Let's Edit Something For Real
Rob Adams, Vanessa Joy
Let's Edit Something For Real
Rob Adams, Vanessa Joy
10. Let's Edit Something For Real
Optimizing Your System11:30 3
The FCP X Interface43:20 4
Importing and Organizing Media1:05:14 5
Working with Clips37:22 7
J and L Edits15:49 9
How to Dissect an Edit1:24:19 10
Let's Edit Something For Real1:18:45 11
Introducing Music1:18:56 12
2:45 pm - Audio Mastering1:22:18 13
Color Tools and Effects Part 11:07:44 15
11:00 am - Color Tools and Effects Part 21:07:44 16
Effects and Titling1:17:04 17
Let's Edit Something For Real
All right, here we go. We're gonna get into the meat of things. This is really, really gonna be intense. We're gonna actually build a story from everything that we have here. And the idea with the first part of this segment is to just flush out the main story. Okay, so we've sync up our ceremony. We've sync up our toasts. Now we have toe do a little just a little housekeeping here, and then we can start putting together Ah, story on a new timeline which will be being the actual edit which will end up being the story. So what we're gonna dio is placed down our main story elements on what I like. I think I mentioned this yesterday. It's called a radio cut. And what I'm looking to do is just take the sound bites of the will end up being the dialogue of our main story. So in this case, I'm going to use the officiant from the ceremony. I'm going to use like, soundbites from him. So I'm gonna go through and take out soundbites of my priest. Then I'm going to go through and do the same thing ...
for the toasts and I'm going to kind of build my story or kind of flesh out what I know I want to use, um and from there will be able to start to put it into an order. You're going to notice that I do not just put down music and start editing, all right? I don't even put me again until my stories done. Almost. For the most part, I like there might might reach a point where I *** now would be a good time to start introducing music. Because once I have my story fleshed out, I will have a sense of how it's going to flow and how long each segment is and what I'll be able to put in between the cuts. Right? So if I have a part, let's say I have the part where the priest says as we begin, we'd like to say, but Papa, Papa, Papa, and then that sentence is gonna come to an end. And then that's a perfect spot for me to put something else that has audio and other video. So maybe a sub story. All right, main action sub story. Then maybe we'll go back to the main action again. Or maybe we'll take a different approach from the main action and go instead of the priest will go to the maid of honor toast. So by flushing everything out first, it kinda gives me a sense of OK, this cut is maybe 30 seconds long than the maid of honor. Speaks for 10 to 15 seconds long, and then I can kind of put a gap in there. And then when I go on ad my music, I can fit it to how the music builds and rises and falls and that sort of thing. So I don't edit to the music as much as I do edit to the story and then make the music work for what I've got, and then I'll do minor adjustments of both video, audio dialogue and music. So it's a balance, and you're going to see me balancing so literally. I might as well just take a bunch of plates and start doing this because this is what I'm gonna look like in about 20 minutes. All right, so let's kind of let's talk about the story elements. First, we're gonna put down the main story. Then we're gonna add B roll and work with some sub stories will figure that out. A Z we move along, we're gonna blend external dialogue and neutral cameras and natural camera sound The only time I really use on camera sound You know, Mike, the mike that we put on the camera is preps the only time I ever use it. Um, I'm not using for noise ambient for room ambiance, but I'll never use it as dialogue unless I was at the preps and the bride's reading her car and that Mike was close to her. So where it sounds rich and clear, there are exceptions. It's not gonna sits never on camera. Audio is never gonna sound as good as a mic right here. OK, but it'll be usable. And you saw in that film we had natural sound from the perhaps, and that was just coming right off the camera. Mike. Right off camera on, and it's usable, and it sounds different than the piped audio. But that's fine. It's all it's, really, you know, it's part of it. But my rule of thumb with natural silence sound is if it sounds like it's too far away from a mike or it sounds like battle. It was. If it sounds like it was meant to be good, and it doesn't, I won't use it. All right, So you'll see me make decisions, edit decisions. Based on that, we're gonna generate connected storylines. So as we're building, our sub stories will kind of compile them into story lines and then ultimately, into compound clips. Sometimes I leave Mr Reliance to sometimes almost leaving their It depends. We're gonna create and work with compound clips. All right, let's get into it. So we have a couple of housekeeping chores that we need to dio. The first thing we need to do is when we ended off last segment, we didn't compound clips are toast sink. All right, so we took him out of the storyline and everything, but we didn't compound them. So I'm just gonna shift easy to see the whole timeline here. I'm just gonna highlight all these clips, and I'm gonna use option G to create a new storyline. We're compound clip. Rather, it's in wedding edit, and I'm gonna call it Toasts and the member we're gonna put our big capital that air sink just like that. Okay? Okay. and that's gonna add it to the event is now located in our wedding event, and since I have sink appear in the filter in the filter search bar, you can see that here's our ceremony. Sync up and here's our toast. All sing doubles compound clips, which ultimately means I do not need these two projects anymore. One thing I wish Mollica Pro did was allowed would be to allow you to select multiple projects at a time. You can't holding shift that it's just not working. Put expose back on. Yeah, See, by holding shift, it doesn't allow me to select multiple ones. So I'm just gonna highlight one at time and move. Project the trash. Okay, now let's take a quick note here of the background tasks dialogue. You see, we got a little spinning circle here. Well, that just means that it's doing something that's clicking here and see what it's doing. Oh, it's rendering. Okay, so what it's telling me here is that in the background while I'm working, it's generating audio wave forms for my sink compound clip. All right, Final cut will do a lot of this in the background the moment I start working. Look what happens. It pauses, right? The second I stop after a couple of seconds of what I determined it will continue. And the right there just finished up. That's a nice feature. I like that final cut does that kind of stuff. That's cool. I don't want to do intense trans coating while I'm editing because it'll really I mean, depending on the system on your on and might take away from your from the from the power of the system or from the smoothness of the editing, so we don't want that. But now, since we've done that Oh, is one more housekeeping shore real quick. I'm gonna go into each of these, and I'm just gonna lower the camera reference audio. So if I double click on our ceremony, here is our ceremony sink. Couple of our video clips, all of our audio clips I have the groom disabled for right now, I'm just gonna re enable them, and we see here by looking on the video clips that are audio way forms are high, you know they're up, which means we're gonna be able if I play this back right now, it play probably blow your ear drums out because we have six different audio sources. Three, external and then three What I call internal. So I'm just gonna lower the volume on these because I'm not going to use that. Mainly gonna use the mic that's on the groom, you know, and I could do is an easier way to do this. I could highlight all these clips and then it's going to the inspector and do it like that usually just takes a second to, uh, do it. That's what it's done. And we have to do the same thing for our toast. So we'll go in here toasting click that and just do the same thing. I was gonna drop this out, and you notice here that I got these clips, um, that don't have any audio underneath him. There's no green audio there. That's because that's from the dad, and we're going to take him up separately when it comes time to use him. So and normally I would have sent him up right now, but I want to move forward with the project. So let's just go ahead and movies and oh, here's here's a teachable moment. Watch what happened. If I tried to remove this gap, we lost your audio. Why is that? Why did we lose our audio there? I'll show you why the audio is connected to this gap. You don't want that. All right. Anything that is connected to something on the primary storyline. If you delete that from the primary storyline, it will go. Bye bye. So I'm just gonna simply move. I'm just gonna trim that oversee. Now it's married to this clip so I can effectively remove deck lid. Okay. And again, we've got all this extra stuff over here. Not there really matters. It's not really affecting us. It's not bothering us. But I just like to keep things neat. All right, so we're all set Now, let's go real quickly. Let me see if I could highlight all these and then go into our audio tab. Um c command audio, enhance. Yeah. It doesn't let me do them all at once, so I have to just do it one by one. No big deal. Just quick. Drop down the rubber band, and now we're all set. Now, I know if I take pieces out from this to use in our project. I'm only gonna here the main speech audio. So I'm only gonna play this back. Just extensible entrepreneur. I'm only gonna hear that. That's what I want. Now, why did we sink everything up like this? What's the purpose of having it like this? This is very important because when I'm building my story, I don't just take one camera angle and one audio source. I want to take the rial time moment of all three cameras and the audio together and blend separate parts or sound bites and then put them into a real project. And I will take all three angles and the audio source or sources at one time and move them into our project. I will demonstrate this. Let's first create our main edit project. Let's go back into our project library and I'm not gonna create a folder forward. I don't think it's necessary. I'm gonna go file new project or I could have just clicked on the plus symbol down. They're going to call this wedding at it. This is going to be our main film. I'm gonna check. My settings were working with footage that is 10. 