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Final Cut Pro X Bootcamp

Lesson 12 of 39

Setting Up a Project: Importing Media

 

Final Cut Pro X Bootcamp

Lesson 12 of 39

Setting Up a Project: Importing Media

 

Lesson Info

Setting Up a Project: Importing Media

So I'm ready to bring some things in, and I want to import that. Okay? Importing command, I There's also the drop down menu, so this may look confusing. It's like getting on these screens with all these words and what not once we go through this piece of cake. And by the way, once you set it up, most of these things you don't even have to change. Okay, so what I'm going to do first is I'm going to find the footage that I want to bring in, and it sees all my my internal drive. It sees that external drive. If things were, you know, on a network you can actually bring things. And across a network, probably not so fast if you're bringing in a terror by across the network. So what I'm gonna do is I'm gonna go ahead and we look to my first location, which is the C gate drive. And if I go down, I can see all of those folders and those camera cards. So if you put a card in, it will appear. This is ah, card file. I did this so that when we give the files out to the people by the class. They hav...

e an example of a card. And remember, how was very confusing when we opened it up, It said ABC HD You could see any videos. Well, if I click toe, load it and I'm gonna just zoom back so you can see this in perspective. It doesn't see all those files and folders. It just shows you the video clips. Okay? It wants to make it easy for you. Veronica wants to make it easy for you. So the nice thing is, I can then look at these clips and I can use the same skimmer that we use when we're editing to just quickly Look through and see. Is that a clip that I want? Okay, so this one, I could go ahead. If I want, I can select it. Play well, that was all of one second. I probably won't use that clip, and then I could look at this one of the O and I can look at these clips as, um icons are little pictures or it can also look at it as a list if I wanted to. And that's something that we also did in the early ones. They're just toggle this to a list, and in this case there now a list, you know, from top to bottom. And I see kind of a longer area that I can scrub you, gives me a little more control, and I can use the up and down arrows to look at my different clips. So this would be, if you're gonna bring things in offer card, whether it's an archive or if you plug a card into your computer, uh, from whatever camera used. So now I'm ready to pick my shots that I want to bring in and I'm ready to tell Final Cut where I want him to go. And this is what this whole right side is all about, okay? And will make a lot of sense in a moment. So if I just want to bring in a whole clip, I can select the clip, go with this one and now in the upper right hand corner, I can say, Where do I wanted to go? Do I want to add it to an existing event? We created two events just a moment ago, less than three. And all Lesson three. I could create a new event because maybe I forgot to make an event and I want to bring this in. I don't want to close this out and then create an event and step right until I can create a new event right off the block in here. If I forgot to. And I can also target if I had multiple libraries open. I don't actually put in the wrong library. Have a drop down here where I can pick the library. In this case, we only have one library open. But you're telling exactly where you want this to go. And that's the important thing. And then you'll have a choice here. And I don't want to create a new file. We're gonna add to the existing one we're gonna add to original Lesson three. You'll notice there are two choices here, but one choice is great out. Whenever you're getting anything off of the media card, it will never let you leave the files in that location. One of the things final cut gives you the option of doing is taking files and moving them into that light physically making a copy of them in the library or moving them into the library. So now you have. I'm sorry. Yes. Library library, big thing event so that it's a big bundle and I can move that container anywhere I want. Okay. So sometimes you want to do that because, you know, it's portable, but sometimes it gets really big and bulky. Maybe you have 30 terabytes of stuff, and maybe you're using it, and somebody else is using it. So you want to just leave it on one hard drive and not have this big project file? So it's one of the choices you make, and this will kind of come clear as we go through. But you have a choice to either leave the files where they are or copy them. But if you're coming off of a card, the reason the other one is grayed out is apple is protecting you. If you don't copy them off the card onto your computer and you start editing and then you take that card, you start recording over it again. What happens to the original footage? Yeah, while while while long cartoon. So it always has your copy. It protects you. Okay. You'll see when I bring in something off of my hard drive. I'll have a choice and we'll talk about that in a little more detail so I can say copied a library and it's gonna play a bunch stuff and we're gonna talk about this in a moment. But right now I'm just gonna bring in one clip. So I'll say, Okay, Imports selected is a little check box here that says Closed Window after starting all look at this. Visit us again in a moment. But if it's chapter is checked by default, as soon as I had import, the window closes and you can start editing with that clip if you're going to be bringing in footage from a lot of cards are a lot of different folders on your hard drive. You