Lessons

Lesson Info

Finalizing the Edit

I spent the last What? How long was I over there? Hour and 1/2 over there. Yeah. And I got pretty far into basically about three minutes into it, and it's come together. It still needs tweaking. There's still some audio that needs work, and we're gonna do some color grading. I wanted to some of it on camera so we can kind of go through together into jail. I just color grading. Yeah, just to reiterate all of the work that Rob did over break. You buy the course, it has been recorded, and you get to see in action his screen as he went through the entire at it. Yeah, it's good to see my face. All right, so let's pop it up on the screen here. I just sort of want to jump through. And it's rough, audio wise at this point. So I'm going to use this moment to kind of go through and show you how I would level out some audio, you know, and I'll run through at one time just so you can kind of see it. And then what we're gonna do is and it still has gaps where I need to just go ahead and multi cam s...

ome of this stuff. And then we get into color grading, titling on the letter, boxing for the anamorphic and exporting. Really want. Make sure we get all this and so I'm not too concerned with finishing it up totally. So it's completely done by the end of this segment. I just want to show you how I would do each of these things. I'll get it done. I'll put it up online. You guys can see the whole thing as it when it's finished. Okay, so the beginning Do we have this on the screen? Just want to make sure that I have the letters go. Awesome. Okay, so I haven't done any fully effective sound effects. Wow. I promised myself I wouldn't cry, but this is gonna be much harder than I thought It may be when people ask me who with us friend is. I say it's Rebecca, but I don't call my best friend. My sister. Bring in green. Tell your down. Everybody leads this way. Right here. Obviously got an audio issue. We gotta lower this volume on the music here so we can hear the toast. A little bit louder. So let's just do that so we can continue real quick. And I'm just gonna take the music. Just drop the level here, Touch. Hopefully that Rebecca has always been there. Okay? And again, I just want to kind of, you know, make that a smooth transition between the two. So just by adding in a couple of cross fades there, Rebecca has always been there for me in the way of your sister to be. She's been with me through amazing times and even more so through sad times. Your friends and family were gathered here today to celebrate. Okay, So again, we're looking at our audio. It's kind of getting out of control here, so just drop it down, make sure it's lower. I just want to get to a point where we can get through it and I can show you the rest of the pieces Union of Rebecca. No one I know has a heart like hers on. I didn't think any man would be deserving of so here. We want to raise the volume up because we're seeing him standing there waiting for the first look. So I'm just gonna simply a couple key frames there. Way to lower the audio. Here. Just a touch. So I'm just gonna drop that down. We'll do a couple key frames. It was option K on the key frames. Drop it down right about there. And I'm just estimating here I'm not getting perfect. With the decibel levels being consistent across the board through their time together, they have come to realize that their personal dreams, hopes and goals or more attainable on more meaningful with combined effort, mutual support. Look Okay. He keeps talking something. Let that go in love. Love is unconditional. And it drives on the joy of each new day. Always be able to confide in each other and share moments of five piece. So here's a little face time. We're gonna add some wall in there, Okay? I'm gonna raise the volume again. They're on the music. So let me just back up here for a second find right there. I'm going again. Option K, it's down lower. Same thing here. Bring up the audio since it is a real quickly correction. Right. Okay, so let's see one of my decibel level here minus forums. Gonna match that here. So reckoned there have written their own vows. OK, again, it's gonna drop me down here. I don't have to go once this times is already to keep free established. Just fantastic. Was gonna lower that down. Grab it. It's not Let me grab it. That's cause that's my never mind. Let's do another key from here that is actually the fade out. The one last thing I like about final cut Pro X is you have this quick grab to fade out, which is nice. And, you know, I used to have set key frames to do that for a seven. Reckoned there have written their own vows from their own. Okay, let's turn my back on here. So again, just through this, they want to make one another in front of their family. I promise to love you care. You try in every way to be worthy every love. I will always be honest with you kind patient. Forgive, stop. I try to be on time. And then there's the big course, one where they see each other for the first time. She sees a little rough here. I haven't multi cam the ceremony yet wouldn't take me much to do. I would just simply pick some shots and you'll notice this is before the sun came out again. Right? So the ceremony colors a little rough, so we're gonna have to fix that. You try in every way to be worthy of love. It's nice to kind of bounce back and forth between their faces. I will always be honest with you kind patient. Let's go back again and it will end on the wide shot. So I will just split that using be tooled, Lehto, and just a real quick multi camera to forgive. I try to be on time. A little laughter in there. Moment, Look, reveal based session. All right, let's drop this music down. So you guys see the progression here? How we just kind of came together and we bring it all back