Skip to main content

Bootcamp QnA

Lesson 39 from: Final Cut Pro X Bootcamp

Abba Shapiro

Bootcamp QnA

Lesson 39 from: Final Cut Pro X Bootcamp

Abba Shapiro

buy this class


Sale Ends Soon!

starting under


Unlock this classplus 2200+ more >

Lesson Info

39. Bootcamp QnA


Class Trailer

Class Introduction


Exploring Final Cut Pro X: Navigating the Interface


Exploring Final Cut Pro X: Project Timeline


Exploring Final Cut Pro X: Basic Editing


Refining Your Edit Introduction


Refining Your Edit: Trimming


Refining Your Edit: J and L Cuts


Refining Your Edit: Roll and Overwrite Edits


Lesson Info

Bootcamp QnA

So I see a lot of discussion about this out on the Web. Do you actually do all of your developed work? Um, and rendering on a local drive, or do you do it on a remote drive? So the question was always like to repeat the question, even though everybody's Mike, do I? Because it also verifies that I understood the question. Do I do it all of my local drive on a remote drive? I actually do most of mine on a remote drive. However I do you solid state drives in USB three, which gives me relatively fast throughput. Um, if you're using a slower drive, a spinning drive, you might get some performance issues. If I am doing that, I may transport everything to proxy. So it goes back and forth. I'm going to throw a little piece of bait at you because it opens up a can of worms. I'm throwing a worm. There are an interesting workflow where I will store my proxies inside of my library. But I store my media and my optimized media outside of the library. Now, why would I do that? Keeps my library small ...

