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Final Cut Pro X Bootcamp

Lesson 28 of 39

Advanced Skills: Speed Changes

 

Final Cut Pro X Bootcamp

Lesson 28 of 39

Advanced Skills: Speed Changes

 

Lesson Info

Advanced Skills: Speed Changes

next thing we wanted to talk about with speed changes, speed changes is pretty cool too. So I have these all lined up. There's different projects for each one. Different timelines for each one. So if you get the class, you'll you'll see those. So this is the one where I opened that up. Let me step back, back back. Put them away somewhere. So I need to find my projects. I'm gonna go to my smart collections, click on projects. Now I can see all of my projects. If I was smart, I would have labeled these. I was smart. I labeled them. So here are three images that we're gonna look at and talk about changing the speed. Since we're working on speed exclusively, I can close this side. I can close that side and give us a much real estate to look at as we want to. So I'm gonna close the inspector. I'm gonna go ahead and close the filters. I'm gonna hit Command Z, so that's wider. I don't need my scopes. I'm gonna go ahead and hide my video scopes, so this is much bigger. And the truth is, is I d...

on't need that so I can go ahead and close my library. And now I have a lot of real estate that I can work with and let me even make my picture bigger. There we go. So here's our first clip. Our first clip is normal speed to start with, so that's normal. She's spinning around. So let's talk about speed. We have this great shot. This is normal speed. I could do a lot of things. I want to speed it up. I can slow it down. So the first thing I want to do is I have the clip selected are if I don't have it selected. Actually, as long as the puck is there, I should be go. I should be able to go over to here and underneath where we saw the color before. Next to it is a little speedometer and that speed changes and I can automatically flow it down a speeded up on a certain default settings of 50% 25%. So let's go ahead and make this 50% normal speed. So as soon as I do that, you'll notice an orange bar, so any time you see an orange bar, it means the clip is slower than normal speed. And if I go ahead and play that she slowed down. She's got a cool now. There's a lot of different presets there now. Once I put this on the first time, I actually can click right on the clip to a drop down and Jews, the other presets going slower. 25%. So now it's even slower. But a lot of people stopped at this point. Say, Well, that's great. But what if I already something other than 50 25 or 10%? Well, if you've already slowed it down, if you grab the edge right up here and I'll zoom in and you start stretching it or shrinking it, it will adjust it. So you see that says 25% like grab the edge, making it shorter. Now it's precisely 35 or something. So I have those controls to be able to globally change it, and this is a constant speed change. I saw my drop down menu. I'm gonna right click on it, and I'm going fast. I'm gonna get twice as fast doing this for a reason. Twice as fast. You noticed the color changes to Purple Purple is faster than real time. I go ahead and I play this. That's quite the caffeinated ballerina. If I want to go ahead and reset this, there's normal. So that's nice basic stuff if I just want to get into this. If I just want to get into this and start doing some correction, you'll also know notice. You'll also notice that in addition to the slow and fast and normal, there's also just the option to show and hide the re time. And so the re time editor is now open. So command are for re time, will close that little green thing. But if I go, command are again, it opens it up. So a lot has been like, I don't know how to get rid of this Command are opens and closes it. And once you're in it, you can actually just start, you know, modifying and as you see fit, you can also customize things. So you saw this customer once we're inside here, you can get custom from both those locations. You get this dialog box here, you can choose if you want to clip to play backwards. Okay, Maybe you did a zoom in on something and you really needed Zoom out. You can reverse it. Now if you do that, make sure you don't have dogs walking across, you know? Then suddenly walk backwards. But you could do that. You can also type in Ah, very specific speed. If you wanted 62% speed, you can type that in notice. I'm gonna zoom out of it. They have a thing here box. It's it's checked. It says ripple. So if I slow this down to say 50% we saw that our let's do 60 because we already have 50 has a default. If I hit return, it pushes everything downstream. Okay, Gonna undo that? If I have this unchecked and I say go to 50%. I hit Return That ripple over there was a gap clip. Silly may. Okay, you can do this without a gap clip. Triple is unchecked. 