80 1920 by Tenet ease the resolution 23.9 eighties. The frame rate. It's all five D mark three footage. Some mark to footage in there too. It was all shot the same way. Audio said at 48 and we're also to go look OK. It now created and opened. I go back here to the project library. You'll see what happened. Where to go. It's in one of my folders, right. Be careful. If you have folders, it'll put it in whatever folder you have selected. Okay, So I can just kind of duplicated if I want to look so we'll just leave it in there. That's fine. Wedding at it. Okay, so now the first step, the first thing I will do when I have a blank timeline and I'm ready to start building my story is a radio edit of my main story. I think we talked about that a little bit, but what I'm gonna do is I'm gonna make a decision here. I'm gonna start with ceremony. I'm gonna start with the priest, okay? I've already decided that. So how do I do that? Well, I have to go into my event, okay? And right here it's ceremony sink. It's not, You know, I clicked out here's ceremony. Sanctify wasn't there. I get his type sync up here. It would pop up, all right. And I'm gonna right click it open and timeline. Or I could just double click this and it brings us into our sink. Timeline of ceremony was gonna resize the window so I could see the whole thing. And maybe I will come over here to my switches and just resize the clips down a little bit. Yes, so I can get everything on the screen at once. Just makes it a little easier. Okay, now, notice. When I clicked into this final cut, started doing some background reading is actually doing some trans coating again. It's just working with audio, so it shouldn't be a big deal. It's good to know what's happening in the background. So you know whether or not you need to stop it or not. Okay, so I'm gonna find our first sound bite here. I'm just gonna go to the beginning of where our ceremony is, okay? And I'm going to zoom in here so you can see and I've got audio skimming on. All right, so I can kind of go through my footage and you hear it skimming and video skimming is on as well. And I'm just listening here for the sound bite that I want. I'm not worried about video yet. OK, notice here that there's audio and if I play this back, listen, what happens as we begin? I asked all of us, especially Young and Anne notice it was only one camera angle right there because we want in our places yet okay to see they started really fast. We weren't ready, so the only camera angle was There's only one camera in there That's not a big deal, because right now I can go back after I get this audio laid down. I could go back and putting whatever video shots I want. So I'm not worried about that. Let's just go and get the sound bite that we want, right? Just using space bar and guys. Yes, I could do this up here, too, if I wanted Teoh easily and then I'll do it both ways. You can see this is the way I prefer to do. It's just personal. Perfect. We begin. I asked all of us especially Chunga. Nanny, take a deep breath. Savor this very memorable moment for their never again will be a moment quite like this one in your lives. Look around. The wonderful company of family and friends who joined in the celebration tonight for is their presence 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's a nice opening cut. It's a little bit too long. I want to cut that down. I don't need all of that. I don't necessarily need to cut it down here, But I do want to separate out that cut to use in our in our project times. So let's just go back to the beginning. Here. Welcome to this wonderful day of celebration. I don't really need that. I like what he says as we begin. Better as we begin right there. Just using my arrow keys, right? I'm going to my blade tool Gonna hold shift. I'm gonna go to that point in time and click and then I'm gonna navigate over to the end of the sound of his empire. 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. Good. Right there. Using my blade tool. It's gonna cut whips. Got ahold shift. There we go. Done. Okay. So now I can lift this out and put it into my project file. Right? So just by clicking and dragging and yes, I am dragging the gap down there to That's okay. I'm not worried about that yet. We can get rid of it later. It's no big deal. Command. See copies going to use the timeline history back button or like it. Hit command left bracket. Here's our blank timeline. All right, Mr. Drop it down. Command V. All right. I'm gonna repeat this process until I've got my main story elements, and then I'm gonna go back and find to him. So just observe as I do this and all kind of talking through as I do it. All right, So goes all right. I mean to do that wedding at it. I get a little trigger happy sometimes. I'm gonna try not to do that. I'm sorry. All right. So I'm just gonna zoom in here I'm gonna play and see what else he says. At the same time, we remember those special ones in your lives who are not physically present with us tonight. For while they are not visibly here with us, their presence is felt. And we know that they join all of us in the joy of this movement. By the way, why does the audio sound echoey? Can anybody tell me different? Mike's? I have three audio sources running. Okay, The ceremony tap is really what I'm interested in right now, but you're hearing him come through. Both of the groom's Mike's, too. So I was gonna meet those and you'll hear the difference. Join all of us in the joy of this moment, Annie and Chung, and 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. We live in a world of joy and fear and search for meaning and the seeming disorder of things. And we discovered the truest guideline to our quest when we realize love and all of its magnitude for love is the eternal force of life. That's a really windy cut. Hey, this he's got a long winded, but he's saying good things. He's saying things that I think are powerful for a story, so must come back here. I'm gonna isolate any and young and presenting yourselves here today because I want to start their re, says Anne and Chung Blade Tool hold, shift click and Shannon presenting yourselves here today before these witnesses to be joined in marriage, you were performing an active love. Perfect. That's a sound bite right there. Cut it. And it's fitting to speak briefly about love. We live in a world of joy and fear and search for meaning and the seeming disorder of things. And we discovered the truest guideline to our quest when we realize love and all of its magnitude for love is the eternal force of life. Okay, that's a nice cut, too, but I don't need that part where he says, this is the second part right here. We discover the truest guideline to our quest when we realize love all of its magnet, because what I'm thinking of right now is this short sound bites and thinking, sure, things don't want to get too long winded. If I need to come and grab this again later. Wrong, cause I feel like there's room for it. I could always come back and get it. That's no big deal, so I'm gonna cut that around that. All right, so now I've got three sound bites. I've got this, this and this, and that's great. Let's go ahead and take him and they're holding. Commander was gonna grab these. Come and see. Timeline. History back. Command left bracket. Command V. Okay, that's all I do to build my stories. I'm just going and finding that the parts that I really want to use. Let's let's go now. And I probably would at this point, continue to do him, but let's just move on to the toast. Let's go do the toast now, So I'm gonna come up here and type, type, sink, and don't see our ceremony or toasts. And I think I wanted to leave him by accident. Oh, no. Here with me. Once again, I might have to recently toasts any questions while I'm doing this kind of discovering my own mistake here. God, is there a way when you when you deleted the gap clip in the primary storyline, and then you had to re important, then turned down the audio. Is there a way to resync in Final Cut where the connection happens between to change the location of the connection you could is going to hit or miss? You could use the synchronization tools in Final Cut if I wanted to sync up clips in In Final Cut. All that have to do is like highlight individual clips like this. Select the audio and do and just right click and go synchronized clips. It's basically gonna try to do the same thing is paralyzed, but I have had very mixed results with it. What you're talking about. If you had missed that one clip, you might work. It might not. I'm sorry, not synchronization, but where they're connected to the primary storyline. Instead of being connected to the Gap clip, could you have it connected to a different video clip that's on the primary? Story went, you have t trim the clip because the connection happens at the beginning of the end of the clip. Yeah, you can't move the connector to somewhere else along the line of video. That would be nice they have it. Unfortunately, doesn't let you do that. That's something. I hope that they all that will eventually throw in there, so All right, you know what? Let me see what happened here. Because I don't Seems he had my toasts. That's not good. All right, let me just try this. One more thing. I don't have to go back and re sync the toast real quick. Sorry, guys. Yeah, for some reason they seem to be seeing, and I'm not happy about that. Okay? Just let's continue with the ceremony and then all during the break, I could go grab, because we can continue to work like this. So let's see, in raising this man and woman who stand before you have such loving hearts, they accept a very mature and