don't want to have to keep opening this up, so you'll just on check it and you just keep bringing them in. And when you're done, you can then close the window. OK, so I'm gonna say, import selected. I'm only bringing in one clip and now you'll notice in less than three. Okay, I have a clip that says missing proxy here, and I'm gonna deal with that in just a moment I'm going to switch that back. And by the way, I love when things don't go perfectly. And that's why I like a live class, because this will happen to you. And guess what? It happens to me all the time. You'll go. I just brought it in. Why don't I have footage when I have a missing proxy? So final cut can look at your footage is the original footage are they can optimize it, and we're gonna talk about that. Assumes we click that check box. Or it can make a proxy version, which is a smaller lighter, not quite as high quality version. But you use that to create your rough and then, when you exported automatically looks at the good footage. It's really useful in situations where your computers a little slower or you don't have a lot of space. It creates smaller files that easier to work with. And that's nice, and you can choose if you want to make them or not, depending on space and the speed of your computer in your workflow so you have a choice when you're editing toe. Look at your proxy files, which is lighter on the on the CPU, the processor in the GPU. Or you can say, You know what? I'm showing it to my client. I want them to look at the high quality media, and what happened is I had this set to proxy. It's not available, so there's a little drop down window to the right. Next. The birth is 39% and it says, Oh, what am I looking at? Let me use the original media. There we go. There is our dancer, who is also a concert pianist, Overachievers all the time. So I bought that clipping and it's just there. And less than three doesn't have any keywords because we brought it off the card and it's called Clip to and you can rename this clip. OK, so if I want to give it a name, camera gave a clip. Number two. I could type in any name I want, and now I have a good reference. I can search for it. Final Cut remembers the location and the original name of that footage, a term that we've been using and will continue uses that wonderful term metadata. It's all about metadata metadata, meditate, meta data simply data about data. Okay, so it's all the information that the camera records while you're recording the video. What time of day? It waas what camera you're using in some and especially you have a bunch of photographers here and a bunch photographers watching. You know, it may record the I S O and the frame rate and the frame size, and this is really useful because sometimes you need to search by that information. Show me everything I shot with my you know, Sony 6500. And it'll just give you that was footed. Show me everything I shot with my IPhone six s or my IPhone seven, my IPhone 11. Who knows how long this tape of this show is gonna run? But that's stored. And it keeps that in a database behind the scenes that you can still use and you can access. But sometimes you just want to use the name of the clip. So I might rename this Anna at piano. So I'm starting to organize my footage and I simply renamed it. I randomly capitalized things. There we go. I have my clip. And if I wanted to, I could edit my whole show from this clip, I can scrub through it. And as we saw earlier, I could mark and a now points and bring it to my timeline. So that's a basic important. Let's jump back to the import. And again, look at our card. One of the nice things about a shooting on a card is I don't have to bring in the entire clip. And this is something that's unique to when you come off of a camera card. It doesn't work. When you come off of files on your computer, I can actually pick small chunks and Onley bring those small chunks onto my computer, okay? And into final cut. So we learned about selecting ranges in the previous class. So once again, ranges allowed me to pick like it from where I want to start to where I wanted to end an in point to an out point so I can look at this and choose what Rangi one. I'm gonna turn on a little switch here down in the bottom. There is that little change, the appearance of clips. We've seen that in the editing part, and I'm going to turn on wave forms, okay? And if I want not to be distracted cause I've already member. I've already ingested a clip. I want to bring that and again I'm going to say Hide that. So it's nice and smart, but you'll notice now. In addition to having the video, I see the audio way form of her playing the piano. So now I can see when she starts and when she stops. Now it's building the wave form as I'm doing this because I just brought this in. But I can see okay, there's a chunk which is playing a cut. There's a chunk and will be very easy for me to find the section that I want to work on. So just market in point. The I key once again, just like in the program I can fast forward if I want to and fast rewind. So that's the J Key and the LK So J k. L are all next to each other. J once again goes backwards. L goes forwards and if you tap it multiple times, you can actually go up to eight times faster either way, so you can be very quick to go through this so I could use the J now the l key in this case, I I have a pretty good idea where she stops. So I'm gonna just skim over here. Yeah, I could even see. She looks away. She tries something else. So I'm gonna make that an outpoint get the OK so I could bring in just that chunk of a clip because she played for a while. As a matter fact, this is almost two gigabytes for this one shot. Okay, so I don't wanna bring all that in so I can go