we'll do the same thing we're just going to call those first look and you see how the tag is being applied to the clips there let's do the same thing for my footage rob first look glide I was on the glide cam here that's why those air like that so first look boom now I've got a brand new keyword collection under first look and all the files related to the first liquor in there and now they're keyword tagged so they're all where I need him to be which is fantastic now later on so what I would write so what I would basically do is do this for a lot of my different footage I would go to like maybe my different day parts of the ceremony and reception here and kind of do the same thing I could also do this by creating folders outside of final cut it's really no different all right just this is just if I forgot to create some folders out outside of final cut and I want to break them down into further keyword collections that's how I would I would do it but as we saw yesterday this is really isn't the crux of my organization, I like to rename clips. I'm really big into renaming clips so let's go into homily and vows, okay, because when I sink these up and finally poor allies, they'll all be down here on the timeline, and I know what a glance I can kind of look and see. Okay, well, now I know who shot this angle, and I know this was the gym, and I know this one was was my second cinematographers angle, but if I if I have a lot of more, a lot more camera angles and things were going to get crazy, I could just rename these if I want, and I've already set up my apply custom named presets. So let's, do this let's. Go on ahead and highlight these jib clips and let's go up to modify apply custom name, and we should have something in here for jib ceremony. I'm sure if I actually created that one, it may not have updated jib ceremony boom jib ceremony one job ceremony to done. Okay, we've got this far angle here, okay? That's actually, my fourth. I'm probably not going to use that. As a matter of fact, I'm not going to use that clip that's, just an angle, you know what this is, this is a gym angle that it was before the jib took off so I know I'm not going to use this so what do I want teo I want to reject this clip I don't need it I'm just gonna press delete on my keyboard and it puts a red line over the top of the clip and now that clip has been rejected so if I come up here to all clips and goto hide rejected it disappears I don't want to see that clip I don't necessarily need to delete it but there you know there it is if I wanted to delete it I could just right click and go to move the trash and we delete it right so here this is actually another gym clip I guess I missed this one will go appear to modify will go to apply customs name and logo jib ceremony will not bend in there these two here I know where lee is angles someone go to modify apply custom name the ceremony so now I have two clips associate with that this one here was my second mom is going to the same thing here we'll go in ceremony and this one was mine our ceremony they're done so every name these clips now let's say I'm over here and I want to see leah ceremony there they are just typing just by typing that end there they are they're ready to go I want to look at my stuff our ceremony there it is. I don't have a type of full name, so that really will help me later on when I'm just if I need to pull and you're going to see this because once I sink everything up it's not going to be all hunky dorey it's not gonna be like, okay, if I want a blade out what the priest says here, every shot associated with that clip is not going to be great. I'm gonna want to go back and grab different moments in time to peace in so later on if I'm editing that part of the ceremony in a scene I go you know, I don't really like the way the bride's face looks in this in this part right here, okay, I want to go back and grab another clip. All I have to do is come up here type our ceremony boom! It takes me to this party and I could navigate here just using my j k l and set a new in and a new out and grab that cliff and put it back down on the time line that's why this search featuring the searching like this using clip names is so much more powerful, otherwise they'd have to go, okay, ours, I'm seriously trying to find it uh are they was our support, but our ceremony no it's under homily invalids right okay so homily vows and then I would see all the clips and then I'd have to go okay there's our ceremony and then go through it you see the difference it really does save it saves seconds but seconds add up seconds add up two minutes minutes minutes add up in the hours and it definitely helps you to be a little bit more speedy so cool now my homily and vows are totally ready to be sent up member we went and created that toast folder outside check this out all of my toast footage and the audio is in one key word collect ction and when I sync this up in a few minutes you're gonna be like wow that's cool I'm glad we did that so I'm going to do the same thing here so once it is sink I know on the timeline at a glance from the file name what it is I'm looking at so I'm just gonna grab all of lee is reactions and apply custom name and leah toasts and we'll do the same thing for my second now he