Final Cut Pro X

Lesson 14/24 - Introducing Music


Final Cut Pro X


Lesson Info

Introducing Music

We're going to continue adding to the story in this next or in this segment, but I wanted teo take this opportunity to talk about music I think this is a good point in our story to bring in music, but I have a couple of things I want to talk about regarding music before we get into it, so I'm gonna jump to my keynote for a second and just talk a little bit about music in a short film like this um meaning like under five minutes I will generally look for music that doesn't have lyrics in it unless it the same day at it that's something completely different entirely for a film like this I think something more like instrumental score we'll work better than a music that has song lyrics to it a lot of the cool license music services like song freedom have two versions of their music you can get one with lyrics and one without like karaoke version and they have the actual radio at it and that's great because if you put both of those files down on a timeline, you can actually switch between t...

hem so you can cut and drop the lyrics out where you need to and just work with music and that's great and a piece like this I think we get the most emotion out of using just a piece of instrumental score and if you ever go purchase film soundtracks there's two types of film soundtrack one type might be the kind that has all the artists music from the movie so might have like songs from like mary j blige, some fried like nickelback and all these different songs that were used in a in a movie. Then there is the original motion picture motion picture score, which is all of the instrumentals and strings and the orchestra music that you hear in the background subtly, in a film that's the type of music I'm looking for, my my won't go, ripping it off of original motion picture of score soundtracks, I'll actually get licensed versions of them, and companies like song freedom have great instrumental score that you can use in your films. So what we're going to work with today is a piece of instrumental score, but there is music theory that kind of goes along with it, so we are going to add it to our film, but we need to kind of know a couple of key things about working with it in order to make it the most effective that it can be by using markers on our timeline, we could go through our music and mark key points where I want big moments in my film to go all right, well, how do we establish that? Well, I use a little bit of music theory okay are we all familiar with time? Signature in music? How many year any musicians here anybody that plays okay a couple of you good most songs we know our four four time okay there's four beats per measure for four beats and that eight measures so it's a one, two, three, four one, two, three, four one, two, three for well on most songs you'll have that one. Come on, a major court chorus starts it's on a one okay, I'm gonna play a little bit of music for you and I want you guys to get we're going we're going to mark out the parts of the music that we want to put our moments on based on the time signature of a song I know it doesn't really make a whole lotta sense we're going we're going to make it make sense let me create a new project here I'm going to call it music all right? Open that up and let me grab a song here I've got a song in our one of our events here song's called reunion it's just a piece of music I was going to drop it down on the primary storyline here and I'm gonna play this and I'm going to count off the beats as it goes and you're going to see that when the music climaxes in tight times, it always falls on a one of my count it's four four time and you're going to see how this works so I'm gonna count kind of under my breath and you guys get kind of cut back and forth of you onto between the screen and me but let's try to see how this works one two three four one two three four ones one two three four one two three one two one two three four one two one two three four one two three four one two one two three four one two three four one two three four one two three four one two three four one two three four one okay so you see how it came on that one most songs that air four four time that always happen okay so I use that to my advantage to count off time into back time my edits the fall with big emotional moments on those ones okay. So it's like you have been most kind of be a music conductor and just kind of like think about the way the music is flowing so one two, three, four one, two, three four one, two, three four one, two, three four one one, two, three, four one, two, three, four one, two, three, four one, two, three, four one okay that's what we'll get your client every time and they have no idea why and you can pick any song grab any song you want and I guarantee you you could do the same thing is by going through the song and just finding those big ones because of the big ones most songs have a layout it goes like verse chorus you know, first verse first chorus, second verse second chorus bridge possibly a third verse maybe chorus, chorus chorus so every chorus those ones get bigger and bigger where by the end of a song where the worthy the entire end of the song is this chorus chorus chorus it really builds and that's how I approach every piece of music that I put in my films and I look for music based on that does it have the build throughout the song to hit those ones? Because that's what's going to make it emotional if I just have music that sounds like this the whole way through and never builds that's not gonna have much emotion when I cut from something that's not emotional to something that is emotional nobody's were united not going to feel it, you know? So I'm always looking for songs, so what I've done is I've taken this piece of music and I've added it to our film and what I'm going to do is just walk you through the process of my thinking when I did this and the reason I didn't do it on camera is because it does take some time to dio but I will show you how I did it so here is the same piece of music cut into three parts why's it cut into three parts while I had to extend it right here to make the big one fall where I wanted it to I had too much film and not enough music to get the big one to a part that I wanted it to be on okay so I'm gonna play this through with music and the music's gonna overpower the dialogue a little bit but don't pay attention to that just pay attention to where the music is and let's see I'll lower the volume and raise the volume as we go to see how this works out but I'm going to play this back from the beginning this is the same the same film we were working on before we just added this music in I asked all of us especially chung and annie take a deep breath look around and savor this very memorable moment look around the wonderful company of family and friends who joined in the celebration tonight for is their 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 good evening everyone thank you so much weight I have been the third wheel and annie and chung's relationship for the past few years shared many beautiful moments dinners trips to south of france walks on the beach in the caribbean so many that when chung showed up in monte carlo too post I was honestly little confused us visit her is me little disappointed to see one ring so okay, so I had to back time the music so that moment thiss moment came on that point right where she was done talking once you establish that now I'm golden now I can edit the rest of this piece because I've got my story kind of laid out I know what direction I'm moving in with my visuals and dialogue I've got the music tied in now all I have to do is and this is the rest of the music right here okay, I'm just gonna tie in the rest of my film to go along with this, okay? Now I can build along this timeline and I've already created markers here on the moments where I think things should happen how do I do that? Well, I'll show you right now it's very, very simple music let's go through this and mark the moments ready I'm using my finger on the m ke for marker a marking off the four counts for one to one no, I must stop doing that and just give the big moments here things change right here wait a moment, wait a second verse these laws air great to put more dialogue in right those big moments I won't put dialogue there not for the most part dialogue fits nice into these little grooves these little tiny lulls in the music wait for the next big one here comes free course mark off this one right here it's not big these are also kiddies could also act this cut points places where I know I can splice the music together to shorten it here comes the big moment build up right here wait a moment wait two, three, four and way price now this big moments it's gonna keep coming way one, two, three, four and one way okay, so I