through and select multiple rangers. If you hold down the option key and drag, I can add additional range, so ranges you get by just clicking and dragging. So if I just grab and drag, it selects that range. But if I do another range without holding down that modifier of command, the 1st 1 goes away. So let me just grab a bunch of areas going about this area, gonna grab this chair. I'm holding down the command key about this area room on the last bus. There we go. So I have five pieces selected, and now I'm gonna go ahead. I'm going to bring these in, but Let's also talk about some of the other options we have when bringing media in. So I talked a little bit about creating optimizing proxy media. I want to again revisit that so I can do this when I import are ingest media or I can do it once it's in the program. So if I forgot to do it, I didn't want to take the time to do it. I can always right click or use the menu and any clip that's already in there that I haven't optimized on a proxy. If I can do it after the fact, so you never like limited by a decision you made at the beginning. So just toe revisit optimized and proxy media, some computers, and usually this is the case of older computers and, by the way, just as a reminder. The computer I'm using is almost five years old. Okay, so I hate it when I go to a class and they're using like a computer that I could never afford. Everything works perfectly. This is five years old, is the 2000 and 12 retina display, and you're going to see how smooth it is. So Anu, a computer, So I'm when I'm talking old computers. I'm talking like maybe you know, a Mac book air from seven years ago that it's like no memory but some codex compression ways we compress our clips are harder on the computer to decode and play back in real time, like H 0.264 is one of the terms you hear a lot. That's the YouTube and your camera probably records that it has to do a lot of processing to be able to play it back. If you want, you can optimize it, and what it does is it converts it to a larger file. It will take up more space, but it doesn't have to do any kind of calculation on the playback, So it'll playback smoother, so it's a trade off. You get a bigger file, but it's easier to play back. OK, so that's what optimized media will do. But then proxy media Well, as I indicated earlier, proxy media is a lower resolution media, so you don't need it was much hard drive. You don't need as much band with, In other words, if you have a slower, hard drive. Ah, proxy clip, maybe 1/3 or less of the size of optimized. So again, you're not making the computer. Work is hard and you can be more creative, and you don't have to wait for things if they stutter. So that's kind of a nice choice. You can have it do both when you import it. I'm gonna go ahead and create a, um, have a create proxy media when I bring it in, because then we can switch that flick the switch and you can see that suddenly I do have stuff and you'll see it only bring in those clips. It still brings in the original. Okay, so you always have the original, and then it can make proxy, and it can make optimized realize that there is a big difference Now. Optimized media uses a code occur that Apple came up with called pro rez. You scared called progress for 22 It's a broadcast format, but it's large, so you might record an hour on an SD card, and it takes up four gigabytes of space, right? And then you put it in, you optimize it, and now it's taking 65 gigabytes of space. Okay, so it really can balloon, but it's now easy to work with. So you know your mileage may vary if you have a fast computer, may not need toe to do anything. And different cameras record footage, different ways. So it's a trial and error based upon the situation. And if you do create this stuff, it's easy to clean house. If you don't want to save it, you can always re create it. I'm gonna go ahead and in addition to bringing this in, I'm going to talk about some of these other check boxes. And this is where you start getting into these things weeks or earlier, these smart collections and keyword collections so I can, if I want, have it looked at the video and see. Analyze it to see if it may be, has a ah color shift. Maybe it's a little too blue or a little too green. A little too yellow, you know, either. You know, you had weird lights in the room. You know, a lot of times shooting, staged stuff. You have colored lights, or maybe you have a mix of daylight, which is a certain color. Eyes automatically do something called white balancing, but you might have a certain color coming in, and then you have a certain color overhead and it's not quite right. Final Cut can actually analyze it. So then you can have a do like an auto fix, and most of the time it does a pretty good job. So that's a choice you having again, just like with proxy. If I don't choose to do it now, I can do it one at a time because maybe have a 200 cliffs. And only one needs that analyst analyzing. So maybe I won't turn that on if you are shooting stuff with people, Okay, there's only one person in the shop, but again, it can analyze the clip and can determine if it's one person are two people in a shot. Uh, if it's a wide shot, are close up are a, um, medium shot, and it can do this analysis and you can actually get collections automatically of Oh, I need to find two shots that I did our one shot. Depending on what you're cutting, you may use this. You may not need to use this. Don't check everything. It's like, Oh, yeah, I'll use that because What's gonna happen is you can start editing, but in the background your computer's crunching all this stuff you're likewise final cut so sluggish. Why did it just quit on me, you know, so get a feel for this and do what you need, but don't