was doing reactions of the crowd custom name and then these I believe were on me how much for what this is this is actually a that's the best man ok cool so this is all my angle custom name rob toasts boom we are ready to start sinking okay I'm really happy with this let's start singing any questions about organization, because now I would obviously take more time to go through this, but we're not going to do that right now. You guys think you guys understand what it is I'm doing any questions about that? Yeah, the preset keywords he had already set up is that specific to this project? Or can you access those keywords through any project? You can access them through any project, which is really cool? That's the beautiful thing we don't member, we don'thave project files, we don't have one project, but we have events and projects, but once you set up final cut pro ana system and then you make that list, that list will stay with the system, which is great, and I can always edit these anytime I want. I can come in here, and these are all the ones and their generic enough that this applies to pretty much any wedding I've ever shot, right? And if I have specific ones like rehearsal dinner, like this one had a rehearsal dinner just coming here to edit and just add a couple more for those takes it takes a second or two years to do that, all right, cool, and the other questions about sorting and organizing things like that, we're going to get into further, like favorite ing and rating when we're ready to start building sub stories and using b roll but right now we're just trying to get the main story action laid out so we can start putting the story down on a timeline all right let's go ahead and start doing sinking this is really really going to be key for us and I know for this film that we're going to make over these next couple of days we're going to use the toasts, the homily, the vows and we're going to you well yeah that's what we have multiple toast we have dad who you see upon the screen there we've got the maid of honor and if I actually we have her and those are probably the only two toes I'm going to you because I have both of them prepping their toasts and I want to kind of type that in and the prepping of the toasts at the you know during the in the morning perhaps will be sort of a sub story that leads into these and you could see I'm kind of formulating this in my head and then we had the ceremony obviously and then there's some other things that were going to use this sub story such as the first look which is now all consolidated here and if I wanted to I could really go through just rename these clips is a matter of fact you know, I'll just do that during the break because we're gonna have a break before we get to the part anyway, so we would probably rename all these. You see what I'm doing? I'm looking for the main story I'm going to go and maybe my my, my, my top priority sub stories. I want to go. Okay, let's rename all these clips so I could get to them easily. When the time comes, would I actually go through and rename every clipping my entire job like dancing footage? I'm not gonna go through every name, every dancing footage clip because we shoot dancing footage like three seconds here. Three seconds here. Four seconds here, ten seconds. Here we are not. I'm going to go through and rename all thatjust the main stuff for easy sorting. Okay, let's, move on. Sinking. There is a very unique workflow toe working with poor allies. Anybody not familiar with moralizer? Raise your hand if you don't know. It paralyzes plural eyes is a third party program that will take video and audio assets that were recorded separately. It will analyze the way form of the audio that's both on the video clip and the audio that you recorded separately, it will analyze it and then sink them up. In a timeline plural eyes works as a third party program it has its own little timeline in fact, the inter flee interface doesn't look much different than this and you'll see in a second but it will actually analyze all those clips you can give it a cz many video sources as you want as many audio sources as you want will sink them all up and we're going to use a data file called a data file called xml to get final cut to communicate with plural eyes okay remember, we're doing the sinking implore allies and now we gotta bring it in the final cut but there's actually another step to that we actually are going to for the sake of not having duplicate media files just try to follow me I'm going to explain in a minute we're going to actually line everything up for sinking in final cut use xml is our vehicle to get it in the poor allies sink everything, implore allies and then use xml again to bring it back into final cut so it is what we call a round trip we're going from one program out to another and then back in all right how do we do this? All right, well, why talk about multiple media files if I was just open up plural eyes, which is this program right here? If I was just gonna open this up okay, it would open up a program, and I could yes, I could go on import my video and audio files directly from my hard drive. I could come in here and navigate down to my work, dr going to shown which from here on out it's gonna refer to this job is shown