meaningful task and taking on this marriage today and on their behalf, I thank you for all that. You have to bring them to this place. I'm not going to use any of that. He's talking about the families there. I'm not going to really use any of that because I feel like I'd have to, like, cut in. I have to cut in family shots and reactions, and I'm not sure if I have enough to work with there to make that sequence work. And I don't think it s central to the story. You also to consider the length of your edit. I'm looking for a 2 to 3 minute at it here. So I'm not gonna put in things that aren't essential or aren't gonna be as compelling as some other things might be. And I remind you that it is more than they who are joining their hearts here today. For you are as well with this marriage your two families are. Yeah. Today you proclaim your love and commitment to the world. I like that. Okay, let's see. Let's that of the love that you have for your Children today. You proclaim your love and commitment world you turn towards okay. I like where he says loving come into the world. So again, I'm going to leave that out. Not gonna take this other part which has turned toward each other. It's not dramatic enough. Let's grab all that Come and see time on history back from over the end. By the way, if you just want to get the end of your end of your timeline. Quickly function, right? Arrow played that in there. Okay, cool. So I'm kind of just making, say, making some sound bites here. We will go back in a minute and start adding some sub story in to start flushing this out. But I would continue to do this with ceremony and the toasts on Ben flesh out myself story in between there. So let's let me see what we have here as we begin. And I know I'm not going to use the groom's mike here. Someone's gonna believe them. And I ask that all of us, especially Chung and Annie, take a deep breath, look around and savor this very memorable moment. Never again will be like this one. And I don't really need. That's a nice cup, but I want to shorten this down. So now I'm really fine tuning. Now I'm going back to the sound bites that I took originally and just cutting them down. Notice the magnetic timeline operation there. I cut everything, including the primary storyline. I'm not concerned right now with what's on the primary storyline. I will be in a few minutes, but right now I'm just doing rough cutting. This is no big deal. Look around at the wonderful company of family and friends who joined in the celebration tonight for is their presence for your wedding as a blessing to you. So is your expression of love for one another A blessing to all who are gathered here. Cool. All right. And that I've got these other cuts of his, which I know I'm not going to use until later. So let's go ahead and let's just move these aside for now. I don't really need the work with him. And I could have just left him in the other timeline for now, but I wanted to illustrate how to bring them over. So I use my P to a member of the P tool, how important that is when moving things like this. And I'm just gonna look sorry. Show up. Goodness gracious. Oh, So what's happening here? Is there something something is keeping us from doing that? So we have to kind of figure out what that is that's going to hear. See, everything's clipped off to this clip here. All I see what it is that way have This is all married together. I'm just gonna blade that in half. So we have some separation going on there. Well, just a little that, uh, we have to extend out our gap. So we have to blade, are gap here? Disbelieve that I will believe it. When we have to do is make minor adjustments. And this is the This is the new sense of working with the primary story clip connections can get really annoying when you're trying to just move things quickly. And I could just disable that if I want to. I'm just trying to illustrate a point here. So what is going with this over? Repeat tool. Still not letting you doing all right? Not a big deal. Let's just extend this out that works. Just want to make a little separation there. Okay, so we're now we're ready to do this. So now I want to start flushing out the story down here. In order to do that, we have to kind of figure out what is gonna be the opening shot, because I can start cutting in b roll of all this. If I wanted Teoh. But I need to know. At what point do I need the B roll to start here because this clip of her looking kind of confused is not gonna be the most flattering shot that I want to use for the opening. So I need to know at what point am I going to go from my opening shot? Because this is gonna open my film. The sound bite. What point am I gonna cut to this Here. Okay. And it looks like I may not use this shot at all. All right? I might actually just completely rebuild this now that I have the sound. So let's go ahead and do that. Let's pull this clip out and let's just build this from scratch as we begin, I asked all of us. We know what we have. Let's go into our ceremony sink. I'm going to right click and go on Open timeline and let's find a nice shot of the bride. I'm gonna start, actually. Know what? Let's start with the jib. What's come in here and type jib. There's all my gym shots. See how quick it is now to get the things I want. A shot of the ceremony from up above my audio for a second. So it's not annoying and I can kind of script there. Here, this is all the marching. I know I have some nice shots of them when they actually are up there. That's great. So let's take a shot. Something to the effect of this and a longer spend too much time. That's really nice. Through a nice I might have one that has the chandelier in it. So let's see what I got. That's nicer ability. Fast forward here. A little bit tryingto again. I could use J. K. L also gets kind of move forward. That's a really nice shot that's playing backwards and want to use that so you can see how tedious editing could be. I mean, it's just it's just all trial and error. It's all about trying to get things to work with each other, and I will be a perfectionist and take a lot of time doing this. So it's sort of like a It could be a painstaking process. That's the kiss of the and we don't want that somebody reverse here. Back up. That's the beautiful thing about J. K. L is I can do these really nice movements all right, Let's back up a little bit more. That's kind of nice. All right? I'm not gonna get too picky here. Otherwise, I would take up too much time. But this is what I do. I actually will take up a lot of time finding perfect finding the perfect shot, and to my detriment, it slows down my editing process. But that's what it takes to really make nice films, in my opinion. Okay, So the maid of honor's walking over there. I don't wanna wait till she kinda get settled right there. Perfect. In that I get to really hear out. Perfect. Now that's gonna be my opening shot. For now, I might go back and add in a establish er, and I'm just gonna find a point on the timeline where I want to put it connected. And there we go and notice it brought the audio down with it. Well, maybe I didn't want to bring the audio down when it hit. Shift to just bring the video down with it. Command one brings It brings me back into the events and like, it can clip like this. All right, so we have our first shot. Oh, actually help if I was in the right timeline, wouldn't it? Let's go back in the other timeline right here and copy that clip in. Perfect. But as we begin, I asked that all of us, especially Chung and Annie Nice. Okay, so we've got our first shot line down. Now I know I want to go to shots of the bride ng room. So let's go ahead and do that. I want to put them somewhere right in here. Not crazy. Let me turn the audio skimming off. It's getting there. We go look around. Wonderful company of family and friends who joined in the celebration tonight. Now I have seen that she's reaching for her veil. I can get much more beautiful shots than this. So let's let's go into our ceremony. ST will tape in sync. Grab that double. Click it and let's go finding a shot of the bride. I know what my bride shots are in this angle right here. They're all this top. Um, sorry. They're almost top clip right here. So let's just go through and find and I shot of our bride, and you can sort of see here. We're never you were never, like, totally steady. There's always times were moving around, trying to get different angles and things. An area that's nice. Good. So I'm looking for just a nice generic shot of her, and I would spend more time doing this. But for the sake of time, let's just do this. That's nice. Before she looks away. Perfect. Blade that out. Copy it. Timeline history back, and we'll throw it in right here. Do you have a question? Well, I thought you guys were emoting. Question. Yeah, go ahead. You could. Guys, while I'm doing this, feel free to shout out questions as you're selecting the shot of the bride's face. Are you having to be conscious not to get part of the officiant space in there since what he's saying isn't matching up. But absolutely, yeah, continuity is important. I don't know if I see you see this. A lot of movies and they see the back of their see their jaw moving, and it may not match up to what they're saying. You can get away with that because if they did their job right, your focus should be on the on the person's face. Yeah, I'm very conscious of that stuff. I really try to be careful with continuity. Well, we're asking questions about this. He's asked, What if toasts aren't that great? Or if nothing is good from the officiant speak, that's a problem. You have to find something else to use to build the story around. I happens all the time. We get a you know, the toe, both toast suck. Sometimes there, get up there And you, Do you think they've never spoken in their lives and people get nervous when they public speak, So I understand. But we all sometimes take a lot of time going through. It is making sure I'll take out ums and ahhs to the point where they sound like they were seamless to make it work in the film, if you want to do good at it and guys, you can't just take chunks of things and slap it down, you got to do some fine