made markers wherever I thought and I'm kind of visualize ing in my head but I know my footage I've gone through and looked at my footage I know what I have and with weddings there's certain things that will always be big moments I can list them for you okay bridegroom first look always a big moment the build up to that is them walking to the first look getting them to the first look that's that that's this part right here then they see each other right here okay, so I'm marking off these moments of first look would be one when the bride comes down the aisle that's another one the groom standing there waiting is a great time for anticipatory buildup when they walk out of the church and everybody's cheering yeah you know big moment they're so with a wedding it doesn't matter how you know what I come home with I know we've always filmed those big moments throughout the day first dance when the bridegroom were introduced into the ballroom for the first time that's a big moment I take out the deejay sound completely and I put in my own music to make it effective so I'm I go through every piece of music like this in his mark the points that I want to use okay and what we end up with is a timeline like this you know, these are all moments that I want things to happen so now at this point we can continue to edit any questions about that music editing did have a question it looks like you're working with the audio in a separate timeline and then moving it into your primary story to the markers stay with the audio can you copy and paste are you adding the markers markers will always stay with it the marker state with the footage when you moving around down here if I ous long as it's the same file that I'm working with it'll it'll continue to stay with it but if you copy that file into a different timeline like if you copy them the audio from your you mean like this put it down here we're okay thanks yes helpful I don't always do it in the different timeline either I just did that for this sometimes I'll do it right here it's just sometimes I'll do it while I'm watching back my footage and I can get a sense of okay I need to shift that over a little bit because I knew right here my my main guideline here was that I wanted her to stop talking right when that music hit on what's great about that now I have a place to cut from and you always want to cut on that one I don't just let things blend in and happened well that's not your sometimes I will but for the most part I'm always making a cut on that one that's something really emotional so the next step in this process here and I left out things I did not read it yet you turn off skimming here um so I left this blank intentionally right here we have another part of the priest that's going to come in a certain time and the engine but not yet I want to put something emotional here on this one okay so what I'm gonna do is just move this this shot back I don't care that it's rippling everything that's fine right now you know what let me see if I can actually you know you know what let's just leave it like that we're gonna make this a cut thiss something interesting it has to be something interesting it doesn't need that I don't want to put all of my big moments early on in the video I want there to be this like progression of of buildup I want there to be this like rise to the climax I don't want to just show them being introduced into the ballroom here it's premature okay, I want to do something that's kind of foreshadowing something but is powerful. Did you have a question that good? Yeah actually it's just wondering when you're searching for music to enhance a certain emotion how do you do that? That's a great question you know what I do? I'll actually open up safari my or of my internet browser I'll go to song freedom dot com I'll open up the songs that I want to look at, put him in a favorite you can favorite them and then kind of looked at all your favorites on dh then I'll play back might all mute my all my timeline audio here okay on dh then I'll play back my timeline looking at my viewer screen while I'm hearing the music that's playing from the web site and that just gives me a sense of whether or not that piece of music will fit what I'm working with okay, so not every piece of music will fit, so you've gone to the website beforehand and just listen to a whole bunch of stuff. Oh, I like that your favorites hours going through license music websites and just favoring the ones that the one because I don't want to have again, it's like re inventing the wheel every time I don't wanna have to. Every time I have a new project, go to one of these websites and then sift through a bunch of crap. I took one day on a saturday I'm never going to do, which is rare, and I sat and just went through and made, you know, a favors us of all the best music that I thought I would use on the website, and now when I work on a project that could just go to that favorites, listen, say, okay, what works played back in my timeline here while I'm watching my video and listen, listening to the different cuts, and I can kind of get a sense of what works and what doesn't don't answer the question, all right? So what I want to add in here, something that's going to foreshadow something big because we know who is going to be big, we have a look at these, they're all big moments, we have big moments to use here, so I need to go foreshadowing, so I want to start introducing the first look. Okay, and there's a lot that goes in the first look, the first look to me is not just the bride walking up and that's it. They see each other it's a whole buildup to get to that point. So what I want to do is go get a couple shots of the first look, just a quick question about the licensing for this, particularly, like some of the films that you do are on a grander scale, what's the licensing that I owe anyone here would do for a client for something with our websites on it because we've done it. So how do I do that? If I give a client a video of whatever we've shot and it's basically just for their personal use as well as I'm putting it on my website my block? Because it's an example of what I've done, I want to make sure you have the right licensing for it, right? So you want to purchase the license thing through our website is one called song for him dot com you can purchase it and you'll get the license for it. Is that your question? Well, I know there's several different options because I have done that I've used on the one type of license right standard license is fine. If you're doing corporate work, that's going to be aired on television for broadcast, you got to get a broadcast license and that's what much more expensive? Because it's going to be replayed several times if you're getting something that's going to put up online, a standard single user license is good enough once per project, right? So there's a there's a moral question that goes into that? I don't want to go, I want to get too far into this, but when you have a license for a song yet, you're technically only supposed to use it once per project. Okay, anything I put up online, I've only used the song once online, okay, I try not to repeat music that goes up on my films online because I mean, I only have that I only purchase the license once, okay? Um, for dvds and things that are private home use, I'll be a little bit more liberal with it on, I will use a cut, maybe once or twice more, because it's going to somebody's house and not necessarily my feature films don't get really put on online, they do, but they're password protected, but anything that goes out for public consumption, where anybody can view it, I definitely have the licence for it, so I really I'm very careful with this kind of thing, but you want to definitely protect yourself, make sure you have the license if it's something that people were going to watch a public forum, you better have the license for it for dvds at home, and they're watching their ceremony just the whole ceremony and I use the piece of music or something like that. I'm not worried about that. They're not gonna broadcast that's not going to go up online, it's just for personal use, but yeah, there's, moralistic questions that kind of go into that, but yeah, just just be careful. Protect yourself. Okay? All right. So excuse me. Let's, go find some first looks up. What I want to do here is I'm just looking to foreshadow the first look. So maybe one or two shots is plenty. So I've got this cool shot of the bride walking down the stairs here. Always that piece of that and I just want the video, not the audio, so shift to disconnect it down and let's, go get one of the groom waiting. I've got these really cool shots of the groom hanging out here is a nice, wide shot here going to grab that, put it down, they're not gonna need that much, but that's okay? Zoom in here I'm just going to size these to fit into this little