just so you guys know and I could easily coming here to ceremony. Goto homily and vows and pull in each camera person, but notice how I didn't rename the files outside of the program, I'd have to do that whole process again. Ok, well, which ones are mine? Okay, that one's mind that would go into its own, and I could do that and sync it up and then bring it in the poor into final cut. No problem. The problem is with that since we're not using xml for the round trip, it's going to create a new event here with all of that same footage that we already have in the program duplicated it's just taking up unnecessary space on the hard drive so instead what we're going to do by xml round tripping is used, the existing media that we have in final cut to sink it and discreet reimported back in so we're not duplicating files, we're not we're not gonna have multiple files. When I show you the seal, you kind of understand a little bit more. All right? The first thing we have to do is create a project. Now, this is not going to be the timeline for our edit. This is just a timeline to sync up our homily. You are our ceremony and reception. Okay, we're gonna do them as separate ones. I'm going to do the homily and the vows as one sink, I'm going to do the maid of honor toast as a separate thing and the dad as a separate sink. Okay, but right now we're just going to do we're going to one of the time and then I will repeat the work flow so you can see it again and again. So you get an idea of how it actually works. So clicking on my work drive because I want the project of stay with my event, okay, you two go on ahead and click on work drive I'm gonna create a new project doesn't have to be in a folder of this time. I'm gonna call this ceremony, okay? It doesn't matter just really doesn't matter what you name it. Okay? Default event is wedding at it I'm gonna click okay all right, now what I have to do here is bring down everything I want to sync up implore allies all right on the way to do that is I'm going to make these files all of these clips appear a little bit smaller so I could see him they're probably really small for you guys I will zoom in when necessary okay we're gonna go into our wedding at it drop down our tree we're going to go to our homily and vows because that's where everything is I did not bring the audio in here it's it's just the video we could have done that but I can go get the audio separately it's not a big deal and I have to bring down each of the cameras on its own track what's the problem with that there are no tracks there is no spoon there are no tracks all right so we have to create tracks in order to make this work is plural eyes is going to look for tracks of different video and different audio well we only have one track that we know of its the primary storyline so let's go ahead and take let's see what do I want to be the bottom on the bottom let's let's put let's just put the safe shot well this is what I call a safe shot at all of our ceremonies were just going to take every clip associated with that camera angle and I'm just going to drag it down to the primary story line I can also accomplishes by hitting keyboard stroke e shift's iwill make make it fit to the window okay, so I have all this on one kind of place all right then we're going to the same thing for all the rest, so I only have one angle of this here, so I'm gonna bring this down and I only have one angle of this I want to bring this down and I actually don't want to bring the whole clip. Not that so I'm going to use option x to release the so when I see the yellow border around the whole thing, that means it was liking the whole clip I want that and we're just going to sync up these three I'm not going to put the jib in there because I can go pick jim shots separately and I don't need to single that right now I normally would probably do that, but I'm not going to right now then we need the audio's going come up here a ceremony in reception audio I know I need both of my groom's mikes and these also have to be on separate tracks. Okay? And when the ceremony tap, which is the priest? Okay, so I've got three audio sources I to group two mikes on the groom and I had the priest I was holding a handhold mike so I tapped into the sound board of the plaza it's popped right in there okay, now these air not tracks yet these were just clips right to make him into tracks we have to create story lines we didn't get into this yesterday so this is kind of new just by highlighting a clip or a range of clips if I had multiple clips as I will down here and come hit command g watch what happens to the very top up here okay always watched the top of this clip command g it put it into a bin. Okay it's now in a bin which is called a storyline and basically what this is is a mini primary storyline if I took this clip and lifted it out of the storyline you see I have an empty storyline here. Okay, that was left from storyline. This is basically a mini primary storyline. Okay, so we have to create one of those for each of this for in order for the xml to communicate with plural eyes correctly we don't have to do it for the for the stuff on the primary storyline that's not necessary okay but we do have to do it for every video tracking every audio track again