tuning and work with it. Take, You gotta take time to do this. If I was, if I only had two days, they added a film like this. It wouldn't look like what I showed you. It takes a lot of time to do you know this sort of work? Have you ever encouraged in officiant Teoh? Repeat something afterwards or No, I've never done that. I won't do that. Um, officials have to be careful with There's a certain etiquette there. I mean, I guess I could with an on site ceremony like this, I'm sure this guy would mind, But a priest in a Catholic church not happening, not happen. All right, so good. Now I want to take a shot of him to So now, instead of going into the timeline, I can just work up here. I can just come up here into the sink. Thank you very much. I appreciate that. I know I'm sweating. All right, so I'm just gonna kind of skim through here, and I can expand this open a little bit so I can see it in greater detail, and I'm looking for a shot of the groom. But the problem here is I'm not going to see the groom's face. Why Different camera angle. Right. So this is why I don't like to do that. I like to actually go in here, because then I can see all three camera angles and I know now I just want to look at the groom's face at the same point in time. So when a highlight, these top clips had V and it disables him. Now I can see what's down beneath it. All right, so there's a benefit to working up in this and then just dropping clips down. But if you want to see multiple camera angles, and I know a lot of guys will use multi clip and that's fine if you want to do that, I just don't I don't I like this way is much faster for May, but a multi clip would allow you to see all your camera angles at once. But then you still have to go through and pick out the one shot you want to use and blade and copy into another timeline. So pros and cons, pros and cons, and I don't want to get into the benefits. That's a really nice shot of him. He's looking at her. She's looking at hand. That's perfect. I'm just gonna come down here and play this out. That's good. Couple seconds. My shots air never usually that long. I like to keep things short and simple and nice again. We're gonna drop this down right here. Perfect bump the other one out of the way. I'm just gonna nudge it by using my the period key on the keyboard. And that's it. I've just successfully made a three shot at It just washes back as we begin. I asked it, all of us, especially Chung and Annie take a deep breath. Okay. Cool. He actually breathes there. He goes here on the sound, and I actually do have a shot of it on the time spent. Time to go get it. But it's fine for now. I just want to give you an idea of the workflow again. I can't take his much time as I normally would would be sitting here from days. All right, so at this point, I have to make a decision. Okay, so I'm editing a little bit of B roll in here. Do I want to stay with this three cameras, or do I want to cut away to something else? Well, let's see what he says. And what kind of make a decision? Look around the wonderful company of family and friends when he says family, friends maybe I want to show some of the family and friends. So let's cut in some of those shots. These shots might have been a little too short. So I'm to make this work to get us to this point where he starts talking about the family. I'm just gonna extend the shots, take a deep breath. All right? So let's just go over here. Extend this shot out. She looks down. Don't want to use that. That c Can we just extend the shot out? She looks down there. Not much. We can really do there. Okay? And I could also use my trim tool to do this. If I want to take my trim tool, I can also slide back and forth on the clip and get a two up display. I don't need to do that. All right, Just gonna highlight this clip and nudge it over so I could get to drop down and see what I can extend the groom out a little bit. That's fine. Perfect nudging right to the point where I want it. And now we get to this point here where the priest is talking about a very memorable moment. Look, around at the wonderful company of family and friends who joined and beautiful. That's a great shot place for Agip shot again. I think that would be next. I want to show the overall of the room. Look around it, family and friends. So I have the jib shot of the whole room. It's actually from before the ceremony was just the gym guy was playing around, and I know I've got this shot of the room here. Ah, let's see, Just do it. Searching here. That's obnoxious. If you don't want to hear the audio that you're skimming over or playing back on clips like this, you could just highlight the clip. Go into your audio inspector and just dial it down and look at the audio wave form under jib Ceremony one. It should drop down. Well, some reason it didn't drop down. Probably cause I have the range selected or is gonna make a fool out of me. There goes now. We don't have the audio. Now I can play this back and don't have the here, the the orchestra. So let's just go in here, and that was good. Just grab a couple shots here. I know. We see the the other chandelier come into view here. It's got a nice that works. I mean, I probably could go and find a better one, but the thing is, my problem. I'm such a perfectionist. That's cool. I like that. I see. That chandelier there is really nice. Good, Perfect. Now that I can just drop down here, pop that down and now I can kind of nudge it in the place. And now I've got this set up. Now I've set myself up for some close up reactions so that all of us, especially Chung and Annie, take a deep breath, look around and savor this very memorable moment. Look around at the wonderful company of fans. Good. Now, one thing I'm not taking into consideration here is the fact that and by the way, if I just wanted to trim this up, I could use the period and comma keys is to get the drop down into that space. I mean this again housekeeping stuff. If you really want to get crazy, there we go. What I'm not taking into account is that we haven't put a front shot on here. And when I put an establishing shot here for the beginning. That's gonna help me to kind of gauge where I can put the rest of these shots. And I don't have my music laid in yet, so it's really kind of hard to judge where that's going to be. So I know I'm gonna have to do some tweaking here, so I don't need to get it perfect. I just need to kind of set it up. What I will do, though, is going ahead and add in the shot that would have been right before this. And I think I'm going to use a now outside shot of the building, so that would be under my establish. Er. So now I need to. Since I didn't do any clip renaming, I need to come over here to my keyword collections and click on Establish er's and Unclip that and I have a list. I have a whole bunch of Establish Er's here so I could just pick and I shot these aerial shots from outside of the plaza here. I'll just grab this one. That's fine. In and out. Whoa! Loud audio, really annoying. Let's go ahead. And a lot of times I'll go through first and for time constraints. We didn't do this and just lower the audio on all these. And if I need them, I can always bring it back up later on. Good little slider shot here. Just the outside of the plaza. Find a nice, smooth one that looks good to me. I get the birds flying there. It's really cool shot. Okay, let's drop that down here. That's connected. Clip perfect. Let's Ah, let's see where that puts us here as we begin, I asked that all of us, especially Chung and Annie making magic show a little bit. But do you get the idea? I'm just kind of piecing things in just to flush it out. I can always go back and fine tune this later on, and I probably will for, you know, before we do color grading and stuff like that. But I'm just trying to flush it together. OK, so that's main story action. And now I would go and do the exact same thing for this part in this part, and I have no idea where on putting these, yet no clue, and I don't care, and I won't know until I have the music in there, and I I have sub stories to work with, but I need to build these scenes. All right, so for right now, I'm not going to go ahead and do and work with this. I'm just gonna leave it alone for right now, because at this point in time, I really just want to go through and figure out what other story elements I'm going to use. Okay, so I'm just gonna extend this clip out. This is why I working on the primary server line can be such a pain in the butt. Sometimes you have to really see what you're grabbing and that see, it's still grabbing the other one. I just continue to That's that kind of the Ah, there we go. That's what I was trying to do. Thank you. And I know I don't need group of audio. That's fine. Okay, so now I've made some space for my first sub story. So when we get down to the end of this clapping to you, so is your expression of love for one another. A blessing to all who are gathered here. Great. I probably will continue doing this process of adding and shots like this throughout this entire piece. OK, but I want to move on a sub stories, so I'm not gonna do that right now. I'll come back and do it later. So what I want to move on to now is want to get to the end of what he says here. I want to move to something else gathered here, all who are gathered here. Okay, fine. So what's gonna come up next in our story? Well, I know I have the maid of honor going over her speech, and then we have her speech. So let's go and take those shots of her getting the speech ready. And we'll use that as our next story element. It's a sub story that acts as, like, a leading to the next main seen. So let's go find our maid of honor stuff. So if I come up here and again, I probably would have had this all renamed because it would make things a lot easier. But I do have a keyword collection for maid of Honor speech prep located right here because it was in a folder outside and Finder, under maid of Honor. speech prep. Now what I've got here is a by no. I worked with the maid of honor before the ceremony to do all this. You know, we actually shoot a mini movie, and I found out my clients really like it. They enjoy it and I wouldn't have