gap and then I'm gonna move on to the next part of my story this is sort of a transition just using it just in the same way we used this these shots as transitions it's very similar to what I'm doing here except this transition has a lot more meaning to the story than these d'oh okay, so what I'm doing is this kind of finding a way to make this foreshadow the first look and foreshadowing plays a big role in my films way and always make the cuts happen on beats to make it more dramatic so if we just listen here, I'm just let me just disable the stuffing is listen and cut and so I'm hitting like those beats the well one, two, three, four, one, two, three, four and that just makes it a little bit more, I guess you could say dramatic in my opinion. All right, so we'll make this make this too, but together like that, okay? And I know I wanted to come right around this point. Now I've got this great segment here here today before these witnesses to join in marriage, okay? And I've got another big moment down here watch this, okay, so I'm gonna try to make this segment timeout all this time out with that big hit right there if I can see this is called back timing and this is a very powerful tool to use when you're trying to get video toe work with music so I'm gonna back time it to this point, right? Well, you know what? Let's do it like let's do this instead. Sorry, guys. Just trying to get the best way logistically to kind of do this I want to make it easy on the editing without having to push to too many things around. Yeah, that works so right about there when he stops talking that's sort of where I want this audio to come in so I was gonna leave it like that. I mean, to take this top clip down because I don't want to see that there, so I'm gonna hold shift and drag it down so it bumps these other shots out of the way we'll consolidate this down a little bit later so we should still have the same effect here. Presenting yourselves here today before you with this is to be joined in marriage. You are performing an act of love back time perfectly right just by slipping it back. Timing is it is a technique that has been used in television and radio production for a long time and radio they called hitting the post on my right jock mr radio jock over there you know, hitting the post is where you have an instrumental to a song talk over that part and then writing the lyrics come in you stop talking it's called hitting the post that's what we're trying to do, we're trying to hit the post on all these big big moments and that's a secondary driving characteristic of my story building is I'm really using the music and the dialogue do this kind of interweaving dance and it gives it a really high end quality production look because that's what they used in broadcast on dh it's also very good for storytelling one ring so and by the way, right here we're not done with our audio editing, we need to put in some laughter there stuff we're going to get to that all right? So let's, just clean up this audio a little bit I'm just going to come down here the microphone on if you guys can hear this the microphone that that he was holding during the ceremony was making this sound the entire time because it was a cheapo like radioshack mike and he was everything he moved his hands on it it kind of it kind of made a mess sofa if I actually just, uh you can really kind of hear it and well, we can kind of remove it yes, so we want to get rid of that. We don't want that in there, so let's just simply drag that over. Use our feeder hard to see what I'm doing here. Here we go let's can't grab it can't grab it there and I just kind of fade this in nicely. So if you play back and put our music back on, present yourselves here today before witnesses to be joined in marriage you are performing okay so real quick let's go on ahead and clean this up. We'll move on to our next story telling segment oops getting a little overzealous with the clicking again try not to do that all right like the shot of the bride there and you can kind of see the priest his aunt is in st here you can see his back of his head you know jaw is moving with what he's saying that's nice! I don't like that shot that shot is not going to work, so I mean he's, my position tool was going to drag that over and we don't really need the audio either, so we're going to find a shot to insert here. Maybe we'll go with something, see oh let's go with grand jib shot why not? I spent all that money on and I want to use it all right, so what I'm gonna do here is fine now I've got these great big shots of during the ceremony when they're standing up there um they're really close over their heads and see if any of these work oh that's perfect don't use that so let's just drop that in right here we don't want the audio's a shift to that works for me and that we can cut back to maybe the groom if he's in a better spot he is not so let's pull this out this clip is no good and let's go find another shot of the groom so again all I have to do is type sync up here and it's going to bring me back to my ceremony sink multi multi cam on let's go find something good of this crew real quick okay, fine that works is going playtime now I'm really working fast here I'm kind of zipping through final cut wants to cooperate with me which it doesn't come on baby blade to do a simple copy and go back into the timeline and pasted it hopefully let me do it there we go no problem cool okay, so now we're in good shape so it plays back we have our nice jim shot in there okay so now I just wanted to kind of clean that up what do I want to do here? This is sort of we can do b roll over this so rather than go back to the bride and groom here, which we just kind of built because she's looking down and I get to go find another shot of her, why don't you just grab some prep? So let's, put some preps in here, let's, start let's, start exploring other parts of this video other than what we've just been working on. So what I'm going to do at this point is dispersed the sake of ease, of working with our timeline, I'm just going to go ahead and consolidate all this right here, okay? And I'm just going to split this gap just so I can work with on ly the stuff I'm going to select right here and notice how I never compound clip my music, I was lead the music out that'll always be underneath everything else, okay? So at this point, I don't really need to do that. So option g and once see what can we call this segment? We start working on the first look, I'm just going to call this ceremony two it's, sort of like the second part of the ceremony. We use the part in the beginning and now we're using the second part of the scene will be called ceremony to its gonna compound clip it down. Nothing has changed good let's go get some b roll let's start working with the preps a little bit and this is where I would get really crazy with using my search feature because I would have all this stuff really renamed and edited so I'm just going to quickly go into brides prep what should be in keyword collection rob brydon prep here and we've got all these clips in here but nothing is renamed it's kind of like normally this would all be renamed and I'd be able to search really fast let's just do something real quick let's go through here and decide what we want to use I really only want to do is like makeup all this other stuff I just don't have time to put it in right now this is the girl's tying up the wishing tree tags that go on the wishing tree later on I just want to get some makeup shots here of the bride doing her thing so rather than rename I'm just gonna do some favorite in here so I can work with these clips very quickly so that looks like a pretty good shot have two favorite that I like the shot of her looking at the phone I may or may not use out that I do like shots of makeup artist working intently that's kind of like that favorite that off and that's kind of cool shot two very obscure very abstract and that one's cool guys, that show is sort of like the snow going on outside so maybe we'll grab that and maybe we could get that to work. Okay, cool so real quickly I just grab some makeup shots let's look in on lee our favorites boom! You know they are these air just clips we separated and let's see if we can get him to work in a creative way down here you are performing and cool so instead of cutting to that shot would start our b roll here. All right, let's, go let's start with this one and it's a pen that down just nudge it over a little bit cool that's nice. Just a slight little movement there let's. Go ahead and grab this shot. Put it right next to it way have this big moment here. Not quite sure what I want to do with this. I could just leave it alone and kind of blended in when we blend the music it because I have another one coming up here and I haven't really built up to anything here, so let's, just leave that for now. Now let's, start