together with the maid of honor toast at the very end. That's what's gonna end on so pretty simple stuff. I mean, I really didn't take me that long to do the whip together, and believe me, I could spend a lot more time to make it more perfect. And I probably will do that. I probably will go back and make it look a little bit more polished. This so what? I wish for you to feel success. A family that would make even the Brady Bunch jealous. Okay, from this back on, what I did was I really went through an edit of the song down from like, Four minutes, the like. Almost three. I took out a lot of the repeat chorus at the end. We don't didn't really need it for just the illustration purposes. Okay, and that's it. When something like that I'm gonna go back and jazz it up. But I want to get to color correction. I want to get other things right. So Shift Z, let's pull it back. That's what I ended up doing. Okay? It's not that complicated oven, and it's really not that bad. It's a lot of clips, lot of cutting, but a lot of that's multi cam. So it was just like three cameras on one thing. So all right, let's go back to the beginning. Let's talk a little bit about color grading. Let's do some stuff. How do you guys primarily color graded anybody using any plug ins, anything like that? But you guys use just color apple color or just the color in in final cut Pro 10. Cool. What do you guys use? I mean, past magic bullet looks quick Looks? Yep. Yeah, I have actually develop my own presets for a farm couple, which I will have for sale. Actually, there just subtle presets that are easy for color grading. I tend to use a mix of the color tools in final cut for 10 and color fixer plus by new blue effects. So let's say for a shot like this, I'm just gonna Here's what I like. I like the new blue affects color fixer Plus because it the brightness is nondestructive like so if I brighten something up, it doesn't really break down the image too much. So I turn off video skimming so I could do this easily. Right? So the first thing I'm gonna dio is going to my effects tab and grab color fixer. Plus, when I first put this on, it's gonna scare you. Make everything really cold just because of the default setting is cool. It's cool colors, So I'm just gonna reset that None. And the first thing I want to do is get my exposure, correct. So I'm just gonna use brightness here, and I'm just gonna kind of pop it up a little bit just to give it a little bit. Mawr, All right, drop the saturation. Just a touch. And there's one thing I really, really like about the color tools in Final Cut Pro is that if I come down here and use my color picker, I can sort of I feel like this Red is really kind of overpowering this scene. So I just select that and drag. I can select a range of color, which I really like. And then I could just affect that So I can go into my color tools and just my saturation and just knocked the saturation down with that. So it's not so poppy and really pulling your eye in that direction. I want the I to go to her. This is nice, foreground, but I really want to do that. So, in my great I'm always thinking about that, All right, I'm always thinking about where's my eye being led? I don't want color to be a distraction. Should be subtle, and I want to give this piece a consistent look too. So I'm going to establish that with the first shot, and we try to, you know, keep that up throughout the whole thing. So I'm gonna warm up this clip a little bit. I'm just gonna go to my color tab and I'm gonna use a standard global and just move it more tour the warm scale. So I'm just gonna look around here and see what kind of works. So you're still affecting just the red Oh, I am or not. Let's let's go back here. And another Sorry. Let's go back here and add another corrector. So, you know, you could have what's really nice is you could have multiple correct urz Heer to do different things with and sort of layer them up. So, yes, let's go back in here. And now we should be able to affect all in Jerry Go. I'm just gonna give it a little bit more warmth. That's fine. Just want to add a little bit of warmth in there. That's good. I'm not a big some pieces. I'll do heavily saturated this piece. I feel like I'm gonna do something a little bit less saturated, So just gonna tweaked out of touch good. So if I were to go back and just take off these, you see the difference pretty big. But my changes are subtle. It's not crazy over the top, like magic Bullet looks. ICI's magic Bullet looks, but it was so drastic that filters the presets were so drastic I didn't want something that crazy. Even the presets that I designed are really very subtle because I want them to be nice. For example, have one called Hafsat. And if I come in to my color here and I go down to presets, have Rob's half set it just not saturation down. And then I can go in and adjust my exposure. So if I want to bring the kids back up, or I can go in and use color fixer to do that again. But I was just knocked the saturation down and brings the GAM or down a little bit. That's pretty much it. So I mean simple things like that. But I want I want to kind of maintain consistency here on these clips, so I'm just gonna reset that to its original and copy I can copy correction to fight Disco copy and then at it paste attributes, and we're gonna copy over the color and color. Fix it, plus paste. Okay, So warmed up the shot a little bit. Gave a little bit of pop I am gonna and I will go through and I don't like to just paste and leave. I like to go through and tweak in each individual clip because I don't want what you do. The one clips not going to say look great on another clip, you know? So it's this. Bring saturation of the darks down. It's the touch, maybe the mids. A little bit more very subtle. That's because it's on