if they don't want to do what? I won't do it, obviously. But basically what I'm doing is I'm getting a Siris of different angles of her going over her speech, and they will actually have a read it through, and it's her reading it through. That will be the main action of this sub story. Now a seeing now is always main action. And then there's always be role main action B Roll main Action B roll. This is a sub story, but its main action is going to be her talking. So I need to figure out how much of her I'm going to use. Let me see what I have here, and you're gonna get to see some behind the scenes stuff here, which is kind of funny. Sorry, guys. Gina. Many in terms relationship. She's talking really quiet. It's getting hard to hear. Three years beautiful, romantic trips, friends, many special memories. Okay, Cool. Now she does it in a better way somewhere else. But I'm just for the sake of time again, I'm just gonna bleed out some of this, okay? She starts off saying, Gina, my name is Gena. I'm the third wheel in any insurance relationship. Everyone, thank you so much for making to our wedding. My name is Gena in the field. Many in terms relationship. Good. I'm going to use that. We're just doing this quick, guys. I would I would spend a lot more time doing this. But now that I've got her audio there, I know I'm really just kind of using her audio. For the most part, I might cut to her face for a second or two. So I'm gonna bring down both the video and the audio at this point. So I'm gonna use shift to to get to my timeline window. I'm going to use next edit command, which is arrow down just to get me to the point where I want this to be, command one to go back up into my event. And I'm simply gonna pin this down to my primary storyline. Well, it doesn't have to go to the primary shoreline and go anywhere you want to put it. If I put it on the primary storylines going to shift everything over, which right now nothing over there is important. So is not a big deal. So I can just sweep Sorry at the wrong come over here. And I could just use the insert key w to pop that in right notice how long it is because I actually grab their own clip. That's morning. Like there we go. Let's do that again. Perfect. So if I just play this back, just gonna cut to her talking really softly, which, you know, that's not gonna sound too good, But I do want to build this sub story with some B roll here, and then we'll make these two segments blend together. Okay, Member. We talked about building the action and then compound ing everything so it's on the primary storyline. We're not to that stage yet, but we're going to get there. We're setting the stage for that by putting main action down and then B roll. And if I really wanted to get technical here based on my keynote, I would probably plop all of this stuff down onto the primary storyline to by using option command override the primary storyline. Okay, And these B roll shots, it probably be up here. Okay, so let's go find some cutaways because we have our talking. But I want to show her kind of going over the speech, and I actually might want to get her into the chair first before we hear her talking. So I've got some B roll shots of her sitting down, so let's ah, that works. Just grab one like that. And I said it in. Oh said, now, perfect. I'm just gonna connect it down here for now. I'm just going to use the video. So are so shift to connect, and I'm not worried about its placement right now. Let's go find some of these other B roll shots I've got typing here. Let's grab one of those shots. And another thing we could do. Guys and I probably should have done this before. I can come through here and label my favorites, so that's a favorite. That's a good shot. Let's go. Maybe this is cool. Will use the part where she see her face here. Little exposure changes in there. I've got to edit around. That works on the mark that is a favorite by hitting F. This is a nice slider shot here. Let's go grab that hit after favored it. Um, this shot him. I don't know if I'm gonna use that. Probably not really close ups. Not going to use a shot. Let's reject it. Let's just hit rejected. It goes away because I've got hide rejected selected here. And let's get one more it. So I think one war should be enough. Maybe the shot of her kind of thinking things over here on. Let's see what we got. I don't want her lips moving too much. I just want her kind of her face. That's perfect. Good. So I'm just pending these down as B roll, as connected clips. All right, so let's build this. Let's actually put this together. I want to start with her getting in this in, getting in the chair. I know that. So that means I have to kind of move this over a little bit. So he's my p told this kind of make some space and know what I've got is her sitting down. And then we hear her starting to talk, and I just realized that the audio is not on this clip to get it again. Sorry, guys. This is the wonder of editing live the wonders of editing live. Now I should still, this is the nice thing about Final Cut. I should still have the part where she's going over all that. I should definitely still have it marked off and let's see if I could go find that where she's going. If there is, that's the shot right there. That's what I wanted to use before. So let's just go ahead and motives. Insert that down here and Apps made the same mistake again. Shift one for audio and video and then will upend it down every good. Now we've got our audio, so it's good. So is this Movie's over. Drop it in here. That's fine. Lift this out. You can't delete something without lifting it out. First, if you delete something that's gonna ripple everything over, so I just like to kind of lift it out first and then we'll delete it off. Primary. Good. Let's put this back. The TV is part of editing. Here's it's kind of trying to figure out where things are gonna go right about. There is where I want the audio to start. So let's move this clip over cause that's the lead in good here. No audio yet. Thank you so much. My name is Gena and the relationship good. So I'm just kind of raising the volume there, so get here a little bit better. And now I can start mixing in some of these other B roll shots. Everyone, thank you so much for making to establish that she's typing our wedding. My name is Gena, and that's a little short, so let's extend it out. But my name is Gena. Now that slider shot disappeared on me. So let's go grab that slider shot. Here it is. And let's disconnect it over here and we're to drop it down to that slot just like that. And then I can nudge it, which is not. I always use nudge. No, just agreed Tool from because it helps him to get precise edits. Drag that out. Gina and the third wheel penny in terms relationship. Okay, cool. So guys is a rough cut. It's not gonna be special. Okay? I'm just trying to give you an idea of how I would build it. Everyone, Thank you so much for me. Okay? Audio was cut off there, so I need to extend out the audio. If I expand the audio, I can move that by itself, just to the part where she says Good evening, everyone. And I can use my feet or knob here to fade it in. Good evening, everyone. Thank you so much for making to our wedding. My name is Gena. And the third wheel. Any chance relationship? Okay, cool. So that's really quick. Really, really quick. But now I'm ready to move on to maybe her toast her actual toast. And we're just kind of bouncing around going back and forth. I want to pause here and just give you an opportunity to ask any questions before I move on. Yeah, it doesn't look like you're using the snapping tool. It all. Do you just choose not to? You just don't like it. Personal preference. I will. Sometimes it just depends. Yeah. I mean, it would be much easier, probably if I just had this on and just move it. And it would snap right in the place. You could do that too. Yeah, I didn't even think about it. I'm so enamored with trying to teach it. I'm just not even really thinking about it. So, everyone, thank you so much for making to our wedding. My name is Gena and the third field in terms relations. Am I worried about the fact that her mouth isn't moving right here? I don't really care, because we're just sort of establishing what's happening. And I wanted to almost seem like a like a gun internal monologue, and I could enhance that even Mawr by never showing her face talking. I could just simply edit around that and really make it look like it's less of that. Good evening, everyone. Thank you so much for making to our wedding. My name is Gina. The thrill. Any in terms relationship now it seems like more of an inner monologue. Right? And the differences if I remove this clip, we have this l at it. I'm sorry J at it. And this J edit. Good evening, everyone. Thank you so much for making to our wedding. My name is Gena. And the third feel any chance relationship. Okay. Two totally different story aspects there. So that's 11 simple cut will really change the dynamic of a story. So that's a sub story. Now, I've got my sub story, and now I can move to some more main action if I want to, But let's get things consolidated a little bit. I have attached this B roll here, and I don't wanna have to move these clips that I know. I'm gonna have to move all this stuff later on to make a transition here. Transition shot. So I'm not I don't have to go in this and then drag them every time. So I'm just gonna select all these clips and I'm gonna create a story line. I'm just gonna go command G. And that puts them into a nice little been. Now I could just drag him and grab all at once. Right? So this has now become what we call a connected storyline. Why is it a captain storyline? It's connected. Look where it's connected to the O connected to this clip. All right. I don't want to be connected to that clip. I want to be connected to either the gap or kept this, you know? So we have to kind of make a decision. I'm gonna turn off snapping by hitting end. All right, so now this gap has really kind of become part of the scene. That is a scene, is it not? We go from this to a whole different scene, and this scene is gonna be treated as its own seen It's going to color graded