50%. 50 enter. It didn't push the clip down. It slowed it down. But anything that was at the end just kind of went underneath but away. OK, so maybe I wanted to slow it down, but I did not want to screw up everything in my timeline and then your questions going to be Well, what if I don't want it from the beginning, Right. Well, guess what. We learned the slip at it. I saw a microphone come up and go back. This is I can read minds, so yes. Good question. Good mental question. Now you're making controlling. So I go to the tremendous tool T I'm now in that mode so I could do a slip at it, and I can move this back and forth. Look, left side is where she starts. Right side is where she ends so I can have its slow mode yet perfectly timed within the space that I have. So that's actually pretty cool. Now that's regular speeding up and slowing down. What if I want to do what's called a speed right where I want to start in a certain speed, slow down and then speed up again? I can do that. Let's continue to work with the same clip. I'm gonna go ahead, right click on it, and I'm going to send it back to normal, and I'm gonna go ahead and command are So this is how it would be if you just came up to this clip. Brand new. Okay, so I wanted to hurt a jump. And then right there, I want to slow down and then normal speed. So there is another function I think I want her to. It's a slow down right here as she leaps If I go under that same drop down menu, I am clicking and nothing is happening As I've been saying all week for two weeks now, I make mistakes intentionally. The reason nothing is happening cause I switched to my trim at a tool and I can't select it. So if you're finding your clicking and nothing is happening, make sure you're in the right tool A for arrow arrow is your selection tool. Now I can actually do things he says, Hopefully. So under this drop down menu, I'm going to zoom in so you can see it. Here is something called blading Speed shift beat useful one to remember if I do that and I'm gonna go ahead and do that with the keyboard shortcut. So I position where I want to slow down. I hit, shift be it cuts the clip speed wise in half. They're still physically attached. But now you see the 100% of the 100% okay. And so over here, after when she lands. Okay, so she jumps and down. I want another one shift. Be now. I can go inside, and maybe I'll drop that to 25%. Look what happens. Look how easy that less If I want that to be slower, I can go ahead and grab the edge. Zoom in so you can see. So I'm gonna grab this edge and I can stretch it out and you see it slowing down to 20%. Okay? And I could even go inside there and blade it some more. I want to point something out that it does automatically. It actually eases into the slow motion. It just doesn't jump there. And this is on by default. You can see there. That's my slow green is my normal. And then I have these, like, brown areas. That's the transition. Okay, so I can see it slowly go into it. But the nice thing is, is I can even control how quickly it eases in, Or maybe how quickly at the wrong thing grabbed Here. There we go. Grab the right thing. I'm looking at the audience. I'm grabbing the wrong thing. So this is gonna be a much more aggressive changeover from normal speed to slow motion, so I can control that. So now let's see if we can see her jump. Okay. You see, it's not as as casual. It's not as nice, but I does exactly what I want. It's a matter of fact. One of the other things you can do is if you get that right on the right spot. You see how I see a Hopefully I'm gonna seem a little more than a little. The little clock is right there. So if I click on that, I should be able to deactivate this. There we go. Um, new clicking and zooming. Please do what you're supposed to. I can completely turn this off. Here we go. DoubleClick, DoubleClick. You like this? I intentionally forgot things. So you guys can feel better and no more than May. So I double click on that. And if I uncheck speed transition that goes away and it's abrupt, actually didn't want to see it at that. So, Brooke, the other thing I clicked when I double clicked on it. I clicked on frame. I have to get back in there