using some nat sound I want to get some shots of the guys getting ready because the guys give us some really cool nat sound we might come back to these shots, maybe not or we could just speed this up a little bit to kind of give it a little bit more drama or starting the drama a little bit more content when they just dropped that clip. You know what? Maybe I will. You snapping all right and let's, go to the guys. Okay, so gruesome prep we've got some stuff to and again, this would have all been renamed there's no favorites, mark so it's not showing any things we have to go in all clips or hot rejected either one and let's see what we got. I know I've got some good shots as a lot of guns prep stuff here and we're gonna get to some of this, but I wanted to do is get mean shots of the guys getting dressed and normally, I mean, for example, just the kind of illustrate this is a lot of content, so we don't need all this. I just I'm looking for the groom, so I'm gonna have to do a little searching here since we didn't do any renaming but okay that's, a clip of the groom getting ready that's a clip of the groom getting ready this one to this one to this one too and a lot of times for perhaps when things were moving very quickly, we shoot it without stopping the camera so I've got multiple shots happening in one clip and that's fine, I expect my shooters to do that they do what they have to do in order to make it work. All right, but since these air, all of the groom getting ready or groom getting dressed I can easily make these categorized before I go ahead and break him down. So why don't we take all these and all these and that's where he gets his gift? But I do want to use a little bit of that so I'm just gonna take all these that's come up here to modify, apply custom name we're going to call this groom dressing room now they're all named groom dressing perfect now I can kind of section these off perfect now I can go through them and favorite out the clips I want to use for this segment. Ok, that looks pretty good. Let's go ahead and grab that lips got egg zoom in a little bit. I want this close up here that looks good let's do some j k l a just to kind of get a little bit more free immaculate here and you guys just looked in cigar soon as we can that works good. I'm always thinking in sequences I like multiple shots of the same thing from different angles that's a nice shot right there cool let's favorite that off and you notice the green line okay, that looks good that's a nice shot too let's go ahead and do that way tio okay they messed up so let's take it from right here you tell me you know all right that works I know this is a painting featuring guys understand that's a cool shot I kind of like the uh I don't know if I'll be able to squeeze that in there in the short clip but like kind of like that shot of him watching there okay cool that's a nice shot too let's go ahead and favorite that off and then I've got I know I have some audio him saying hey you guys look great and I know this because I've gone through the footage and I've looked at it you should really know what you have that that's going to make editing a lot easier on you find that bear with me one second I'll see if I could find this I need my shoes can't see check over here I think this is the part of editing that I hate because you really have to kind of accepting for gold the proportions right e I should've section this off before okay I'm gonna cheat because I don't waste time let me go to this other I have a pre baked and I want to go in here and just just grab the one clip the audio cause I want to show you how I take audio from something completely unrelated to the visuals and make it work with other visuals and this is a really good storytelling thing that will really help you when you're trying to build a story so let's go into here we go so it's listed in here somewhere, so I'm just gonna zoom in so I can see what I'm doing and weaken gives command plus sign zoom in and up. I think I see it there. Is that it? Yeah. Good dressing. Good. You guys look great. Cool. Let me just grab these audio clips here. So cheating right now, I know it's. Copy that and we'll go back into our wedding timeline and I'm just gonna put this in here, and I'm going to show you what I would do in this case. This is just a simple cup of audio. Listen, listen to what he says here every looks great call awesome that's, that's perfect. I'm going to use that in a different fashion, and you get another one here, this clip here and I'm gonna kind of tie these all together, okay, so what I have is him saying this is good, which is a great shot, I like him fixing his coat, and then we have this all right, awesome. So let's, take this shot. I don't need to be in a storyline to see how I'm gonna lift it out of that story line you're out of it and I'm gonna put this here good. All right, place the audio down here. Notice how my audio is not down below now it's, up here, this is where I want it, so I just want to kind of tied in with the sequence. Cool. Now watch this let's go back into our wedding at it. Event let's go back into the groom's prep again and let's find a shot. We can kind of tie in with that in this case, I like this when he sits down. Now, why am I using a shot? That's not showing the groom's face here because he's not saying anything. All right, let's see if we get a better angle there. Perfect, let's, let's. Go ahead and drop that in there. I don't want the audio from that, sir. Shit too. Well, let's, connect that down. Try that again. We'll connect that down. There we go and I'm gonna put that right over it good, just a little bit audio out of context slipped into under some different visuals and we have a whole different effect there good, all right, let's, take this a step further let's do a little j add it here because it kind of comes in talking swinging you know, right after this clip so maybe we could have been talking a little bit sooner so let's go ahead and expand our audio and video and let's just pull this shot over a little bit less good and listen straggle these underneath there or over doesn't really matter good come over a little bit more this is where storylines coming really annie? Because I could just take this these clips right here just making the story line let's try right about there because I wanted to talk let's try that good looks great real quick, simple, simple stuff for storytelling man and it's not like all of my films are all dialogue all the time there will be moments where I just do nothing but music and beautiful shots. There are times but this is sort of the workflow for doing dialogue so that's why I'm concentrating on it right now so let's just play this back and let's just see what we have and that's. Another thing I like to do is always going back and playing the whole thing so I don't lose sight of the big picture it's very easy to get involved in something very minute on the timeline and get and get wrapped up in that and then edited a certain way and then you back out and watch the whole thing and you realize it doesn't fit the way that you did it so I like teo always keep a tab on where I stand in my film let's watch the whole thing as we begin I asked all of us especially chung and annie take a deep breath look around and savor this very memorable booth look around the wonderful company of family and friends who joined in the celebration tonight for is their 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 good evening, everyone how much weight I have been the third wheel and annie and chung's relationship for the past few years shared many beautiful moments dinners trips in 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 isn't her is me little disappointed to see one ring so present yourselves here today before these witnesses to be joined in marriage you are performing an act of love wait okay with the exception of the audio being way off, this story works it's flowing all right and that's what I'm looking to dio I want to make sure that we keep ah really good sense of flow when we're working with the story, okay so I think at this point I just want to I want to drop in some bride stuff again I want to I want to establish her getting ready along with him getting ready and then we're going to move on to some of the more main story action and then I think at that point and what I think will work to the end of this segment and then in the next segment we're going to just go to the pre bake where I have this mostly done and what we'll do is work with audio mixing and things like that we have a lot of audio work to do on a lot of audio clean up and I think you guys getting the sense of how I'm doing this and I don't want to beat a dead horse so let's just continue on a little bit I'll try to show you a couple more tricks that maybe you haven't seen yet andi will continue so any questions at this point from