the color mask. Let's go back in here. Let's try that again. There we go. That's fine. So it's got that warm feel to it. It's not as cold as it was before, and I'm not gonna get picture perfect here. I'm just trying to approximate what I what I would want to dio, right. So from here, I would just just keep going, and I like the mix of the two of the plug in and color here. This shot I'd probably brighten it up. Just a touch I can I can brighten up right hearing in final cut. I just tend. It just blows out my white so fast here, where I think New Blue gives a little bit more control is based on the algorithm that they used the way that the plug in is designed. So I'm just gonna drop this on here. We get, I think, the one thing I think I want to see final cut improve in the futures integration with their party plug ins. I really feel like it's clunky and it's not, you know, really, for one. For example, Color color fast from New Blue is a great plug in when work when used in seven. But an exit doesn't label everything correctly, so it's really hard to tell what you're doing. Is they all these secondary color correction controls with your fantastic? But it's not labeled correctly on the plug in, so it's not the best. Bring that up just a touch and again you see how settle this is Very subtle stuff, guys, I'm not doing anything crazy. I want my grade to look natural. I don't want to give it on over processed look unless I'm going for something a little stronger, like a vintage kind of thing. And then I'll really de sat and go with, like, a wash color tone like a warm wash. But here I'm just kind of slightly warming things up like that. Looks pretty good, too. May cool. Same thing. That's what This job is actually pretty good, but I'll warming up. Just a touch. Good exposures. Pretty spot on. It's always nice to get it right in camera, too, you know, so you don't have too much. It really is. I really do try to get my exposures and Cameron and just kind of sweeten a little bit, but I don't wanna Plus, you're going to get noise. If you know your exposure is too often, you've gotta just It's like trying to adjust the small J peg. It's not going to give you so much leeway exactly. Anybody here, not color grading their footage. Good. You definitely want to some sort of color grade. You definitely want to make it look, you know, have a defined style. So let's go to those shots that really needed the color correction. Let's let's do a little matching matching between clips because that's that's really kind of important thes Look up. Okay, the colors pretty close on that We could, you know, clips that are that are corrected and consistent across the board. We can just go ahead and grade because they're even already. It's clips like these that need a lot of help. That's really bad, Okay? And what I do want to get a lot of orange and reds and there is. I attended D sad a little bit. So what? Let's try this. Let's go into our color tab and let's use a sample mask. First of all, let's see if we could knock out some of the saturation here just of that, cause I don't want to really d set the nice tones that I have in here. I just want to really jump out, get get the nasty stuff out. So that's, uh, sort of do that That's a little better. And then color wise, I can sort of move this over to the blue you a little bit on again. I'm kind of rushing through this, and then here's where I go to new Blue and just sort of dropped this in for the luminous because the luminous I again I like to do it in this all right? A little bit better. Not totally great, you know. But it was a bad shot. Better than that. Yeah, right. And I could probably spend some more time. And there's other great grading programs out there. There's DaVinci resolve. I know a lot of guys use Divinci resolved. I am not gonna go out and spend $100,000 on the hardware unit. That's just absurd. They make a software where program. If I ever get to the point where I'm doing un compressed video and working with four K, I'll go with the hardware based. You're gonna need the processing power of a hardware based color corrector to manage that. But for this guy's H 2 64 that's not so much we could do so much we could do with it anyway, So I keep my color grading simple. Plus, I want to move fast to get these things done. You know, I wanted to be good, but I don't want to spend hours on color correction. I concolor great a whole 20 minute film about three hours, and that's that's. I consider that even long, but I do take my time. I get pretty particular as I'm going, going throughout things. But anyway so OK, let's see if we get this kind of copy and paste here. So copying the effects of this clip and I'm going to see if I could just pasted to hear and see what happens. Let's go paste attributes. We're gonna paste over the effects color. And, uh, it's better on the screen. Yeah, too bad. It's not too bad. I mean, I could It's a little bit blue. I would probably go back and work on just tweaking the the top. So there you go a little bit better. All right. So something more like that and then, you know, actually a little bit of decide there would really help a lot, so that's a little bit better. Let's let's go back to the original who? Wow, that's a big difference. Cool. Okay. And I know that I could only push H 264 footage so far. Even though it's apple progress. 