differently. It's gonna be I can move it around in different spots and rearrange it if I want to. But it's nice, because now this connected storylines gonna keep that B roll from slipping out. I can take it a step further and compound clip this by highlighting everything. Option G, and we can call this maid of honor rehearse in wedding added event. Enter compound clip. Consolidates it all down. Puts it on the primary storyline. Now, if I want to move this thing around p tool, I can put it wherever I want. I've got the whole thing. If I want to go back in and recreate, it's just double click it. That's beautiful right there. I love that being able to do that, that is so cool because in final couple of seven. You could ness things if you wanted to, is very similar. But when you had all kinds of crazy stuff happening on the timeline, you just always forgot. I don't know. I just I never used nesting middle a whole lot legacy versions. But that's cool, because now I know I need to make a transition. I want a reference you back to our Kino first. Like I'm not going to the Kino guys. But remember when we were showing main action Main Action Secondary action and I had the clips on the timeline on the graphic? Well, that's exactly what we're doing here. We have our opening scene right here, which is what I'm going to do with this is actually make a compound clip of this too. Let's go. Option G. We call this opening scene enter now. It's all one. Okay. And now we have to two distinct scenes here. Well, I need a transition. I need to get from all who are gathered here that good evening, everyone, that I don't want it to go. I just don't want to go from one of the other. It's too abrupt. I want to put something in there that has a little bit more life and kind of sets the tone because here it's nighttime here it's daytime. So we needed to establish where we are in the time of day. All right, so the way I'm gonna do that is with an establish er I'm gonna go to my establish ER's keyword collection here, where I have a bunch of Establish er's and I have these great shots of the city when it's snowing outside. And I have this cool shot that has some great Nat sound to it. Listen to the Nat Sound on this clip that tells a big story, right? There's New York City. It's snowing outside sweats tree. But that's a great leading the transition between these two scenes. So I'm just gonna go ahead and drop that down. They want the audio. So when it hit, shift one to make sure I'm bringing down the audio. I'm just gonna connect it down here just to drop it down in the timeline. I'm not worried about placing it just yet. Let's go find another one. I know I have some other snow establishes that I can possibly use and I. You know, since we didn't really go through and rename everything, I would, you know, I'm not gonna be able to just type it in, find it, Unfortunately, but luckily I know where it is. Grab this little snow globe. This is a shot. I shot this wide open at 12 out of the window of the hotel room where the bride was getting ready. That's how much it was snowing. But I'm just gonna grab a nice little there's this part here. It's really nice. Effect listens, J k l This All right? Perfect. Just like that. I like it. I don't necessarily need the audio here, So shift to and connect. And let's just use these transitions to kind of tie these two scenes together. Let's put this one down here. One another, a blessing to all who are gathered here. Nice. And maybe a couple seconds of that, and then a couple seconds of this leading into our maid of honor. Okay, Now there's some overlap here, so I know I want to move her over. I'm just gonna do that from now on, just figure out how much of this I want to use. So let's see what happens. Blessing to all who are gathered here. Okay, so I need some blending. We're gonna use him jnl at its here to do this. I want the sound of the clopping and the city escape that kind of coming under this. All right, So we could simply expand our audio, and we could just trim to kind of put things where we want. It might be easier to do this on the primary storyline, or we can just overwrite. This is kind of some things out of the way here. We'll figure this out in a second. If you hold shift, by the way, move something down. It will drop into the primary storyline, which is helpful, But what I'm just gonna do here, is that here? Okay, I'm gonna trim this up. I don't necessarily need the video under here. I just wanted to kind of be a j L l let it rather and nudge that over a little bit more. There you go. It's getting little the weird on me because I got to get these things trimmed up again. A lot of trial and error, guys, it's just sort of like. OK, how do I get the pieces to fit? It's almost like a puzzle, you know? I don't get him told fit. I'm going to extend this out underneath it and just use our fate or slider to kind of blend it in. And now it should lend their black framing There don't want. Now, how do I get these? This sort of blend together. I want the cuts don't work too well. I might want to use him like dissolve transitions. Kind of blend this. Let me get the audio set first, and then we'll work on that. I want the maid of honor's audio to come in a little earlier, so we're gonna j at it here. Okay. We encounter in our first problem by moving the maid of honor's audio. Under this, we're losing the first shot of the sequence, which is this right? So we have to do some creative editing here to kind of blend this together on bat's gonna require me to go into this compound clip, all right, and kind of move things around. So what I'm gonna do is shift zooms, I get, see everything here, and I'm gonna have to do either some shortening to make things work so I can use my A selection tool and shrimp things up with in a storyline. And look at this. It acts as it's as if it's a primary storyline. It'll actually ripple because it's in, ah, connected storylines and its own storyline. So I'm just gonna shorten things up because I want the audio from this clip right here to start a little later. So let's just kind of ship this over, and maybe we're gonna lose a second or two here. I know this is boring watching paint dry, guys. I understand. But I want you to really see how this works because this is real life application here. This is not I'm not trying to make this look glamorous. This is really the way it is. I don't want to do that. Let's use RP tool. We're gonna be real careful with that. Cool. Let's try that now. I just need a little space here when she starts talking. Good evening, everyone. Thank you so much for making to our wedding. My name is Gena. Okay. Still works. The sequence looks good to me, So I want to go back out into our timeline here. Assume industry can see here. And I want to see how the audio blends all who are gathered theme. Okay, good. That works out fine. So what I can do here is a shortened up this clip so we can see a little bit more of the maid of honor. And if I put my play head down here, it'll kind of tell me where the shot starts that I know that I have up until that point right there to use this clip, we'll go ahead and do that. And I know I need to feed this audio out. I want I don't want the audio of the horse to really interfere. I want this to really blend in. We already blended this clip. If I double clicking here. You see, we've already We've already blended that right here, so we don't need to do that again. Okay? Officially Chung in it, who are gathered theme Probably a little bit more. Maybe bringing in. You guys understand? I'm just trying to blend things and get it close. And then we can always go back later when we do our audio mixing tweak things and, well, I'm not worried about volume yet, either. I don't care about volume building the story, just getting it all together. Good. So I'm kind of happy with this. Let's let's make this transition its own little story line. So we're gonna command g. Sorry. And when you have things expanded and won't let you do it, So there we go. So now our transitions air in their own little thing. So we have seen one are opening scene, which we've titled. We have this connected storyline here which we could make into a compound clip if we want. I generally don't with transition shots, because I might need to tweak these a little bit later on, and it just doesn't really matter. And then we have our first sub seeing here under maid of honor. Rehearse. All right, so let's just play this back and see what happens as we begin. I asked that all of us, especially chung and Annie, take a deep breath, look around and savor this very memorable moment. Got black framing there. We gotta fix that. What I'll do is if I notice things that are wrong. I canoes markers that set points that. I know. I need to go back, Teoh. So I'm just gonna watch it through and keep my finger on the M key. Look around and savor this very memorable moment. Look around at the wonderful company of family and this is all unedited We haven't done aiming with this yet. For is their presence for your wedding as a blessing to you. So is your expression of love for one another A blessing to all who are gathered here. Good evening. Okay. Now, the only thing I don't like about this is the street cuts. I think it would blend much better if we used transitions. We haven't talked about transition jet. The only transition I ever, ever, ever, ever used is a dissolve across this up, all of youse. I'll never use wipes and things like that. Not for weddings, Not for weddings. I might use him in corporate. I'll never reason for weddings. The simplest way to get a transition on the clippers. Highlight the part where you want the transition Command t puts in this cross dissolve transition box right now. If I play that back who are gathered here? Good evening, everyone. Thank you. perfect. Let's do the other side here. The same thing. Command T. Good evening, everyone. Oh, that's not good. Why is that? Cause it's transitioning over black. There's nothing else there. So we have to kind of make a little adjustment here. Let's extend this out and go back in, I think. Everyone. Good evening, everyone. Thank you so much. Okay, that works. I might keep that as a street