teaching this is making it happen three times longer than normally would take this takes me seconds just whipped this together okay once everything's in primary and once everything's in story lines now we're ready to sink it up using xml into pleural eyes. So we come up here to file with our project selected. Come up here to file export xml lt's a data file not going to get into all the ins and outs of xml. All you need to know it's a data file to save it in my poor allies folder when ecologist leavitt called ceremony that's fine hit save nothing really happens because it's instantaneous boom done right now we're coming. Poor allies. Watch this file. New project from final cut pro ten. I'm going to navigate to my plural eyes folder there's my xml and I'm gonna click open. Looks familiar, right? Looks just like my timeline and final cut pro ten look down here, here's all the clips. Camera one, camera two, camera three. This is my primary storyline and an audio one audio to audio three. You want to see something really amazing? Watch this little button called synchronize. Just give it a second. It's actually populating the audio way form. So this might actually take a second just to do this. But this is going to sync up all of these clips. Let's. Just give it a minute. See, we're down here. Is this preparing media when that's done, just keep your eyes focused on that bottom timeline. Soon as this is done, preparing the media it's gonna be really fast and it's going to sink all this up poor allies is amazing with taking multiple cameras in multiple audio sources and just bringing them together final cut pro sort of has the ability to do this in an inside over the program, but it sucks there's no other way to describe it, it's just it's sucks. Oh, look at that! We're sinking that's it that's all it took and I can kind of put my play head down here and I can highlight each of these camera tracks and showing me the sink we're sinking up check that out and I'm gonna trust that all my audio is sink as well, so now we need to get this back in tow into final cut pro ten watch this export timeline final cut pro ten I'm just interested in the x men and the xml I'm not interested in this other stuff I can make it do all this other crazy advanced stuff I don't need that export, it opens this log window, which basically tells me what I've done in the past day or two right click on the one that's this ceremony final cut pro ten xml important the final cut pro give it a second done sync done all of that audio video is now sync up now what it did was you'll notice here that our project is now called ceremony sink while it didn't rename our project if I go back out to the project library, it actually created another project file. All right, so I've got ceremony. This is the one we used to just lay everything out, and then I've got this ceremony sink one. Well, I don't need these, and this is the beauty of final cut pro ten. I can take all of these clips that are now synch up and make them in tow. One clip that goes up into my event browser, check this out. I'm gonna come in here and I'm just going to remove each of these from the storyline, okay? Because I don't need them to be in story lines. I could keep him in there if I wanted teo. I generally don't want them in there. I'm going to use keyboard command option command. I'm gonna go through each of these and just left him out of the storyline again. This just takes seconds to do this one. I'm going to keep on the primary storyline. That's fine. I'm just going to the same thing for my audio it's not pulling things out of sync, it's just lifting things out, all of the storylines boom, there we go, all right. Now you'll notice that there's a lot of like dead space we really don't need like all the other we're going we're gonna get to that in a second so basically I can now delete these storylines we don't need them all I'm interested in are the clips because I no longer need them to be on tracks of any kind whatsoever all right that's interesting it's the audio on that I'll figure that out there in the brake okay, so you can see that the ceremony starts here but I have all this other audio well, why is that? Well that's because I put the mic on the groom about an hour before the ceremony and I just let it roll because I don't have to worry about right before the ceremony who couldn't get miked up I want to be shooting so I might come up and I let it go well I don't need all that this is not necessary blade tool shift blade cut them and now I can just get rid of him I could just trim it all off okay? I don't need all this gap everything still in sync check this out highlight all your clips go up here to file a new compound clip can also be accomplished by hitting option g new compound clip I'm gonna name it ceremony sync and big capital letters why do I do that? I do that so at a glance in my event browser, I know that that is the combined clip of all of my ceremony assets also, since its name, this I can use my search bar at the top of the event browser to just type in saint and see every part of my wedding that I've sync up. All right, press ok, watch what happens. All right, it's now one clip, if I double click it, it'll expand back into a different time line so I can work with it. All