again. Lost it. Go back over here. I can also, if I missed the exact spot where I wanted to happen. If I click on frame when we turn this off, Goto added, See how this is now? A little strip here. I can actually pick the frame if I've missed it before if I haven't done it with the blade tool, so that's pretty cool. So you could speed up and slow down. If you totally mess things up, you know, go back to normal 100% and glue it all together. So that's pretty cool for the speech age. And they have built in some kind of silly ones, um, and maybe action to find the best silly because they want to use them. But there's things like instant replay where it plays forward, and then it just like, looks like a fast rewind and plays it again in slow motion. So these air, you know, some great little things you could have a do a speed ram from all the way to a freeze frame or back from a freeze frame up And if you do that, what, it's really gonna do it. Let's go ahead and do that to this fund clip over here. And I say it's a fun clip because I end up looking like a crazy person. Um, I thought you just enjoy it. So I was shooting her with a little gimble Steadicam and I run into the wall. Okay, OK, jump, jump, jump, jump, jump, jump, jump on. Somebody put a mirror there. So if I want to do that and I'm gonna go ahead, I'm gonna make a little bit shorter. Zoom out here that little short of with the trim. But if I apply that speed change and we're going to do a speed ramp all the way to zero, what it does is it puts in a bunch of slowdowns with nice, smooth transitions. And if you play it back, who were progressively slower, slower, slower, lower bank. So it's great you don't have to do the work and these air still customizable. So if you wanted to change something here, you can still grab any of these edges, modify sections of it or even make them more bumped. So that's the basic speed changes to be able to go faster and slower, and you're good to go. Let me zoom back out. So when you slow something down, there's a few ways that it can fill the space. It can repeat frames. Okay, so it plays the same frame multiple times. It can do dissolves between the frames, or it can use something else going to show you where you find it. So if I've slowed something down on, I wanna control the quality of this. There is a choice for video quality. The first normal default is it Repeats frames. If you're slowing something down just a little bit, it could be fine. When you're speeding up, it doesn't really matter cause you're just removing frames. But if you want to look a little better, if you choose frame blending, it will dissolve between them. If you are slowing something down dramatically. If use optical flow, it actually will look at the pixels, see which directions and vectors they're going and speed. They're moving and literally create new frames. It is amazing and clean. It takes a lot of processing power, so I would recommend do it and then go get a sandwich. Okay, but if you do slow something down, you want it to look pretty? If you slow something down, it's blurry to start with optical flows. Not gonna fix that. I do want to show you one more speed thing before we go, because there is a clip that you guys get. I mentioned that we shot some stuff at a, uh, 10 times slower speed shouted up at 240 frames a second. And I did this because I wanted it to be really sharp. And I don't wanna have to do that, and my camera could do it, so I really want to do. And by the way, this was done with a little pocket camera, Not some big, expensive cameras done with a little pocket camera. Um, that's a nice little pocket camera, but you can shoot up to 960 frames a second, so I like this, But what I really wanted is I wanted to start a normal speed slow down, and then So even though my original is slo mo, I can fix that, so I'll go ahead and choose my blade. Okay, So right there, I want to slow down shift B and then when she comes down, shift B and now I'll switch this to eight times normal speed. Switch this to eight times normal speed. It's nice. Quick way, even though we shot at 1/10 should be close enough. And now I have very clean. Slo mo will go back to normal speed. So somebody had asked. Actually, I believe yesterday they called it. And what's the advantages of shooting 30 frames? frames, 100 frames 125 2nd? That's a perfect example. If I knew I was going to slow it down, I could shoot it at a higher frame rate and then speed up to normal speed the slow mo stuff, and I get really, really pretty clean, slow motion.