42 light, we've converted it. It's still you know, h 264 So I can't really go to crazy with it. And a lot of this stuff is also subjective. I know in photography it could be very subjective as far as how you want your footage toe. So, you know, it's part of finding your style in defining your brand. You might look at that shot like No, I kind of liked it a little bit more. Bleidt were a little bit more punchy. So keep that in mind just because this is the way we call it correct. This doesn't mean that's the way that your foot attest. This is my style. This is the way I like to look at things like skin tones to be more natural. So I don't want them to be overly saturated with a lot of reds and oranges and the fact that created a a preset called Get the read out, which actually only tested on this one. I'm actually curious to see how that looks. If I go in here to my color, actually, you know what? Let me just I'll do on another clip and then we'll see how that works cause we have a couple of these low there. Here we go. This one would probably be a good one to test it on Let's try this. Let's go into color presets. Rob's redoubt. Yeah, so pulled the read out, which is good. That's what I mean. I could probably even go even more. And that's what's nice is that they're still they're definitely still customizable. And then here I'm not gonna go in a new blow. All this bump that up, that's a little bit better than when I was. In my opinion, Are you guys seeing what I'm seeing in terms of, like the really hard saturation, those air hard? They're tough to remove? And no. Are you noticing how fast final cut is? Render are rendering those effects really quickly? I love it. It's fantastic. So any questions on color greeting any any concerns in you want to see me do in particular? Because that's pretty much the extent of the way I color. Great. I don't get too crazy use. I don't go outside the program. I don't use XML to go into apple color and do anything like that. I think they've done a good job of integrating the abilities of apple color into final cut pro. So I'm happy to use the tools that they built in there these shots really need to be brightened up. This is when the sun went down and left This sort of screwed. He's just a So what I would probably do here again is go grab my new blue effects and see what I could do about writing these up. And remember, since we shot at s, So I really don't want to push it too hard, because I will. And introducing a lot of noise that's a little bit too much. And you can notice by the detail in the curtain in the back, you know, it's starting Teoh. No, we might get a crash here. That happens anyway. That were good. So yeah, So when your color grading, are there any levels that in the program that you can look at so that or you just Iet, like, you know, the scene looks pretty much the same as the scene there. There are meters. They're totally the Jews that you can use away form, but you're just dying. What's that? Yeah, but I'm just doing by I I'm really just kind of doing it by I If I'm unclear as to whether or not um in areas really gonna be blown out on somebody else's screen. I could just go into show scopes. There's I haven't even used them. It's alone. There's a show scopes and actually show you your way for monitor vector scope. You can judge your color based on that. I know one of my editors is probably watching right now. You can kill me for saying this, but he's color blind. My career is color blind. He's colored warning, and he does a great job with this color draining because he goes by the vector scope. You know, he uses scopes solely, and then he judges the saturation my eye. So actually, one of our better color corrector could have a question. Jane differences between like color, correction and color grading a great question correction is our mind. In my mind. Correction is getting things back to true. White and grading is giving it a feel or mood or tone. That's that's the best way I could describe it. These shots needed to be the ones of the face tight or that these air here, these needed to be corrected. Okay. Thes needed to be had some needs. A major correction is that when the corrections off. So, like, that would be correct correction there. That's color correction. And then if I wanted degraded even further, I'd probably go back and add another color and, you know, give it that wash that warm Look. What I'm looking to effect when I grade is my whites. What am I doing to my whites? My whites or white? But am I giving them Ah, warm tone of white or giving them really cool tone of For example, here's a great color grading example. Let me pull up this film the night shots here when they were all out on the veranda and I'm gonna try to navigate to it if I can see if I can get there. Uh, cool. All right. So hopefully I can just do this good thes shots. This is sort of at twilight, but I needed and I was losing light fast. So I threw up in already 6 50 has pointed it at them. And if I could show you what the original color looked like, her face was oranges in Colombia. But it was cool because we color graded it. Um, true white to her clothing, the background got blue like twilight, which was really cool. So it actually really worked. And it gives it that really feeling like, Oh, it's nighttime, You know? It's becoming night, and that's a lot of the movie scenes that you see that our night night scenes were shot there of the day and they color grade them toe look like night time. So its so a very similar sort of processing here, um, that I did. But yeah, that that's a great versus a correction. Why don't we get into letterbox? Yeah, let's do that. Let's do that. I mean, I consider I'm gonna color greatest whole piece, and you guys will be able to see the difference. And you know what? Maybe I'll even post up one that wasn't color great. And the one that is colored, we'll see how that goes. All right, Cool. So letter boxing. How do I go about adding the anamorphic widescreen? It's actually quite simple. We'll take the shot. For example. We haven't done any color or anything that was going to show you the letter box. So in final cut, pro tends affect called letterbox, Okay, you have to have video all selected okay, and the one that's included