right? If I use my timeline history back, it'll take me back to this. And now I'm gonna take this clip and I'm gonna drag it up. Whoops. Sorry. We shouldn't be up here. It's already up here. Sorry, I don't have the dragon it's already in my event browser. If I come up here into my main event, which is wedding at it and type in sync, there it is. It's one clip all three angles of my ceremony. Now you're only seeing the top angle as I skimmed through it. But if I double click it there it is down there on the timeline. You can double click or you can right click and goto open in time line. And it will open it up in a separate timeline from whatever timeline you're working on, and I can now access all this right here that's freaking awesome because I can go now that I've done that, I could come back here and I can simply delete both of these move project the trash well, project trash, and now I don't have to worry about it anymore, it's still right here in my event and any time I want to access that I can do that, I'm going to do the same thing for the toasts, all right, any questions, because I'm going to do it again good when you're bringing the video into pleural eyes, does it still have the now audio attached? Is that what it's using to sync it up? That's what it's using? If you have a camera that you forgot to turn the audio on, you're screwed, it won't sink it won't say that you're going to go back and manual will be manually think that clip the nice thing about paralyzed, too, is I could actually come in to your allies and raise up the individual audio tracks by this little slider right here, you can see that look at the way for him here watch this way for him so I can give poor allies more of a reference to work with if it's having trouble but poor allies I'll tell you man the makers of plays it's made originally made by a company called singular and it was bought out by red giant and their phenomenal it's just such a revolutionary program for dslr video and I can't say enough good things about it so now we've got this plural eyes project and everything is done the round trip is complete but I've got this plural eyes project and it's called ceremony I can close that I don't need that anymore because we're going to a whole other one and I could just hit save if I want to and it saved in my plural eyes project folder right so I guess it's safe and now it's in there so if I need to go back and re sync something I still have the plural eyes project all right pretty cool right let's do our toast really fast let's just knock this out and we made toasts even easier because we don't have to go searching elsewhere for the audio I'm gonna come down here I'm gonna create a new project will call it toasts in wedding at it it's exactly what I want we're gonna come down the wedding at it let's go toasts and why is nothing showing up well that's because I typed sync up here and there's nothing called sink in this keyword collection where's going x out of that and there's all my footage we'll put all the reaction stuff down here on the primary timeline primary storyline I should say we'll take all of look remember I renamed them I don't even have to guess anymore I could just do it by name done rob done and then we know our audio's up here on top because we made sure of that let's just drop that down here main speeches down here okay actually you know what I'm gonna do dad separately I think I said I was going to do that separately so let's just let's just remove him I'm just gonna use the maid of honor so I don't need dad I just need the main speeches here that's fine so what is going to take all these clips and we'll just drag him over it doesn't really matter where you put him on the timeline because poor allies doesn't care about that but now what I need to do remember we need to make tracks I'm just going to highlight everything that's on this line right here command g to create a story line to the same thing down here command g I don't have to do it on my primary storyline but I do have to put this into a story line done file export xml into the pleural eyes folder toasts name it keep it named host that's fine it's saved good coming plural eyes open where I'm sorry file new project in final cut for ten toasts look at it remember the location of my poor allies folder which is great open give it a second to kind of prepare the media may not take that long what is mainly preparing is the audio way forms that's what takes the most time it's not the video the video is referenced immediately it's the audio way forms you can actually see down here it's taking time to compile the audio way forms and plural eyes is also at this moment sort of going through the way forms to analyze them you know to make sure everything's copasetic everything's good there once it's ready? I'm actually no wait okay good it's done now watch this let's just his cigarettes see what happens done one thing did not synchronize okay that's because that was with the dads toast member we removed the dad's toast well, we don't need that. Okay, it's fine, you can just leave it there. We'll just delete it in final cut hurt not a big deal. All right, notice how it's giving me a little red thing here is just telling me hey, one of those things didn't sink just wanted