anybody here in the peanut gallery do you ever have a client's comment on the fact that like they didn't actually say what they were saying in the video at that time? Okay, I didn't think so they don't remember anything from me yeah, I'll do that and they'll go on remember saying that they have no idea they're you I mean I remember my wedding day my head was not on st not because I wasn't marrying the right person it was more because I was just so nervous you know? I was so like wrapped up in what was happening I don't know what I said that day so if you know I've never had a client say you know that I don't get people making revisions it's great I just people love it at face value which is perfect okay cool so all right bride so let's go into any other questions before I move on you I saw a hand of god so for all of your your sound bites and so if you've got a whole bunch of different ones going on do you have a a place where you write those things down and you just have a mental make mental notes of him and kind of can pull him out whenever you need our whole first part of the day when we did all that sorted where we just kind of sink everything up and went through and just cut out sound bites that's what I just do and I'll refer back to those that see what I have at times or I'll take them all out because I kind of abbreviated that process earlier when we were taking these clips from the ceremony one or two of them and just put him in here into the main timeline I would have done probably ten or twelve of them and doesn't adam there? He says, hey, you guys look great, whatever, you just kind of remember that. Yeah, no that's, cr here's the thing I couldn't show on this workshop and that's me going and looking at all my footage because that would just be me sitting here for three hours going, nobody wants to see that you have to watch your stuff has got to know what you have. You can't just shoot a wedding in six months later, sit down and just put the footage and go. Ok, let's, start editing, take sometime, go through your footage. You don't watch every second of every shot but skim through your preps and look and see what kind of audio you have from your preps. Sometimes we make notes and put it in a text file and throw it in the folder right after the wedding, the day of the wedding driving home, and we're sorting footage in the car and my assistants kind of typing in eun ok member of the bride was given she was a disney freak, and she was given a gift from the groom it's, a lithograph print of a disney animation cel something like that, so you know you have these thieves bullet point. Of things to concentrate on and six months down the road you probably won't remember exactly what you have but you can go okay well where's that stuff where he gives her the gift and then listen to the audio and know what you have you know, before I start editing I kind of have a sense of what the story what elements I have to work with and that's where that comes from you could feel I mean I have an editor she will write down everything that she thinks it's pertinent that we ready to use and then she'll sort her keyword collections according to that so it's all personal preference in my case in this case I've ended this footage I edited this job once already so I have a leg up I kind of know what I have to work with um but I wasn't going to sit down here with a job I've never edited before would be here for days more than three days a lot more in three days so okay lets bryce prep all I'm interested in here in here is her getting into the dress because I just want to show a couple shots and I know I have a little bit of that sound of her getting into the dress I'm not gonna get into the gifts and stuff I don't have time so let's see and of course I didn't re name these yet these are all just what? Every name these earlier. Okay, so I've got this shot here, so she barely talked the hold so quiet, she's such a sweetheart. It was cute. Little laugh of hers. Okay, so I think that will favorite that and then I got I got a couple of really beautiful shots and look realizes no natural light here. The light on this day was really tough because we're just in a hotel room with all lights on, you know, normally I like to put it next to a window and have some beautiful window light and stuff. There was nothing. It was blizzard ing out, so I had to expose my camera mainly for to just try to find some sort of dimensional light. And it was it was tough, man, but let me let you skim through this stuff and see what else I have. I don't have a shot of her she's already in the dress. Sorry, that's, we're doing the gift and she's not in the yes, here it is. Okay, cool. So I hear the shot address on it's a nice shot. I like the shock is the contour of her back it za sexy shot this school and it could be used generically so well favorite that here's a nice shot from this and I do want to try to favourite this out and cr I'm sorry. Sequence it out with maybe a front shot of her. If I do, I got this side shot here. That actually is good. Perfect. It's on cool favorite that all right, good let's look at our favorites. And instead of going up there, waters hit control f this time there is all our favorites and let's see let's, start with start with this shot that you describe this one. We're going to put it down here and lower the audio is going to shift to solve the future ones that bring down don't have audio. Um, let's. Just go right to this. I'm sorry that works. And that. And I think I want to extend this clip out a little bit. The part where she comes see. Okay, here's continuity in this first shot, we place down she's bent over the maid of honor is bent over tryingto do the back of the dress. So if I cut to this shot here there's no continuity. So I've extended it out to where she rises up home and all I have to do is this trim that to the right point right before she moves up, okay, cool oh, I made a boo boo! I said I didn't want audio and I didn't take the audio with so let's do that again shift one there that make mistakes like that all the time. It's part of editing here we go. Cool let's try that way could barely hear her again. I'm not too worried about the sound mix yet. Cool. And then I know how that little laugh from the bride's let's. Go ahead and throw that in there. Aunt, of course I didn't have any audio on that one either. That's funny. Okay. Is that the word? No, I must have favored of the wrong one. Sorry, let's. Go back and do this again. Just take a second. Think this one here? Uh, yeah, I was a little bit too early. All right, good. That sounds good. Let's, bring that down. Drop that in here. Okay? Just really rough, but okay, so I don't need all that shot after that. Let's. Go ahead and that's basically what I'll do for my preps for nat sound and stuff. And I might sequence things out a little bit more of a bride's opening a gift and I've got it from five different angles, not from five different cameras just for moving around in sequencing things in different shots I'm not afraid to ask the bride to do something again I am not afraid of some guys go I don't want to be a chin a truce on the wedding day I'm like, ok, suit yourself you're only going to get it once you have one shot to do it my bride's know what to expect from my work and I tell them if you want you know what you've seen from my work you gotta let me do what I do and they don't know nobody gets offend, you know, upset or aggravated by it we have a very good bedside manner the day of the wedding so let's see what we got here. I want to move on to the next story element and I think at this point, it's probably good to do the dad's speech and while you guys were eating lunch, I went ahead and sync up the dad's speech and stuff, so I'm not too concerned. I'm just going to take this part here and make a compound clip. We'll just call the ceremony three, because that is the third ceremony portion, and I'm just going to move this a little bit further down the line so it's out of our way, good. Now I can concentrate on doing the dad rehearsing his speech and that's um, really great nat sound let's, check in with the music and see where our next big hit is oh nice we have this nice little low right here perfect okay so I might want to do a little audio editing here okay well that's great okay let's just leave it where it is for now let's see what we can do maybe we might have to put a transition here I want to work with the dad speech because I have the dad giving a really great speech and he's also been prepping it up in the room so I'm going to go ahead and do that let's go into our uh girls prep any questions we have a few questions going back to music selection if that's okay going backto what music selling andi kp from chicago asked his rod prefer to have dialogue only in the quieter sections of the music isat evermore pregnant teo to put dialogue on a big one our climactic