when I'm working on it. It knows where the media's and it just looks in those folders outside the library. So what? I can take that library now that has just the proxy media and throw that on my hard drive on my laptop. Get on a plane and keep editing the proxy media. I'm cutting my whole show. As soon as I get back, I plug the computer in it seized the original ones. I switch my settings from use proxy media to use original, and now I can edit with the full resolution stuff and exported. So the reason I put everything outside except for the proxy is it's now very portable, and it's a really great work. Love workflow. It's common for two as an offline online workflow. So being creative and as you get more experience with Final Cut, you will learn some of these tricks. Okay, so that's that's That's my answer. There are times I keep it internal again to keep ah Mobile. Uh, but generally I do it. Do it outside. The new max can actually handle the solid states are ridiculously fast. The internals of the fastest SSD is I've seen on the computer, so that's what I do. Was there another question? There was a question earlier that I didn't quite have the answer to, and I want to address that because as soon as the class ended, I had an epiphany and the light bulb went off. And then the light bulb broke. But before it broke, I figured out the answer and that was Could we invert the mask on the color And you can I just didn't click. I clicked on the right spot. I just clicked wrong Now you saw on TV click Wrong. So let's jump into my collar grating when I think I have this open caller correction There we go. So the question was, can we invert the mask? So the answer is yes. Uh, let's go back here. I think this was when we also did a zoom in where I picked up Grab the Blue. Here we go. So I I grabbed the blue here, and I was able to make the the leotardo isolate that color. And so again, to remind you what I did, I grabbed this eyedropper and with that grabbed after after grab it. Here we go. I was in my transform tool. So I grab it and I click, and I'm going to zoom in because when you're doing something with that small, So I grab it and click. If I wanted to add another range, I hold down the shift key and I grow it again. And I don't want to grow this outside of the leader, tarde, because then it would pick up other colors. So now I theoretically isolated this. Let's try a little bit more here, okay? And if I go over to this side, I can see what I've color quit. I'm gonna actually click on the mask. So I'm going to say you, my master, I got pretty much the whole thing. If I wanted to, I could actually increase the softness of it so we can make sure it's nice and smooth. And so what I've done now is I'm going to switch back from the mask and I'm going to go here, and I could go to my color board, step through and I can pull out the saturation for everything. Okay, so I'm making that from its original color to black and white. But what if I want to make everything black and white except for that area. Let's step back out and I'll show you what I was doing wrong and I'll show you how to do it right. So had viewing my masters, the Mass. And I was right clicking. Okay, and nothing was happening and I'm going crazy. All I had to do was a regular click. Silly, Silly me. I was doing it too hard. So there I could go ahead. I can choose. Invert the mask, and now you can see it's all black and white except for the leotardo, which is blue, and I can play it and get this really cool. Pleasantville kind of look. So that's the secret. Don't use two fingers. Don't use the control key. It's a single click. While we were there, there's the other thing I wanted to point out, and I know maybe didn't notice. But when you watch it when I change this color, look at that. I wasn't really good, and I'm getting a piece of the piano is changing color, and that's not good. So I used a mask for the color, but I also can add another mask. That's a shape mask that will isolate just that area. So what? I can dio me zooming to show you what happens. We have the initial mask. Same location, Aiken Click. Not right Click. I can add a shape mask and then I get this circle. Well, the shape mask is in the middle, but if I move it where I want it to be over the skirt Onley What? Inside the mask that is that color is what is modified. So the piano is fine. So this is a great little feature. Maybe you have a field of poppies or a field of of roses. Roses don't grow in fields, but we'll just pretend they dio and I want to change just the color of one. I could isolate the color now all the roses they're gonna change. But as soon as I put a shape mask around it, just that one is gonna be effective affected. So that's one of the tricks. So yes, you can invert it. Just don't let your fingers get carried away. Okay? I thought there was another question that might be coming. It's talking about their stereo in the use off The stare down days in the program is better to import everything. Organize before I start like everything going. Look, organize everything inside the fire before you in six of 1 1/2 dozen of the other. So the question was, is it better to organize everything before you import are bring it and imported and organize it later? The advantage of organizing before is going to a couple of things. You can look at the clips if they already on your hard drive, and you can name them at that point, so you don't have to worry about renaming them when they come in, because it will look whatever name of the Clippers if I didn't rename it, they're like Clip 001 are some strange Siris of numbers. So if I wanted to, I can rename them before I import them. And I can also organize them into key folders that will apply key Frankie words when I import so I could put all the Dan stuff together and, as a matter of fact, one of the projects people will get so they can practice ingesting. I've organized things into folders just a couple of clicks, Then I can bring it in, and then if I need to. I can add more keywords and further organize it. And I can also go in and change names if I need to. That's if they're on the drive. If they're coming in off of a camera card, where is immediately copied? I don't have the luxury of doing that pre organization because they're just gonna come in in one fell swoop and then I would organize it inside. Sometimes it depends on the complexity of the show. I like to keep some things organized before I have the time. Other time it's running and gunning, and I really don't have that many clips. So my goal is just to get him in, start editing and go. So try not to lock yourself into a one way of doing it. Do what? Ultimately, uh, will be best for each show. Does that address your question? Excellent. Can you