Class Description

Don’t get confused or overwhelmed by the world of video - start piecing together your story with ease. Join Abba Shapiro as he walks through how to work effectively in Final Cut Pro X. In this series, you'll walk through the interface of this easy to navigate the program and quickly learn the ins and outs of this software. 


Abba will cover essential topics such as building a rough cut, working with audio and incorporating motion and titles in your videos. He will show basic color correction techniques as well as how to incorporate filters and transitions to enhance the look of your final video. 

Lesson Plan: 
  • Exploring the Interface 
  • Editing Techniques 
  • Setting up a Project from Scratch 
  • Working with Audio 
  • Incorporating Photos and Graphics 
  • Applying Filters and Transitions 
  • Creating Titles 
  • Color Correction and Speed Changes 
  • Multi-Camera Editing 
  • Exporting and Sharing Your Project 
By the end of this class, you will feel proficient in creating video with this program and be excited to continue to expand your skills. You’ll be able to bring your images to life by creating stories to share with your family, friends, and clients. If you’ve been thinking about expanding your business to include video, this class will help you get the technical confusion out of the way so you can focus on being creative.


SOFTWARE USED:
Final Cut Pro X (10.3)

Lessons

  1. Class Introduction
  2. Exploring Final Cut Pro X: Navigating the Interface
  3. Exploring Final Cut Pro X: Project Timeline
  4. Exploring Final Cut Pro X: Basic Editing
  5. Refining Your Edit Introduction
  6. Refining Your Edit: Trimming
  7. Refining Your Edit: J and L Cuts
  8. Refining Your Edit: Roll and Overwrite Edits
  9. Refining Your Edit: Slip and Slide Edits
  10. Refining Your Edit: Auditions
  11. Setting Up a Project From Scratch
  12. Setting Up a Project: Importing Media
  13. Setting Up a Project: Keywords and Smart Collections
  14. Working with Audio
  15. Working with Audio: Syncing
  16. Working with Audio: Mixing
  17. Working with Photos and Graphics
  18. Working with Photos and Graphics: Scaling and Positioning
  19. Working with Photos and Graphics: Ken Burns Effect
  20. Working with Photos and Graphics: Animating with Keyframes
  21. Filters and Transitions Introduction
  22. Filters and Transitions: Applying Transitions
  23. Filters and Transitions: Applying Filters
  24. Titles and Generators: Lower Thirds
  25. Titles and Generators: Titles
  26. Titles and Generators: Backgrounds
  27. Advanced Skills: Color Correction
  28. Advanced Skills: Speed Changes
  29. Advanced Skills: Stabilization
  30. Advanced Skills: Green Screen
  31. Multi Camera Editing
  32. Multi Camera Editing: Organizing Your Media
  33. Multi Camera Editing: Creating a Clip
  34. Multi Camera Editing: Audio
  35. Multi Camera Editing: Working with 4K Footage
  36. Finalizing, Exporting and Archiving: Final Checks and Tweaks
  37. Finalizing, Exporting and Archiving: Exporting Final Project
  38. Finalizing, Exporting and Archiving:Cleaning House and Archiving
  39. Bootcamp QnA

Reviews

a Creativelive Student
 

Wonderful. This is the first time I've seen any of Abba's classes, and he's a great teacher. I've been watching the live sessions for the past few days and have picked up a ton of great tips that will indeed speed up my workflow in FCPX. He's a great teacher, and does a wonderful job of setting people at ease, ie. where he says things like, 'there's no trick questions', and times where he will click on something wrong, then he'll go back and show his mistake (pointing out his minor mistakes are actually a beneficial lesson). In all, wonderful wonderful wonderful. Thank you!

Lara
 

Fantastic teacher. I enjoyed every video, super worth it. I've been reluctant to jump into FCP X since it got upgraded from FCP. Now I feel confident to work with it again. Seems pretty self explanatory, but I am glad I watched the course. Abba covers pretty much everything you need to know. I also loved his personality, made me want to learn more each day.

user-56b55e
 

Abba's Final Cut Pro Bootcamp is effective for enabling users to have success in this complex software. An effective teacher, he breaks the complex subject down, he repeats bits of info, he's worked out a set of clips that illustrate what he's teaching, he acknowledges that he screws up, that we will screw up, he cares that the viewing audience learns this, and, as an aside, he tells corny jokes which break things up. These qualities are present in each CL course I've bought. Thank you all.