point it depends that's a great question yeah I do prefer to have my music and more are my dialogue more in the lulls in on big ones the time a good example of a time I'll use dialogue on a big one is the first look when we grew up we make up the room um I'm gonna um you know what off cheap let's go to the pre bake and I'm just going to give you a glimpse into the future of this video we're working on here so basically let's see right about here two three four and that's a that's an example right there when I would use dialogue out of big one so yeah awesome thank you yeah okay so I'm so glad I did the pre bake all right so yeah so groom prepped and we're gonna go into the dad and this is another example how to use audio out of context let's go too again this is why I love to have things name because it saves me from having to do what I'm doing right now and that's go searching through clips if I had properly named these all of these clips in the beginning of the program and taking a little time to do it I would just type in dad rehearse and boom we would have been right there with these clips instead now I have to kind of go searching through and there's a lot of them so I have to really unless I actually made a thing out of it because I didn't and I don't think I did okay joke so let's uh rather than waste time because it may not be word supposed to be let's go ahead and grab it from the other event yes I know I haven't any other event it is any more questions we'll take those yeah well you're looking uh another question from we have so many questions coming in by the way thank you so much internet for your curiosity it's always fun to read o p p post ass approximately how much footage do you have in this kind of project in this film boy wow we probably filmed over all over ten hours of footage from multiple cameras and then I want to say it's over three hundred gigabytes worth of stuff so it's quite a lot and you do you have your assistance give you the footage right after the wedding how do you do that we actually dump off footage during the wedding most times so we do what we do a lot of same day at its so that requires me to have the footage in the computer and working with it on the day of the wedding on even on weddings we don't do same day and it's well actually have the laptop with us with card reader or if laptop could be sitting somewhere where it's in our view we will just be dumping footage cards off calm constantly I don't trust cards I think cards like the worst place to store media they tend to fail a lot hard drives failed to but I'd rather have it I feel I feel better having on a hard drive that I do want on a flash card so and I have solid state drives so yeah well just like you know anytime we get a moment if we moved to another location we put our gear down okay open the computer give me all the cars and where we were last pop him in and just you know, gradually while we're working, one of us will pop over and just make sure that the footage is constantly being dumped and then we hold on to the cards to just makes me feel better that I have it backed up and that we're not working you know? But yeah, we're always dumping footage and then whatever we did get didn't get a chance to do during the wedding when I get home that night I don't sleep until all the cards are in the computer and then I have this job in the process of backing up to two hard drives so I have more than twenty three terabytes of storage in my studio and it's just copying overnight and when I wake up in the morning just check it make sure it's all good and then I'm ready for the next event so good question yeah way could take one more alright see from dj artist does he do you ever use multiple scores in a video? Absolutely I use in a twenty five minute film all used eight to ten pieces of music um so what's and that's a mix of lyrical music and score during the ceremony um always using score whenever the saying their vows I'm always using score absolutely one more question and then I'll ah move on here so I got some good stuff uh memories and motion ass they're joining us from texas can you remove audio another way from a clip instead of doing option two when dropping into the timeline uh we mean you rather than you can use these buttons right here and you can do on a pen here this is for the upended it this is w for the insert at and this is a connected at it these buttons right here if I just click down I can choose whether I want video or audio you could do that right there. Thank you. Okay, so what I've got here is dad going over his speech and now I'm looking to see the very same way we did that the groom's audio before I'm doing I'm looking for the same thing here and I've got a nicer sequence to work with so let's play this amazing and oh my god so long amazing person the submission ok, I wish and help that's my cameramen telling the guys to shut up because they were all being loud he because he's trying to get this moment this mike my guy didn't set this up they're really doing this so he and the guys were being allowed he's like hey guys, do you mind if we just want to capture this? I'm sorry, you know apologetic but we've got we want to get it you know I don't know you know and not feeling one filled with a lot of happiness I hope there will be a little any tone around waiting around us perfect I'm going to grab that sound bite let's come back here a little bit too where he starts and marriage I don't know, you know favoring one filled with good okay, so I know I've got that cut there that's perfect I just I just you know and I want the video and audio of this because I'm going to cut to him actually doing that good. So let's pop that down right here? Well that's going to work out nice I'm going to meet my music here while I'm doing this whenever I'm working with audio dialogue I tend to meet my music so I can just really get concentrating on good now I need some b roll shots and I know I've got these cool shots I've got all these different cutaways here so I'm just gonna favoring wait that's perfect that's so generic ng I could use that pretty much anywhere which is great I've got to watch out for the shots where we see his face we don't want that works and my guy knows he knows how to sequence had to shoot this can one he's at I don't want to use any of that that's kind of like a context that's a really good close up right there we'll grab that toe annie and tone that's a good sound by tu actually is a really nice soundbyte in there I might be able to use to and let me I know this one more shot I want to use oh I've got these shots of him actually writing it look at that perfect let's take that and let's take that one you're right you know I love the behind the scenes so much one that actually works too okay cool that's enough so I've just favorited those off let's go to favorites there they are and let's start putting this together okay? So I'm going to start with I'm going to start with this stuff here so let's just go I don't want the audience to shift too and connect to put this one here good I'm going to cut around a little faster here I just need thio establish what's happening notice how I dragged it down it didn't take the audio with it that's because I have these buttons selected take only video and feeling good and let's go to maybe we'll cut to build with it's sort of a jump cut because we're going from him seated to him standing so let's cover that up somehow let's throw in a funeral shot here perfect and naturally I want to clean that up he kind of pauses in there let's do a little audio one of you with one filled with a lot of happiness good and honest I'm just going to replace that part out that I don't want perfect just like that now I have to cover it up with this jump cut here all right so maybe I'll just extend the shot out of it perfect good and I'm now going to go and just add some more b roll and we'll be good tea let's go with this shot here that's nice they will be okay you know what all right so I don't want to use the last part of him I'm going to use that other cut that we had that sounded really good that's told to annie and tone I like that better let's just grab that so I'm making these really making editorial decisions on the fly here and happiness when I hope okay let's just start that clip right about here and see if this works I dragged it down without audio I've been doing that a lot today man that's not good let's try that again and I'm working this is why I'm working not on the primary storyline right now if I have to keep moving clips around working on the primary storylines like americans a lot of people that's tau tau annie and tone perfect that works for may its playback I don't know you know feeling one filled with a lot of happy that's told okay so let's just trim this up a little bit I'm gonna get really particular here happy all right and I'm actually already so this is