describe your backup strategy? You want me to back up? That's the strategy. When somebody's coming at me, usually it's pretty quick. Yeah, and then I turn and run so back up strategies. That's actually really good question, because and I apologize for not covering. I've had many people call me and say, My hard drive crashed. I lost my show. And I said, Have you been backing it up? They go. No, I wasn't done yet. Big mistake. You should be backing up from the moment you start. So my strategy is this. I always like to make redundant versions of my cards. Whether I'm going to make them as a camera archive are just clone them are doing as a disk images the disk utility. So I have a perfect copy, and I keep that separate and then also have a version of the show. So now I know I have all my cards. If I race them, they're safe there in another location. Okay, If then my project crashes. I can go back to that original media, so that's one back up by half. Lots. Backup stretches. The other thing is it. They creates automatic backups. You saw that when I went to the inspector for the library. I can choose where that goes. I can choose for to go in the library. I can choose where to go in my movies folder. I can choose it to go on a different dry. Okay. And that's what I like to do if I send my backups to a different drive and my main drive, whichever drive that is that has my media has a catastrophic failure. At least I have the blueprint for my show. Okay, that didn't go down with the ship. And on another drive. I also have my media. OK, so that's one strategy that I've used another one is to while I'm editing at, you know, every night I make loan and copy that library, and there's a lot of third party applications that could do. It is something called super duper. That's really good, and it just backs up what's changed, even do that. There is a carbon copy cloner, so you'd have a physical copy. And I put that on a separate drive. So it depends on how critical I'm always. I have more and more redundant backups, and it goes back to an earlier question, which is what kind of drives 20 use. The reason I like using SST is because I get big files is I can copy and clone things so much faster 12 to 20 times faster than sometimes on a spinning Dr 500 megabytes per second versus 20 or 40 on the cheap one so I can do it and I could do it quickly. And if overnight, it could move everything half a terabyte, whole terabytes. That's why I like it. It's a great insurance policy, and they are coming down in price. So sometimes it's a matter of just cloning drives or copying those elements and updating any changes. The other thing you can do is if things are in a small library and everything is external, make sure the external folders are redundant somewhere, and then your actual libraries relatively small. So that's easy to copy. Okay, as not effective, everything's outside. You can even email that to yourself. And finally, because I'm giving too many options wherever you store those backups, you can set that up just a copy somewhere. So if the backups for the backups are local to where everything else is, if you have a copy of those back up somewhere, you can at least have that. So there's a lot of different places and one of the things that if it does crash, you'll notice. See if I can find this quickly. We have a little hand, Um, you go ahead and open up a backup about sheet with this B A C K Open library from back up. It's under file. So even if that backup is not in a place like in the library something and I know where it is, I emailed it to myself. That folder, set up to that folder automatically gets backed up in Time machine. I can find it and open it up, and that backup is basically the blueprint for your show. And even if all your media is gone, if you have a copy of that media, you can rebuild it. So the idea is to set up a workflow that has redundancy built in from the beginning. And you'll be a lot happier and and And trust me, I've had people have worked on something for 34 months their films, and I'm like, Why didn't you back it up and literally they said I wasn't quite done yet, and then we had a like, fine stuff and rebuild it and you know, So I really try to emphasize that because, you know, that's that's the art. That's it, because with me, it's all that brainpower that went in so back up redundant. Usually there's a 3 to 13 backups to locations of the original. I back up stuff in the field also when I'm shooting on cards. And I said this earlier in the week, Um, I use USB three card readers going into SS teas, and I could take a 64 gigabyte card and in 6 to 7 minutes have it backed up. So I don't even wait till the end of the day. And then if you're on set, you have double backups, right? You have one hard drive. Back it up to another hard drive. You do not put both hard drives into a FedEx thing and send it off. Then they both get lost, given to two different P. A s. Put one in UPS, one in FedEx sentiment opposite direction. Keep those things as far apart as possible because that's your critical stuff. You can't go back and reshoot. And this is when I tell people you know something, you save $200 on a drive. You've just spent $3000 today on the shoot. If you have to do that, shoot again. Can you afford $3000 for 2000 for a $200 insurance policy. And you could reuse the drive if you need Teoh after the project's done. So that's my thinking. Pretty, pretty forceful there on backup. Okay, other questions. Well, if you think of any questions and if the people out there who have gotten class think of any questions, post them on the Facebook group, either I'll answer them are. Sometimes I'm not fast enough and other people answer them and all I get to do is like but I like to say, like and let's build a community and I want to thank you guys for your time. I want to thank everybody has been watching this hope you're enjoying, and I bet you're watching it over and over because I speak really fast. And with that, let's close the class and start editing and final cut pro

Class Materials

Bonus Materials with Purchase

Keyboard Shortcuts
Project Files - Dancer Media - Part 1 of 2 (Large Download 2.13 GB)
Project Files - Dancer Media - Part 2 of 2 (Large Download 1.88 GB)
Project Files - Green Screen

Ratings and 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!


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.

Alan Pole

Absolutely brilliant. Abba gets to the point, is clear, organized and articulate, and lays it all out in a manner that quickly brings your confidence level from zero to hero. Highly recommend this to any photographer who wants to blog, build ads, or include video in their offering. I feel like an amazing new world has been provided to me. Thank you!

Student Work