with final Cut Pro 10.0 point six. They took out the offset feature that's so crucial to making sure that it's framed up, right. Why? Because the previous version did so. Buddy of mine just took the effect into, uh, into motion and just fixed it. And he gave me the gave me the preset back. So it's this letterbox updated. I'm just gonna slap it on here. Double click going to my effects controls and my aspect ratio, either due to 35 to or 2 55 to 1 just sort of depends on the mood I'm feeling. If I really wanted to be wide, wide screen 20 minute film that you guys all watched that So why that's 2 55 1 Sometimes I like it a little bit more more anamorphic, but that's basically and then I use the vertical offsets slider to frame up my shot, and we had a discussion. The students and I had a discussion about where I like to crop across foreheads and things like that, and this is sort of what you watch movies in certain directors like to really use the anamorphic to bring you close and intimate into somebody's face. And I sort of like that. I like my close up shots of close up shots not so much more wide. So when I'm framing in the camera looking at the back of the LCD screen, I am sort of thinking of that in mind. Yeah, that's a clothes shop. You know what? My crop it up, it's really gonna be close. So I turned out to shoot to close, because then I'm gonna be chopping just chin and forehead and you want to try to be careful with that. So that's pretty much my method on Ben. From here, you can sort of copy and it pays the fax and slap it on there. And then you could just adjust. So vertical offset. I want to make sure I see the hands, all right. And now there's a method and compressor to export this at native resolution. So basically, what will happen is if I go and turn off the background black in here and make this a checkerboard instead of seeing the black letter box, you see checkerboard for transparency, that is actually what it'll export So it's exporting about a file. That's anamorphic ins. There's anybody doing that right now. It'll actually export you a file that's like this. Well, that's actually example. I have one right here. Uh, that Okay, it's that a wide screen for to get emotional. So while the celebrities really hard on this matter, So that's pretty much like the widescreen I would do I would use for that. And we do that a lot, like a lot of our films have that. And I like putting it up on line like that, too, because, I don't know. It makes it look more like a movie. And when brides look at the leg, it looks like a trailer I watched online like it's got on and they get is one of those examples. If they don't know why, it looks like they don't understand it. It's like a movie So cool. So, yeah, I love doing that to my films, and I do it most of my stuff, Um, any questions about that? I mean, that's a pretty simple, simple process. Does anybody have a question about Do you want to get into exporting before we into questions? Because absolutely that will generate a lot, too. Okay, let's finish that part and some questions. Sounds good. Final Cut Pro. 10. The share tools are pretty good as far as exporting. Sometimes I will send a compressor to do something specialized, but generally I could just do share and go to whatever setting I need to. If I'm uploading a video like it, just put it right on video or exporting after Apple Devices. What I give my clients on the flash drive is basically the Apple Devices 10 80 p format, and that's perfect for them. It's compressed, but it's not as compressed this impact to Blue Ray or, you know, each juices for Blue Ray. I can. I can. I can adjust the settings a little bit, too. I want to give them good quality, but file sizes really get out of hand very, very quickly. So to export, out of out of final cut pro 10. And if you're already a user violent person, you probably already know this. Otherwise, how would you have ever used the program without being able to get a file out? But essentially, you know you can set in and outrage now, so I can kind of come. I like to give a at least five or seconds pad on the beginning and end of my videos because not everybody's Internet buffers very quickly, and I don't want them to jump in as the film already started. So I panting this 5 10 seconds. So I'll go to the last shot for the last piece of the audio and then count off five seconds so somewhere right about there would be good hit. Oh, to set an outpoint, travel back to the beginning and let's see what kind of ah and see him at 4 22 You know, that's not that bad. I probably select all used my p tool, drag it out a little bit more and then sent my endpoint somewhere over here. Okay? And again, I'm gonna have to reset. So once you have your range to find here on the timeline, then you could just go to file share. And then whatever you want to dio master file will give you the current settings, whatever the current settings are. And in this case, our current settings or 1920 by 10. 