where room tone comes in handy listen to this shot just listen to the sound of now listen to this one that's too and it's much more clear probably because the microphone was closer to the dad's mouth when he did that I want to extend out the room tone as much as I can over here just to make a blend a little bit better from this previous shop that's you and me and a little better with music you'll never even notice it's a boom there we go so now I can take all my dad's speech stuff let's go ahead and consolidate it using a compound clip we call a dad rehearse wedding it is the event absolutely perfect okay let's put our music back on see where we're at okay I want to find my next big hit is here okay it's not for a while right all right so that means I don't I can't really put it in the emotional and yet so let's just use let's continue to use the story line I was planning on using which was dad's toast the actual toast so wait if he's a transition I'm going continue story building here I can take your question while we're doing this so if there's any questions we can go ahead and do that now we dio excuse me we have a lot coming in um there is one just saw how lauren doyle just asked, how do you find your crew and struggling with finding people that know how to get the right shot? Join the club? Uh, I'm in the same boat. Um, it's very hard to find a very good shooters and editors, I don't think the crew that I work with they're they're they're just awesome people were really good friends. They all have their own sort of side projects going on and doing their own thing, but we do work together, and the main motivation is that, you know, we're lucky enough to do hyeon wedding so there's a little bit of money involved with that, but they're so talented, and it took years this sort of get to this point, and we all learn together. When I first started using the s lars, I wasn't producing this caliber eso we all sort of helped each other grow and and evolve into a really tight crew, and we all know our roles. So when we show up on a wedding day, it's not just like, okay, let's, shoot. Everybody knows exactly what everybody's supposed to do when I can send my second to the groom's prep and I'm training my she was my third now she's becoming my second to do really amazing work and I can trust them to do what they have to do but I started out by using craigslist just by finding people and now what I do is I take my footage like about just like a first look in a ceremony and some b roll and I put it on the hard drive and I and I have a bunch of these hard drives and we send them out if somebody's interested in editing for us we send him out on his instructions on the drive to edit a one minute video right? And if they can show me they can emulate my work will possibly train them to become an editor shooters we just have him tag along we have people who are interested in shooting for us come tag along, we don't pay them they tag along and they watch us and they observe and learn and we'll give them assignments to do and then I'll judge their expertise and their performance based on what the footage looks like and then from there we decide whether or not we're going toe actually train them so that's a good good starting point get people come along on the job tell him what your expectations are if they can emulate those expectations or meet those expectations or better yet even exceed those expectations, you know you've got somebody talented. Um, treat your crew well because you're only as good as your third shooter. Your final product is only gonna be as good as your worst shooter, so if your third shooter is your weak a shooter that's about as good as your problem he's going to get so always learn and train and work with each other and evolved we are tough on each other too. We were honest, brutally honest with each other, one of us screws up, we call each other out. So you have to I have a thick skin be able to take constructive criticism if you're gonna work for us pretty much on dh it's not out of disrespect it's out of if you want to get better, you have to be able to take criticism. And with that expectation, if you give you khun manage those expectations, then you can find people who are willing to take criticism and learning ro and that's how we were able to build our crew but it's not easy, it's not easy to find you're not going to find a perfect shooter out of the box because first of all, you have to train them to do what you want them to do not necessarily not gonna come out doing exactly what you wanted to do so finding additional shooters is one of the hardest things in this business. Absolutely absolutely all right, dad speech real quick I'm just gonna go through this that's our toasts we don't want that let's go find dad speech here. Okay, here we go so let's just listen to dad and see what we got going quiet up this clip here of the two question told howard but so I've been say beginning ladies gentlemen, welcome to the end um pleased to see everybody you right to the point a short video always feeling we'll have to question okay now maybe is that in the bowl and yes my border nice k that's a nice clip he talks about having any daughter I'm plus one level gift perfect let's grab that and this is again this is something I would have done way earlier on in the workflow this is right now this is this is I'm backtracking here I would have had this done already. Oh, and perfect let's just take him here. Okay? Let's move that over just to get the audio where we wanted to be it's gonna push that up that's fine a problem to annie and I'm all right so again I don't want to get too crazy into being fine tuned here I just want to kind of dilute in and this is the part that's like watching paint dry I understand audio we don't want that right let's just leave it there for now I don't want to get crazy I'm plus wavell and my bullet would be a nice spot to kind of to bring in the reaction shots let's see what she looks like all right she's not really reacting the way I want to read to react I need to go find a better reaction shot so let's go back into dad here and I know she reacts well cause I remember seeing the footage and she's got some really nice reactions and that's not one of them there and I want him applauding you don't want that this is why I don't use multi cam because I want to be able to go pole different moments in time and use them to kind of fit this in the context of the story that's really nice right there kind of like that that's nice so I'm just gonna believe this it was people clapping in the backgrounds that might not work too well all right so let's just try to find something quickly oh that's nice he looks at her okay, fine we'll just use that I don't want to crazy oh come on she's not smiling let's try again okay? We'll just use that for the signals a copy okay right about there good one the bowl fever and my daughter okay let's, just leave it e I want to move on. I could try to turn this out. I just don't want us to get to boring, okay? Good. And we can go. We can always go back and add an applause and stuff like that too reaction shots as well. Plus wavell, maybe we'll cut away to her here and we'll do this. Then we'll come back to him and my boat and then we can possibly use let's see if I'm sure we hear some like applause and stuff. You're right on that. I can have him talking the second part of what he's going to say right after that because I've got a really long gap here to fill, but we've got to kind of fill this. You know where we could cut the song down too, but let me just finish this and then let me just go in here real quick and I'll fish this out and then we'll get on to the audio sweetening part because I really want that's perfect let's. Just add that in there because I want to move on with with other things that you guys are gonna benefit from perfect lessons take that, all right, good, so let's, just consolidate that down. And then we'll be done with that part right there, and then we'll move on to something else. I will take questions now regarding anything up until this point, because we've really covered a lot of material just today just to sit and watch somebody edit is really boring, so I've been trying to kind of make it interesting by showing you different techniques, so I'd love to hear feedback or I'd love to hear questions or comments sounds great, and they're loving it, and and especially just like the fusion of music and how you your theory behind it, I think everyone is really learning from from that, um, guess three, three, three, one nine asks, how do you plan all of the shots? It seems like you have the wedding party on board for all of it, and there might even be shy members in the wedding party. Do you plan this ahead of time or happens old time? We we don't plan anything. We haven't idea of what we'd like to get, and then if we can get it, we get it. But we don't