cut. And I might change my mind later on what you just saw up until this point is a complete story building workflow. I just repeat that process about 90 times. And then when that's done, I go back and start making story tweaks. We have yet to even bring in music. We bring in music. That's that's gonna That's gonna add an entirely new element to what we're doing here. So we're going to try to get to that in the next segment. I want to continue to build this and let you observe if that's okay with everybody. I just want you guys to see some more things. Maybe I'll encounter some more problems and you'll see how I work around those problems because that's what editing is all about. There's a lot of like you can plan and plan a plan, but there's always gonna be things. You have to troubleshoot things. You have to work around. I'm not. For a long as I've been doing this, I'm not 100% perfect in any editing program. And sometimes it takes trial and error to get things to work, right? All who are gathered here. Okay. Good evening, everyone. Thank you so much for making too. Okay. My name is Gena. Great. So I want to go to her toast. Now. I think that's the next main action I want to do. I still have the priest. I still got a lot of the priest over here, but I'm going to save some of this for later on. And this is all gonna be judgment call for you guys. I like to Sprinkle things out. You might want to do it differently. Since I started with the priest, I might not come back to him for a few minutes or a minute or in this case, maybe 30 seconds. But I want to kind of keep things moving in time, shifting around to keep it compelling and interesting. And out of that will come the story. So let's we need our toast sink. So what I'm gonna do is actually pull it from this other event. I'm gonna cheat. Don't tell anybody just for the speed here. So I'm loading up another event because I've got a pre bake of this entire project which I've already done. Yes, I cheated. So let's go into toasts or maid of honor toast. If I actually type sink here, Maid of honor, sink cold beans. That's awesome. So let's just let's let's open this up and again. This is a great example of using media from different events in the same project. Right? So let's find a nice cut from her. Let's see, I've got a bunch of different angles. The top angles her did. You guys are truly my family here in New York. And thank you for sharing your friends and your family with me as well. So as one of your best friends, I couldn't be happier to stand here with you tonight. You've always been here for me. Both of you couldn't be happier to stand here by your side. And I love you both. I wish you all a lifetime of love and happiness. All right? Something that stuff. Three years We've shared many beautiful moments. 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 confused. Is it us? Is it her? Is it me little disappointed to see one ring so perfect cut. I would blade here. I'd blade in the beginning is grab all this command. See, Let's go back out to our wedding Edit timeline and let's just go ahead and drop it in right here. Perfect. Okay. Got three camera angles now, usually with the toasts. The actual action of what's happening while they're talking is what I'll use. There might be exceptions. Sometimes the bride does. This store knows, you know, if the groom run scratching his head or is it just in his chair? I might use a different shot, but let's just see what happens here. Many in terms relationship. About three years, we've shared many beautiful. I've got some trimming to do here, so let's just go ahead and let's pull this out until it starts where she's starts. I have had the experience. Okay. We know we have to move this stuff over now, so let's just pee. Tool, this is Dragon. Oh, there we go. We want to start right about there. Machine a deal. So you notice how I'm focusing on audio first, then video and in terms relationship. I have had the experience with Chung, a nanny to date them for About what, three years? About three years. We've shared many beautiful moments dinners, trips to the south of France walks on the beach. Good. So at this point, I know I want this here. This is This is certainly my own thing. When I go to a segment of toast like this, I usually don't like to start right on the person speaking. It seems boring to me. I want to start with something different. If I have a wide shot of the room, maybe I'll go to that. Or maybe an established of the outside of the reception hall. I think in this case, I'm just gonna use, like the bridegroom's reaction to start it off. So let's just or maybe even a guest reaction, but I want to see what their faces were like. All right, So you see that everything he's doing with his face about three years, we've shared many beautiful moments. Dinner. I don't know if I want to really use that. Okay, So I'm just gonna lift this up out of the primary storyline, and let's just go find a different part of this clip. If we just use the trim tool I can kind of go through here and it's find a nice, pleasant look on his face. She reaches up for a glass of wine. That's cool. Fine. Perfect. We'll start with this clip. So this point, I could just drag this over, get it to where I wanted to be. I have had the experience with Chung and Anne to date them for About what, three years? Okay, good. And we will start with We'll cut to this clip to date them for About what, Three years? About three years. We've shared many beautiful moments. Yes. Is good dinners trips to the south of France? Good. Maybe we'll cut to this angle. And this is how I do my multi camping. By the way, this is my preference. You don't have to do this way. You could use multi cam if you want. I like to be able to trim in real time and just kind of do it on the fly. About three years we've shared many beautiful moments dinners, trips to the south of France, walks on the beach in the Caribbean. Good. Let's come back to them. So many that when Chung showed up in Monte Carlo to propose. Okay, Now I want to go back to this shot, but since I trimmed it, we sort of lost the ability to do that. So I have to kind of make eye eyes, a couple things I could do here. I could just drop this clip down by holding shift and is bumping it down underneath. And now I can just extend it out, and I don't have to worry about trying to bleed it out. Caribbean so many that when Chung showed up in Monte Carlo to propose, I was honestly a little confused. That's cute. I like the reaction there. That's fine. But now I want to go back to this shot. All right, so now I got a kind of extended off and then use my bleed told. It's the kind of section it out again. Rough cutting guys rough cutting that when Chung showed up in Monte Carlo to propose, I was honestly little confused. Is it us? Is it her? Is it me good? When the laughing starts, I like to cut back to the bride and groom. This is the genuine reaction. They're not genuinely reacting. So let's blade this often. Let's use our trip told. This is where the trim tool comes in really handy, because I can get in here and find a part where they're laughing. That's perfect right there. Did me little disappointed. Okay, let's trim it up a little bit more where they start laughing. And there we go. That's the beginning of the clips, so we don't want the beginning. We wanted more about right about there and the most, and it's out. Hey, watching paint dry, Little disappointed to see one. Okay, so I trim it a little bit more that we get older. But their visit me little disappointed to see one rings perfect so that there we go. So took me a couple minutes, but I was able to kind of do this whole sequence here. So let's I have had the experience with Chung and Anne to date them for about what, three years? About three years. We've shared many beautiful. Don't want that to happen. So what happened is something dropped down before? We don't want to cut to the shot yet. Let's use our A selection tool. What about their 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 confused. Is it us? Is it her? Visit me now. What I can do is now we have a cameramen running around. It's getting people's reactions in the crowd, and I can sort of go get those shots and pull them in on. That will really help me, and I can easily find them cause I've already sync them up. So if I double click in here, I can come down into that guy's camera angle and skim through. So let's just Blade Theis able to talk clip. It's fine where he starts getting people's faces, and this is good because he's running around the room like a lunatic trying to find the best stuff and doesn't look like this coming. Have any. So we're gonna have to find his Let's go, Nino toasts or reception. This is where a little searching comes in. And I got to go find what you're looking for. Let's go into reception. Go. There's our reactions. So now I can kind of expand this and look for some good reality. I just want to throw one in here. This is good. Perfect to get this woman laughing. That works for May. Not perfect, but for the sake of ah, demonstration at work just fine. Come back in here. Will drop back down and find a nice place to put it in there. So let's see who showed up in Monte Carlo to propose. I was honestly little confused. Is it us? Is it her? Is it me little disappointed? Okay, so let's say we put it right about here. Be little disappointed to see one ring, so Okay. Cool. I mean, that's just an example of how I would throw that in there. It's not perfect. I would definitely go back and fix that up. Okay, so now I've got this whole other seen. What do we want to dio I want a compound. Clip it to cut the gap there. Otherwise it's gonna compound clip all this other stuff too. I don't want that. So let's just make sure our connections air good. It doesn't look like they are. We have a clip that's connected over here. We don't want that. It was his trim that up. So it's connected to the gap that works. Fine. Perfect. Our main speeches audio is connected here. That works. And let's just highlight all this and I could even if I wanted to let's create a storyline here will create a detective story line. Ah, well, I want to let me carry Texas