23.98 frames per second, which is the same thing is 24. Okay, you know, we say 24 but it's 23.98 There are there is a technical difference, and there is 2 24 But for exporting, you don't really need to know that. And you can tweak the settings here slightly. So I want to keep it as Apple Perez for two to lt, which is what we edited as this'll ways he keeps, you know, it doesn't have the rear ender everything. Right now, all my render is done, so the export will take just a few minutes. A couple minutes. That's it. Real quick. Um, and that's pretty much it. I don't really do much more else than that chapter markers. I never do chapter markers within Final Cut Pro 10. If I'm doing those at all, I just do them. In the DVD authoring program, I used Adobe, Encore and TV studio produce depending on what I'm doing. If I'm doing more complex menus, all use DVD Studio Pro, but it'll be on course efficient, and I do on my DVDs is basically play movie bonus features. There's no scene selection chapters It's a short form film. I'm not gonna break it up in the chapters. It's usually one piece, so play movie will play their feature bonus Features will pull the menu with the full ceremony, first dance, parents, dances, toast, maybe the introductions to be into the reception. And that's it, you know. So there's no need to go see chapter markers, so I would just turn that off, you know? And I know I'm sure there's people out there that use final cut pro to set chapter markers is just not something that I generally did. All right, so exporting something it's already rendered probably wouldn't take much time at all unless you're converting Teoh back th to 64. Okay, for video uploaded, probably take a minute film takes me about 35 40 minutes on this system. That's with fast fast processors stuff, so it's not too too, too bad. Any questions about that I get, I just kind of breeze through that you guys clear on exporting. Do you guys any problems that you guys encounter exporting that You think that would be pertinent? Let's this would be a good time to take questions from the jury. All right, so let's see. Do you question from Kaiko 86. Do you animate your menu with Encore, um, animate menu, meaning add video to notch. Okay, I don't do really crazy animations on my menus. If you're looking to do something like that, this company called pre composed dot com and he does animated aftereffects menus, transitions between, you know, the main menu of the bonus menu, and it's a little pricey. I mean, if you're willing to spend 2 50 to $300 per job toe, have your DVD menus authored, it's a good option. I don't really want to spend that much. I want to keep it in house, and I like that. Like like you saw with the cases and stuff. If we've done a movie poster all title the wedding film like that in my titles, there will be branding consistency. So I want to make sure that all that matches so I'll do it myself. But no, I like simple DVD menus, and I'm gonna be honest with you. I think DVDs are gonna be going away, you know, with the next couple of years. If if you guys want to see an example of a DVD menu. Um, the ones that rob uses are very similar to the ones that are in our store. The template. So just go to Venice and rob dot com. Click on the store, goto all products, and you'll see DVD menus in there specifically, and you can see exactly pretty much what they look like. Very simple to scream menus. Yeah, I don't get too crazy with motion animated transitions between the menus and things like that. What are the audio setting he recommend when exporting? Oh, that's a great question. That's what's nice about having these presets. Like, let's pull up the video one here, okay? And go to settings. It's going to not really give me a whole lot of options for setting audio. If I was gonna be in compressor, I would export my audio settings out. As such for the entire film, I would export at 128 kilobits per second, okay, and then my video data rate would be around a constant bit rate of 5000 kilometers per second. All right, I know that's real technical jargon, but 128 for audio 5000 megabits per second for video. I think that's for video and a lot of online hosting websites. That sort of there they're parameters sort of with them what they want. And keep in mind that any video you upload the video or YouTube or anything like that is going to have its own compression applied to it. So be prepared for you a little bit of color difference and things like that. He was pretty good. I have noticed that there was some color variations, though depending on what you know what it is exporting. But that's I don't really do much more to tweak the settings, and that one thing I will do is compress my audio. In Final Cut, for example, I want my audio levels to be all the same throughout the entire piece. OK, so all you anybody using compressors and limiters on their audio, it's great. So, for example, let's take let's take the official because he was sort of all over the place, and I'm just gonna do this on one clip. But what I would generally do is do it to the entire thing, and I'm gonna mute my audio. My music rather real fast. So we're just hearing the audio from the officiating. Love is unconditional and it drives on the joy of each new day. May you always be able to confide in each other and to share moments of quiet and peace. OK, it's not too bad. Pretty even. But if I go and add a compressor to this, if I go to my all my audio effects and let's typing compressor Okay, surround compressor, just standard compressor here. And I dropped this on and I go into my parameters here. A couple things to know about compressors. They're very easily overdone is very easy to come over compress audio. It sounds fake. It's just too, you know, attacks comes on too fast and goes away too quick. So you want to kind of be subtle with a compressor. So you know what actually have Let's do this. I have a compression test project, and this is worth spending a second on because you'll definitely hear the difference in the audio. So here's a piece of audio that I actually recorded over myself, and I purposely moved the mic around so you can see what happens clear now. Compressors work to limit peaks and pops and spikes in your audio way forms. So if I talked really loud here, you'll see that the level of the audio there was a lot higher on the view meter as opposed to If I talk a little bit more softly like this, So to do a compression test, we will simply go like this. I'm gonna start talking really at a normal volume, and then I'm gonna talk really loud and really loud, and then I'm gonna back it off Mike my mouth, and