do all the extra stuff. I've seen people just check everything and then they're like when I'm importing, it takes forever to start. So do it as you need. I'm gonna click, Find people because I want you to see what it does. And unfortunately, it's not going to a lot of different choices because it's basically a medium shot of her. But you'll get a sense of it. So Ah, fine people. And then, if I have it, do find people I can actually say consolidate the results and put it inside of a smart collection. So actually create a folder of you know, this policy, all medium shots, one person. But it will do that. I can also choose toe, have it analyzed and fix audio issues. This, to me, is one of most brilliant things of final cut. Audio can be a nightmare. You recording something, it's too soft. You recording it. It ends up on one channel and not in the other channel. So everybody is kind of like on the left side of the speaker. Uh, in some cameras, maybe you didn't record audio at all. But now you have, like, blank audio that you're bringing in, like I have to prohibit it and turn it off. It will analyze it and and it says, analyzing, fix. In some cases, it fixes. In some cases, it warns you, and I don't clarify that as we bring it in so I can have a look at the audio and make some changes. So separating monitoring group, that's really nice. You're one channel. You want to make sure it's no that stereo but analyzing and fix. If there's no problems, it won't do anything. If it's a minor problem, it will give you a warning. Okay, if it's a major problem, it will fix it. But you can toggle it on and off. Okay, so I like to do that. This piano stuff, let's have it, analyze it, and I'm gonna uncheck close window because I want to keep bringing stuff in. So we have all that. I think we're good and I'll hit imports elected and it's actually importing right now in the background. So we're good to go. And that was just from that one clip. Let's go back and I'm going to step into another clip. So I'm going go back to my C Gate drive and we're gonna look in this holder called Anna footage Now. I showed you at the beginning that I had pre organized everything into folders and I can continue to doom organization as I go through. But let's take a quick review of this organization and again, some of the choices that we can make. So here I have my A seven camera and those of the clips matter. Fact. This might be redundant to what I just brought in. So if I click on that, yeah, that's that piano angle. But I also have some stuff here on this H v X 90 V in the wrong place of these other clips, and I can step down and see that this is another angle of the piano. This is my shoe again. See? Everybody should have this shot. Anybody here used GoPro's and we have used GoPro. Yeah, how many pictures Do you have a Europe of you looking like this going? Is it on? Yeah, my entire. Like, I think sizzle reel is me looking at the camera. So of course you don't want to bring those in, but I think that's classic and that anybody who has shot with a GoPro has that shot of their confused face and it will continue. So obviously, I don't want to bring this in, but maybe I want to bring in a bunch of the other clips, but let's go ahead. And actually, I'm gonna bring them all in cause I can I can remove them. These checked boxes will still be here. Okay, so I'm gonna go in and still coming up for Get out. Bring that in. I'm going to say import and this I'm gonna have it close the window and we'll look over here and we have our lesson and is doing some of the analysis. So there we go. One person finds all the shot with one person wide shots. They're all pretty much the same shot. But it do this analysis. And if I look up here, does that lived? There's a little circle. Okay, that's your background task window. If I click on that, it tells me exactly what's happening that my computer actually is working on. And that's why you know, the CPU is cranking away. So it's doing the trance coding to proxy media, and it's also bringing meat. In this case, it's copying stuff off of the card and bringing it inside of my library. Okay, so when you bring something off of a card, it always brings it into the library into that big container. Earlier, I had mentioned that Well, sometimes you don't want to store things in the library move you want to share and what not? That's Onley. If if a clip is already on your hard drive and yet what you could do is you can point to it. Those of you have used previous versions of Final Cut Final Cut one through seven. That's how it worked. You had the media and you had your project and you pointed to the media and they lived in two separate locations. And sometimes you may want to do that because you don't want to have this huge library. You want something that's more portable, okay, and there's a lot of controls you can have. You can pretty go pretty deep. And I want to re emphasize this. I've talked about it already, but final cut at first blush looks like very basic as a matter fact, people always That's just I movie. It goes so much deeper to where you can control where things live. And maybe you just want your proxies toe live inside of the library so you can move it with you. And then you might have this big, hard drive at home that has all your original media. Okay, so you have portability eso it gets really deep and, you know, within 10 hours we can only go so deep. But we'll dig deeper and future courses, and it gives you that grounding that now you can know where to look and what you're looking for. So even though this is bringing things in, I can actually start working with this footage. I'm gonna close my background task and everything was brought into lesson three of all my footage. So there it