overreliance because we have things connected storylines that things have to be all on the same kind of track. So let's just leave it the way it is. Well, compound clipping. Maggie. Sorry. Not Comanche option to you, G and under wedding at it, we're gonna call this M O H. Toast compound clip. Gonna drop down to the primary storyline. We have our next scene. The story building process is happening here. Guys, this is great. I have had the experience with Chung and Anne to date them for About what? Three years? Okay, so now we need some sort of way to get these two scenes that tie together. We're getting to music. It's coming next, I promise. I just wanted to get some of the story built, so we have something to work with with music. All right, so let's did make a decision here. Do we want this clip to ring out while we hear her talking here? Or do we want to cut to some sort of an established her here and then see the writing room? Mm. I'm the opt for adding a clip to the end of this compound clip here. All right, So I think if we do that, that might be the better way to go or Yeah, you know what? Let's just do that. So what I'm gonna do is I'm just gonna add an additional shot to this compound clip because I want to extend it out while we're hearing this Theo experience. And maybe we can use him that sound of typing on the keyboard to kind of bring it to life a little bit. So let's go back into our maid of honor. speech prep. And let's see what we can do about doing that. Let's go into our wedding at it. Event because we had left the event. Tree that down and we want to go to maid of honor speech prep. And let's go here to the typing is a shot from above. And I'm really looking for sound here. Not going to get it there. We really use that shot. I don't like to duplicate shots either. I try not to do that. Oh, is this? There we go. That works a little bit of Nat Sound in there. I'll have to bring up the audio a little bit, but that works perfectly good. I'm just gonna drop that down to make sure Have audio and video by hitting shift one. Gonna connect the clip down here, bring up that audio level so we can really use it. And we might have to use some audio gain here too. My name is Gena and the third feel any insurance relationship? I have had the experience with Cool. That actually worked out pretty well. I just want to bring up the audio of that a little bit just to get here a little bit more when I'm watching things back. I've got it cranked up here in my audio inspector. So I need to go into my audio enhancements, click on loudness and just bring it up a little bit more That might be re allowed, any in terms relationship. And then we hear these guys cheering in the background really obnoxiously. Let's just go ahead and blend them out. Just like that. All personal preference guys like Bob Ross. Sometimes you guys member who Bob Ross is happy little tree. We don't make mistakes. We make happy accidents. Good evening, everyone. Thank you so much for making to our wedding. My name is Gena and the third feel any chance Relations. I have had the experience with Chung and Anne to date them for about three years. Pretty simple. Any questions about what you've seen here so far? Anybody? No. Okay. Anybody, any from the internet. So we're going to come up to a break your soon. So much great content that people are just like, typing in. And a lot of them are typing the same question over and over. So we're gonna actually actually a couple that are you know people are repeating a lot on one of them is how did you get the opening overhead shot of the Empire State Building and anti Trans video helicopter? Definitely not a chip that tall one of our one of our sponsors. Axiom images. Goto axiom images dot com These guys specialize in high definition, ultra high definition aerial cinematography. They shoot everything with red epic Ari Alexa cameras. I mean, just really nice cameras with a nice five k four k footage of the they capture and it's broken down by cities. So for New York City, I was able to find that nice stock image. They're expensive. I mean, I'm not gonna lie. We actually are promo code. If use the promo code Rob Adam's films, I think they're giving 20% off anything. Any one of their clips, but they're worth it. I mean, this is it was a large budget alleging wedding, so I was able to kind of incorporate a couple. There's actually two aerial footage shots in that in that film, but that's where I get No, I don't go up in a helicopter. Robert question Along the lines. I think you just answered this. But so you commission the shot for the sweating Or do do you ever get, like, stock aerial footage? It is stock. Okay? Yeah. Actually, Images has a bunch of aerial stock footage broken down by city. They have the countryside the next wedding. I'm dying to do this. The next wedding. I do like out in the country. I'm gonna get a Siris of, like, aerial shots over like, suburban town And just make that with the title sequence of the film. I've been dying to do that for so long. So that's axioms. Great for that. I love those guys. They're doing all the aerials for Iron Man three, their high end production company to do some amazing stuff. I want to see that wedding film with that way happened. A A few questions have come up in the chat rooms as well. About your style. Um, and how you repeat it over and over specifically, Most recently, photographic elements asked your clients expect something new and unique from what you have done before. Um, or is it okay to use a similar theme and style with each bride and groom? My work is my signature. style. Um, this is what brides hiring me for my storytelling ability. There's there's cinematographers out there that just are so great behind the camera, and they create such beautiful imagery that that carries their films. And it's incredible on this story. Doesn't have to be. Their films aren't as dialogue heavy because their images of so beautiful my weakness is my ability to capture beautiful images. I'll be honest, like when I'm out in a beautiful outdoor wedding. I could do a nice job. I can capture nice images, but I've seen guys blow me away in that department. So my to make up for my weakness where I've built my style upon its story telling is that's my strength. I write. You know, I'm actually I like the story tell. So having a video that's more dialogue Heavy has become my standard style, and I do musical interludes and at times, too. But this is kind of like the way that all of my films look in a sense, so I don't want my clients coming to me expecting something different. I'm not going to be able to meet that expectation, and I'm in business to make money not to be a starving artist, so I could breathe like we talked about yesterday. I could reinvent the wheel every time and create something new and comes conceptually different every time. But I'm not gonna make money doing that. So this format, my client's absolutely love for the storytelling. A lot of dialogue, a lot talking a lot on that sound. They love that. And then you couple that with the emotion of music and stuff. Now it all ties together. No, a package. I don't have brides coming to me saying, Can you do it like showing me somebody else's working? So can you do this? I won't. I won't accept that job. Because now the expectation is different than what I'm used to providing Doesn't mean I don't wanna be challenged. If a bride comes to me and says, Well, I kind of wanted to see if maybe we could do something like this and show me one little part. Maybe because the bride walked up the island slo mo I might consider that. OK, now I know I have to shoot 60 frames per second, you know, and do it like that. So no, I don't change my style for anybody. Style. It's the style. Sorry. That was a 20 minute explanation for that. No, no, that's great. There was a lot of curiosity about it, and we also have Yeah, I'm just wondering, How did you give me a Segway? Matt, come on. Try. Um, I'm wondering how you developed your storytelling ability. That gets amazing. Thank you. Um, I don't know. No, I can't. Radio television. I come from a radio TV broadcast background. So the first foray into television that I have is news writing on writing News copy is so boring. So I always found I was always trying to discover new ways to create a more compelling news story because it is. It's scrolling on a teleprompter. It's gonna be written a certain way and short sentences. So I always try to find ways to jazz it up by maybe a strong lead sentence on that sort of got me down the path of learning to tell stories in a written manner. Visually speaking, when I discovered filmmaking, I found that while I could visually story tell with images alone, it wasn't complete in my heart and in my mind until I added the element of dialogue and audio, not just music. So I started creating beautiful visual images because when I started in this business, I wasn't doing this. I was doing highlights montages. I was shooting an entire day on video camera, taking the best shots from each part of the day and putting it to music. All I was doing and my style was so different in my market. So I was like, really edgy tape of after effects composites. I grew a reputation for that, and then when the DSLR wave hit still motion, you know, change the industry with their storytelling style. I was like, That's what I want to do I said, That's it right there. That's what I want to do for all these years. How do I do that? And I basically was doing what you guys are doing right now, sitting and learning and trying to absorb as much information as possible. And then through that, taking those skills that I learned kind of sort of honed it into my own style, and that's where it comes from. It just comes from me wanting to give a complete package to a bride and groom. So when they watch it, they don't just feel Wow, This is really beautiful imagery to music. I want them to go. Holy crap. I feel like I just relived my day and Hollywood captured it for me. That's what I want. That's the kind of reaction I want.
Ratings and Reviews
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.
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
Final Cut Pro X