I'm gonna bring it closer and talk really loud and talk really loud. So now if I add a compressor to this look at the V A meter we're looking Look at the way for him. It's top shelf everything. Listen to the difference best. We will simply go like this. I'm going to start talking really a normal volume, and then I'm gonna talk really loud and really loud and actually probably a little bit too much. So let me back it off a little bit. So generally the way I set a compressor is I think my ratio the only thing you really have to you really have to to adjust on a purser is the ratio, the gain and probably the compression threshold? The threshold? Obviously. So the more you move the threshold into the negative numbers the Mawr compression is gonna add, the ratio is the amount of that threshold. It's going to apply 1212 to 13 to 14 to 1. So it's exponential, adding a lot of compression. So I've got it said to Right now, let's move that up to like, Ford's really compressed this and drop the threshold down and see how that with that And then I'm gonna talk really all rights too much. Let's back it off angrily. A normal volume. It's lower volume because we don't need to be a 12 db now that we've got this compressed and then I'm gonna talk really loud and really loud, and then I'm gonna back it off my mic. So now even really loud and talk about keeping the booth get back to the center and my mouth, and but it does help to even things out, okay? And it's not you can you can sit here and adjust in real time to talk. Really loud, and I'm gonna move it away from my mouth and bring it back to the center. And I'm gonna move away from my mouth and bring it back to the center again, where I'm just gonna talk really softly and then talk really loud, really loud and then talk really softly at a normal voice and then scream into the microphone like this. So it's really loud. So I'm screaming in the mic there. It's not. People voice and then scream into the microphone like this, so it's really loud. So what I'll do is I'll meet all my music when I'm done with the film Export. My consolidate all of my dialogue. So what I'll do here, Let's see if I could give you a quick demonstration. I'll take all of words. Is officiating groom and all that stuff and export that out is one audio file. Okay, save it is one audio file, or you could just do a compound clip. What's cool about Final Cut? You could do this watch. Let's say these three clips represent all of the dialogue in my film. Okay, I can select them. All right. Click new compound clip. Save it as dialogue. It joined them all together. And now I can add the compressor just to that, and it will go ahead and compress all of my dialogue. So no matter if somebody was talking softly in one scene loud and another, it'll it'll even an all out. And then you just add your music back in. Don't compress your music. It's already been compressed. Max the studio. Whoever produced the music has already compressed it, so it's perfect, you know, And sometimes it's actually too loud. You ever had the experience gonna bring your music down? Yeah, so I definitely recommend using a compressor for your audio. Makes a huge difference. And you'll notice that your sound, that 20 minute film if you guys get a chance to watch it, the sound is always even across the Okay, so we cover letter boxing color grading. We talked a little bit about exporting compression and audio. Could be did cover audio cleanup, which is room. Glad we got to that. That was really cool. So we talked a little bit. Just a couple burning. And the 1st 1 is about Blue Ray versus DVD. Can you revisit that again? And talk about how you would burn the blue Ray off the Mac the way that I let on court do all of my trans coating for me. I don't mess around with trying to make the impact to myself. It's just unnecessary. I will export my final film and any pieces that I have out of. Final Cut Pro as file share Master file It's going to give me a massive file that's going to give me an UN compressed version of what I've done. OK, so it's compressed H sorry for two to light Perez, but I'm just gonna bring that right into the authoring program and whether, since its it's full resolution, it's 1920 by 10 80. No matter what I tell the DVD authoring program to do, whether it's DVD or Blue Ray, it will transcoder to the appropriate format for me. So I don't have to think about. I've always found I've got the best results that way. I know a lot of guys trying to do the MPEG themselves and get it right so they could fit more on the disc. But that's the beauty of not doing long form anymore is I don't have to worry about coming up against that 4.7 gigabyte max on DVD or 25 gigs on a Blue right? I never even come close to filling a DVD with 80 minutes of content, never even close. So it makes my life so much easier. A lot of questions about how to sharpen. Yeah, you could do show. I'm not a big sharpener. I'm I'm afraid to sharpen. I always I always feel like it's gonna It's gonna Chris about my images too much. But there is a sharpener in here. You guys sharpened at all. No, I mean get a written camera. Get your focus right now. I mean, you can you can enhance a little bit on. Let me just see real quick here. Let's grab a sharpening filter. Let's drop it on here and let's add some strength to it. It's really doing much. You guys see a difference? No. Is it selected? Yeah, let's let's remove this. Maybe it's being shattered out by that. So let's just take the letterbox offer. Now let's go in here and try it again. Here's some presets. Subtle, harsh G. Okay. Hey, cool. And then the one other pushing that a bunch of folks were act asking was about the wide screen. Can you show us again how you do the white screen and the other one was about from Germany? Do you always have to use