is, and I can start working with this stuff as it comes in. There's all the different clips even though it still is doing stuff in the background. It's looking at my original media, and I can start editing and just let it do what it needs to in the background. But it's also organizing things. I'm gonna go ahead and get rid of my all lesson so we don't get confused. Um, I can simply if I want to move an event to the trash, our clip to the trash, I right click on it, move event to the trash that says, Do you want to delete this? And I'll say, Yes, there's nothing in it. It does give you warnings. Um, so we have that one set eclipse coming in. Let's go ahead and bring in a bunch of stuff and I'll check some folders. We're gonna go back to import, and now we're going to just bring in a boat load of stuff. So I'm going to close all of these and I have my Seagate drive. There's my Anna footage. I'm gonna just select my music. I'm holding down the command key, lets me select multiple things, have some problem footage. I have my slo mo stuff and I have my huge show guns stuff which has ah this huge monitor in this case, I don't want to bring all of this stuff into the package. I mean, it's all there, But why do I need toe to move it? And maybe I want to find it again, So I'm going to just leave it in place, OK? So when I go up to here, I can say leave it in place so you can choose when you have a media that's on a hard drive whether you want it to actually be put into the into the library or if you just want to leave it where it ISS. So I'm gonna go ahead, leave that in place, putting it into the same lesson three. And then we have this thing here that says keywords from finder tags and from folders. So what it's gonna do is I've named those folders. So when it comes inside a final cut 10 these clips will have a keyword assigned to them based upon the name of that folder. So they're easy to find because I've only done a lot of work, is also an option for something called finder tags. And I won't explain that, uh, I don't use it that often, but I want to understand what it is. So if I go back to my, um, desktop here, go ahead and let me hide. Final cut. There we go. And I look inside here and I open up the Anna footage and let's say everything that is Ah, four K. I'm going to make all of these a certain color in my finder. Just selected them. All right, Click. And they're all going to be green. So I did that. You know, in the finder. I'm organizing things. Maybe I assigned a color to them. I want to search and watch what happens when I actually do the import. So we're gonna go down here. Let's look at our list. We're gonna leave them in place. We're gonna do find her tags. We're gonna get keywords from the folders and sub folders. We'll talk about roles separately. Especially when we get Teoh the audio in the next lesson. Um, for now, I'm not gonna create proxy media. I don't need proxy media doesn't have two that work. I'm not gonna have it find people because really, it's her. And she's running around. One moment she's a closed up the next moment. She's a wide shot. It's a lot of work for two Dio, Um and you know the audio. I will have it analyzed, and then it's gonna close this window. So let me go ahead and hit Import and we'll see it will bring that in. I mean, zoom out. It gives me a whole bunch of warnings and don't panic Here. See these things? They all end with dot xml. So this is just filed. It doesn't need. If you had a folder that had text files in it are you know, you had a Power point or Kino Project or something, You know, that's unrelated. It just ignores them. Okay, that's a case of this is some of the XML. It stands for extensible markup language that some of the stuff that's inside some of those camera folders that it doesn't need and also th em. Those are the thumbnails. You don't want a bunch of little teeny pictures that you think are pictures and the really the thumbnails. It's smart enough to know what it shouldn't bring in. So most of the time, don't even panic. These files aren't supported. You don't need them go ahead. It's now processing them and we will see this should close in just a moment. I think I had to check to close automatically. Yeah, here we go closes automatically and take a look. That's what's happening here in our library. I'm gonna make the library a little bit bigger so we can see it. We're not really working with sequence now, so there's some buttons up here that again, you can see tool tips. If you hover over them. This will show or hide the browser. We go a little closer. This will show or hide your timeline. And then there's something called the Inspector, which allows you to look at clips that you can open and close. And we saw that earlier when we were working with the basic editing. So let's go ahead close the timeline. We now have a lot more space to work with, Closed the Inspector, and now I can start seeing my clips. And what it's doing in the background is it's looking at each of these clips and creating two things. In addition to bringing them, it's creating thumbnails. So when you can see little images as you as you skim through it and it's looking and creating its way forms. So if you want to look at the way the audio is going, so this is all happening in the background and it's drawing some of these images, you'll also notice I have a lot more information here. Those are the things we saw earlier. So if we zoom in, remember the, uh, the names of those folders, photos, problem footage. I don't mean to bring photos, and that's a huge folder. That's probably why it's getting a little bit slow show gun so I can go ahead and click on that. And this will just show me all the footage that I shot on the show gun or all the four K video. So