to know ok, no problem. I know the reason why we're set to go file or I'm sorry you don't have to go file export timeline final cut pro ten xml export by the fall guys this xml file goes into a documents folder on the hard drive so you might if you don't it doesn't show up in the folder you expected to look at your documents folder on your hard drive because sometimes the lights that a fault that so important to final cut pro there we go everything sync up looking even put gaps in between where there were gaps where there was no video but audio it was smart it's in a man oughta slow gap in there for you how about that thank you plural eyes thank you very much I love you you're awesome so cool I'm just gonna come over here and remove these by option command up arrow toe lift from storyline would do the same thing here option coming up now if you have I just did that okay and if this space down here well you're going to what's gonna happen is you're going to see things drop once in a while if that happens don't worry didn't lose synch it's just things on a magnetic timeline like this like to drop down to the lowest point there's gravity on this magnetic timeline so if I remove something underneath something else such as this if I remove this storyline watch what happens it drops down so if you have a clip like this and let's pretend this is not the primary storyline and I removed this gap where this storyline and this gap this clip would fall into this gap if there was space if there's nothing blocking it right now this little part right here is blocking it don't be alarmed if that happens when you're doing this it didn't lose synch it's just dropping everything down to the lowest point okay that's totally fine there we go and we'll take our audio out of the storyline here and by the way, these storylines we're going to get into these heavily when we're editing b roll it's great to consolidate b roll into a storyline so you move it all around it once with one click instead of having to drag a range of clips here we go, we're done we just successfully sink everything we need for this story and if I wasn't sitting here teaching you guys, I could have done that in five minutes that's it and that's let me tell you something I'm going to build our entire video the whole anchor the primary story from what we just did and that's how easy the workflow khun b and xml round tripping isn't really that complicated there's some steps there but now you have it in the course so now you can go look at the chorus and go if I want to see how rob did that, you just watch it back so I know we only have a few more minutes I want to take some questions and then we're gonna get into the next segment which is everything okay? But before you take any questions I'm gonna let everyone out there know that rob actually did a whole class because I saw there's a lot of questions about the film and shooting the film he was here I was in november no december december and he and vanessa showed up shooting a productions like he did to make this film so if he actually have questions about that we'll see if we can get to some of those but if not, we actually have the wedding cinematography clap course on cell right now until the fourteenth when robin vanessa leave so if you're really interested in that aspect, I suggest you check that out rob you want to give a quick a brief overview of what you covered in that so that is the perfect complement to this course because you watch that cinema course and you'll learn everything about shooting the event and then you watch this course and you'll be able to edit everything that we did. I have had people tell me over the last few months that that course has changed their lives it's changed their businesses because they've finally seen how somebody shoots a wedding well and I'm not patting myself on the back it's just because we spend I mean I have ah crew that is very talented and we worked really hard to shoot in a way that makes editing easier and is distinctive of our style and I basically share with the entire audience all of our secrets and tips and tricks on how we do that. So that course is everything from preparing for the wedding day. What equipment? I use the importance of having good shooters around you the importance of having assistance how I blocked my cameras for the wedding day how I use audio huai mike up who I don't make up I mean everything soup to nuts the entire wedding and we actually mocked a wedding a full wedding and you can see how we did it with three cameras so that's a great course and if you watch that and then this you've got a full package what we do actually have a couple questions so grady from dubai would like to know can I remotely passed the final cut pro ten filed to another person to continue my work that is a good question we share via hard drives um the on ly no you would not be able to what? Yes and no you could use xml too for you and you have to do is for every project that you have if you have multiple projects or you have to export xml for each of those have not used any effects no plug ins just edits okay andi even color won't transfer in xml you could take xml and give it to somebody else with the footage and as long as the footage that you handing them is the exact same