letter boxes? If does the letter box have to be on every clip if you're going? Yes, it does. Yeah, there's also other methods of doing it. You could actually come into the clip itself. Let's see if it doesn't happen, you can actually crop. You can actually go into your crop here and actually pull down and make it whatever you want. But I like the letter box because it's got it already set to the parameters of 2 35 to 1 to 55 1 which your actual cinematic aspect ratios. So what I use is on the effect called Better Box and just drag it over to the clip and set in the underworld's aspect ratios set the aspect ratio that I want to 35 or 2 55 1 you can. You can go really crazy with 3 to 1 that's really anamorphic and then use the vertical offsets slider. That's where I would never go that much about there is fine. That's it. It's a simple is that when you export, you can tell Final cut pro. Basically, you know, if you have is on your what essentially that's happening here is here. These black areas are actually becoming transparencies. So you know, I know there's a way you can actually turn off the black so you can see the transparency. But please remember to do it on every clip. Rob and I were actually watching movie recently, and the movie had an error, and all the sudden it was not letter boxed on this one particular scene, and it kept going from my screen. E. Yeah, so please, you have to hold whoever did the conversion Teoh ITunes for. Yeah, I don't know how that happened, but I'm sure there's there's reasons why. But anyway, yeah, when you goto, if you put letterbox on and then you export it out, it's going exported as the transparency as that wide screen. Or you could do it in compressor to however you want to do that. But it's a very simple process. It's really a very complicated all right, so what, we're gonna keep going. The last thing we're going to talk to you about before we kind of talked about one of the future things we're doing is how we give the client their film. And we're ready to discuss this pretty much in full DVD or Blue Ray. We already talked about the client does get the option of that 90% of them on a street DVD. Um And then we also talked that we like to give them the master HD file onto a customized flash drive as well as putting it on video for them, Password protected and SmugMug. Actually, if you guys were familiar with them, they host videos very well, and they give you the option of people purchasing them in various resolutions off of smugmug. Which is great. Yes, you guys, I guess, burn the DVDs or blue ways in house. Or do you have someone else like, produced those for you? Are you have The editor is responsible for doing their own DVD Eso It's gonna close that there. Oh, sorry. Sorry limitations on stuff like that, but yeah, the editor is responsible. And then we usually give the client's three DVDs and we have the multi burner Weyburn. We give that giving three copies so I could just burn them right there. I'd say we have a blue rayburn or two. That's just basically a USB blue ray burner. Whoever needs it, just plug it in. We don't do a whole lot of blue readies. Honestly, most nine out of of my clients say they don't have the right. How do you do you like that label discs are ordered through. Ah, Black River emerging. Okay, Yeah. Yeah, and I just do a simple discover, just that image on it. You know, I don't try to get into Texans. I want the cases and stuff that look nice. But despite just being image, yeah, we don't go crazy with that. It's just a but that's that's actually I like to do a thermal print that looks a lot nicer. It looks more professional, like the DVDs you get when you buy in the store. Those air thermal print. And that's what I think we just printed here. That's just not thinking like I usually do a thermal pretty, but the pretty no, you get done through, um, for a lab. Your lab. Okay, Yeah, You know, Rob used to do them himself, actually, but the quality is so much better. And it's such a do you want to talk about just our company s o at the end of the job. When it's all done, I will save the final cut project. Everything is together. That's the beauty of the system that we have. If you look here, the system, you know, the color coded system that we have gives us places to put our completed files in our DVD. So I just take this entire structure the whole folder, and put it onto another bear internal drive into a Hudson case into fireproof safe. And the client ever wants to come back and get a DVD player. Bernd taken. We always keep the I S o file somewhere on the network server, so we'll copy that to the network server. And like I said before, we only hold on to these for like, six months. We don't hold on to the master files if the client is adamant and wants master files for May. If they say I want all the files because I have had people say that, give me all the files. Give me all the files, I'll say. Well, okay, It's $500. You know, I'm gonna get so I'm gonna give it to you. I'm gonna get paid for them. And don't never know what to do with them, you know? And I have to send me a hard drive with their name on it. There's 100 $ processing fee to copy it, you know? And I try to make it as unattractive as possible. But I have people that want it, and I just take it and it's all an individual files. So, like, they get it. And I was getting emails like, So how don't do these. It's like, Dude, I told you, man, it's like in a format that's not not everybody could handle. I think we talked about that for asking for the raw files. Do you even know what that means, right? Really? Even well, I mean, you know, some people just want because they know it exists. Yes, but I really don't advocate, You know, I get paid for it. Say it's exciting for the bucks in my pocket and go out for a nice dinner