everything that was named for a folder is being brought in and it's getting analyzed. It's taking a little bit of time because I just imported, I think, about 400 gigabytes of media, so it's analyzing a lot of files. The odds of you bringing in 401 fell swoop unlikely. But as you see, it's doing the work. If I wanted to see the status of it, I can go ahead, click on this and there's my trance coding and analysis probably left a couple things on that I didn't want to. And then I could go, Hey, let me close that. In addition, it has so many files that just keeps growing there. It's creating thumbnails on bway forms. It's actually moving some of the media that we brought in. I think I don't check most of, but there's some it's gonna bring in. And while it's doing that as these air building, I can start editing. So let me close that window and you'll see things will start populating green. Remember, I change the color well while it's doing its work, cause I brought in way too much stuff. Do you have any questions you must have question? Yes, when you're importing, you know, full photographic files. Will it optimize them automatically? Or do you need to do that? I had a time. That's a great question. So the question was, when I bring in photos, will it optimize it? So, first of all, it doesn't work with camera raw because there's if you shoot photos where camera really needs to be developed to get the image that you want J pegs, tiffs picks all those other formats it brings in. It brings them in at their full resolution. Okay, which is if you shot something at 24 megapixels, 6000 by it comes in. And that's a good thing, because maybe you want to do a move on it. So you want all that resolution, You don't want it to be shrunk down. Ah, but it doesn't really optimize or change like the scale of the picture. It will create Ah, small photo image that you can recognize. But it still is going to be its original format, its original size. I tend to do one of two things. Either I process my images in ah, in applications such as, ah, photo shop or light room. Or you can also process them in photos, Apple's application and bring those in. So if you do need to do some processing and it's a nice question, because while we're waiting for it to import, I will point out, ah, couple of other things that are very useful in the upper left hand corner. You know, we were importing things, but there's a little button here and it has a musical symbol and a camera. And if I click on that, it will look at anything that I might have in my photos library so I could bring things indirectly that I might have organized in photos. Or it will look at my ITunes for music. And it also comes bundled with sound effects so I can look at anything that's in my music library and bring it in sound effects. Take a second to build so it comes bundled. When you get final cut, it says, Download additional content so you have a bunch of sound effects so you can store things and get to the very easily. So if I have this photo and these should be the original photos, I just threw them in straight at the camera. These Air J pegs I can go ahead and import those, Ah, the same way that I would bring other things in. I can even just driving directly to my timeline. So it's very intuitive for the apple ecosystem. Does that address your question? Does it ever make sense like, let's just say you're doing standard HD Teoh. Reduce the size of your photograph just so that there's less. You know, your file sizes are smaller. Doesn't? Yes, as a matter of fact, will cover a little more into detail. But it is important because yeah, you don't need the real estate space used up because standard high definition is 1920 By 10 80 we'll hear this again. So that's two megapixels. That's nothing. That's high definition television. Your camera, Your phone shoots 12 megapixels. You know, most cameras now should toe 50. So you have these huge images, so you're absolutely right. If you're not gonna do moves on them, I do, uh, take them and resize them and export them and then bring those in because it will provide Ah, an easier life for your processor. So it doesn't have to calculate all those pixels. Yeah, so that that is a good workflow. Let's go back to our library and see what's happening with the 400 terabytes. It feels like a footage. You can see these little circles. It's telling me that it's thinking, but it's starting to catch up, and I'm gonna point out that as it's bringing things in, it has calculated, you know, there's my problem footage on if I click and it should kind of put this to the head of the the queue for processing and I can start working with this. I can start skimming through it. And all of this metadata has been attached That were the folders and the colors, I think are green should be caught up now. Yeah, this was everything that I labeled as being green. There's no pictures of Kermit, by the way in this one, because it isn't easy being green. More enthusiasm. OK, I know it's early, but it isn't easy being green. Excellent. I'll get you guys dancing and in no time. And we had some music. It automatically figured out that that was music. It's really very smart. It makes mistakes, but it knew that it looked at the way form that this was stereo. This is no video. It's probably music, so it automatically addresses that, Um, and that's for roles in this case. By the way, the music was a keyboard because of the folder School of Music. So I'm not trying to fool you, and there we go. So I'm ready to start maybe modifying some of these key words because I want a little more, uh, refined solutions here. So let's talk about making keywords once things are already in play are already in place.

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.