go into a going we have to make the maid of honor do this if I noticed like I'm listening like during preps and if I hear the maid of honor go oh where's my speech I need to go pack that I'll go you have a speech that you're giving a speech cool have you gone over it yet? Oh, not really I'm kind of like it was going to wing it, I was like, well, why don't we go sit down? We'll write some things that are new cards and we'll go into another room and and by the end, like ninety percent of the time like, I'm so glad we did that because I feel so much more confident about my speech now, it's not all roses, sometimes they go no, I really don't want to do that and that's fine, we leave it that we don't push the issue it's over a lot of times are brides show their maid of honor, our work and our like look at my videographer is going to do and they kind of know the drill. Sometimes I walk into a bride's perhaps the maid of honor runs up to me she's like I'm ready to do my speech, so it all depends people are different, so you just have to kind of feel it out we take every advantage that we do, what we've been doing lately is we go with the guys, we encourage the guys to go do something in the morning, they go play golf or go get a shave or something like that, and I will come along and document all that this way. We're not asking you to do anything in the house were just already out on verity got what we need, and we can just captured on the fly. Um, one more question from quark, uh, in the editing job, be done by multiple editor simultaneously, or is it a one man woman job? Our hours are always per diem one man, once you start getting too many people wrapped up in storytelling, it's sort of the idea can get convoluted, and besides, I think editors were much more efficient when they're just working on their own project, because they can keep their head wrapped around the whole thing, you know, and my studio is one editor per job, we have about seven minutes left, tonto here, take your questions. No, it speaks more questions because I really kind of exhausted this part out. You would just see me doing the same thing over and over and over, because that's, basically my work flow, now that I'm doing this, I'm just kind of getting things that time out with music on when we get to the pre bagel that you're watching, you kind of see how the rest of it came together and it's the same thing, the continuing on with this and it is no different than what I've already shown, so I don't want to make it seem like we're watching grass grow. No, you're doing great, you're doing great, they're loving it. So how do you present the final product, the clients? A debate? Is it a dvd or custom media? We do all kinds of stuff we do dvd and blue ray, we give him a flash drive that has the master file on it, meaning when we and on day four, we're goingto explore exactly how I do this. I use a great feature and final cut pretend called bundling where you can set final cut pro ten up to do mel multiple export file types at the same time so you can just kind of set I have my preset bundle where it's going to give me a file for the web, it's going to give me a file for dvd it's going to give me a file for the for the flash drive, and I could just set it and walk away, and then the next, you know, a couple hours later, it's done, and I can prepare everything up but we also order prince and custom boxes and stuff for our clients we have to wait for those products that come in and then we bundle it altogether so we give him a flash drive in nice custom booty package that has just just the feature film on it that's it and then the dvd includes the feature film and it has the cleanup edit so we give him since we've already sync did anyway and a lot of times with his multi cam the ceremony will give the ceremony in the first dance in the parents dances and toasts it's all short just quickly and it's rough they know it's rough it's not polished we don't color correct it we don't do anything to it just it's just put together so you can watch it because getting a bride to spend thousands and thousands of dollars and tell him you're only given twenty twenty minute film you know some of them are okay with it but some are like well can I get the whole ceremony so I can see everything my parents want to see it's always the parents parents want to see everything so we do we do throw that in and it's already done it's part of the work flow for the most part and my editor's once they sink everything up we'll just quickly go through with the blade tool and for example, I can actually show you he'll go like this they'll go all right let's pull up one of these sing here oh perfect here's the toes it'll start out like this we'll cut off the you know any bad exposure in the beginning and we'll let it play so what? We'll just go through the blade tool and literally just pull out all the bad shots until you have something that's that's watchable and that's it that's all we just go back and forth between two or three different camera angles give him now on the dvds well, so dvd blue ray dvd or blue ray they pick some people don't have blue ray on the flash drive in a web version also cool sounds good we had a great question from scott see how do you learn about different what were weddings in different cultures? E jewish weddings, catholic wedding experience I've been in the business fifteen years I've done them all um yeah, if you've never done if you could hire doing indian wedding and you've never done one definitely watch other videos or like do your research because indian weddings and mike's in my experience it could all be different and there's multiple days usually involved and multiple ceremonies to and you have to end things happen instantly it's like I don't know where something will be happening and you're like oh, we gotta get that and but sometimes they're really regimented in plan to discuss it with your client with the expectations are and if you've never done a wedding of their type and there they want to hire you and they ask if you have one have not done one be honest don't lie and tell him you have just to get the job because you're just gonna end up screwing up the job more likely so just do your do your homework and I've done I've done coptic christian orthodox orthodox jewish acetic sephardic jewish indian hindi I mean just all kinds of different ceremonies over my career they all they all pose their own challenges so I feel like you should make a documentary out of that well that's more editing I don't need more okay never mind I'll get e e I think you want it would you like a ton of questions is ok if we ask by all means I think it's time for some victor's been chomping at the bit to get get this on answered on me says I get the message when I'm when I used transitions there is not enough extra media beyond clip edges to create this transition you know why yes let me see if I could replicate this for you they're just gonna require no final counts doing that thing okay let's see if I can do this without having to restart final cut would be nice let me just zoom in here. What I'm gonna do is take a clip that's already been trimmed all the way to its ends. You see, I have a read indicator there it's telling me there's nothing more to that clip and let me just take a little bit of doubt we just pop this clip out so I can take this one. I'm gonna try to blame these two clips together and let's see if this is replicated. I mean, don't good. Okay, so what I've done is I've got a clip that's, there's nothing left to it, which is this clip here, right? And if I put it next to another clip and I try to put a transition between them ok, so you say there's not enough extra media beyond the clip edges to create the transition do you wantto overlap? Meaning ripple trim your media to create the transition. This will decrease the total duration of your project project it's going to ripple everything, including the contents of this clip right here to make more space for it to work it's goingto possibly slip things out of sync, but you can just create transition and it will do it, and it rippled it over, okay, so it actually made the transition and there's wigging out again, doing that crazy thing but the contents of this clip were changed. The contents of that clipper there were changed when I did that. So you have to make a decision at that time is the clip. Are the cup contents and what you have between your in and out point crucial and can't be moved. Or do is there some plato work in there?

Class Description

In this Final Cut Pro 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 most effectively. If you're interested in editing your own work, this Final Cut Pro training tutorial is for you!



Simply brilliant! I had no idea where to start with FCP and even though I am now using an updated version... this course has been invaluable!!! Thank you Rob and Vanessa!