version of the footage that you have in the same directory structure, you could import that footage into his event on his computer and then use your xml files to rebuild the edit in a project yes, you could do it that way easiest ways share the hard drive with him, copy it, you know we're going to get into on day three how to move projects from from dr drive because that's what you can't just copy outside and finder onto another dr final cut won't like that you actually have to move it by going file movie event, file, move project and there's a whole thing of a reason why, but xml would be the way he's doing it and if it works for him great if it doesn't don't hold me responsible, okay, well hopefully whoever you're sharing it with isn't too far from dubai, of course, and that's been coming up a few times in the chat room most recently for on twitter actually with from kristen kellogg she's asking when applying custom names names will you be able to re link external media if it becomes unlinked because of its new name internally? Yes, days of the simple answer is yes okay, no problem excellent when you go to re link it's going it's just going to say hey this file's missing doesn't care what you re named it in final knows it as m v I zero zero three two question from inca yesterday said if our dr collapses we can use a backup to bring up all the original footage and final cut pro will match them to our organization when we change the file name do we lose the just like that one that's basically what I was like is that similar it's it's it's the same question with new reeling files you will it doesn't matter what you've renamed in final cut it doesn't change any of the external file names so no worries awesome well and we're also having a lot of questions um as ohara said about production so I know that your other class covers it but one question that kept coming up was lighting in the event space for this film in particular did you pre plan that set up any external lights we didn't work here's the beautiful thing about working in hyeon venues they have amazing techsystems this is the plaza hotel in new york city they have an amazing have a lighting crew so they did all the theatrical lighting for the room the up lighting they let the tables they spot little the centerpieces and stuff using light lights up in the ceilings in the wall in the walls on dh then we basically we have our own lights and we do do theatrical living that for late like this for the reception, but in this case they just said way were blown away they came over to us and said, so how do you want the lights? Because, oh, I guess you're putting him on the dance floor because sometimes we had the fight with djs to allow them to put the person giving the toast across from the bribing room talking because they always want to put him behind the bridegroom. So the bridegroom like this the whole time or they're looking like this and the person's talking at the back of their head last night so where we always talk to the djs are like, look, we want to put him out of the dance for you wanting to be able to look at the broader grew because I want that reaction I want the emotions of them looking at them, andi it's so much more intimate on him when we can crawl, shoot it with two cameras on and then we'll light it up, but they were like, okay, so I guess you're putting him on the dance floor because they know they worked with high end vendors, so yeah, they lit it for us, which was fantastic now we did use our lights for certain things during the dancing. But, yeah, I mean the toast. They pretty much did it for us, which is fantastic.

Class Description

In this Apple Final Cut Pro X course, explore FCP X in-depth with Rob Adams and Vanessa Joy! Rob teaches editing theory and practice, helping you master all the important aspects to this complex program. Using examples from wedding films and corporate films, Rob shows how he uses the many tools in Final Cut Pro X most effectively. If you're interested in editing your own work, this Apple Final Cut Pro X training tutorial is for you!


Apple Final Cut Pro X (10.0.8)


Crispino Dourado

I've been using FCP since 2013 or so I thought! Until I went through the lessons here and boy was I hooked on! I've learned a ton of stuff that I can use from this course! Really awesome course for beginners to professionals and a must for wedding cinematographers! I loved every bit of this course! Thank you.

Ryan Pierson

Rob Adams and Vanessa Joy are incredible speakers and thoughtful educators. In three days, they take you through the basics of editing theory and explain everything you need to know to dive into FCP X. Rob even details how to do advanced color grading at a pace that is clear and easy to understand. Without a doubt, this course has done more to improve my personal and professional use of FCP X than five years of experience working with video and audio. A+ great course.

a Creativelive Student

Thoroughly enjoying this course! I have seen all of Rob & Vanessa's creativelive workshops to date and am constantly and consistently learning something new. Thank you for sharing your wisdom. I am really looking forward to working this into our company with our first cinematography wedding in May! Courtney Liske Photography