A COMPLETE END TO END WORKFLOW IN FINAL CUT PRO X

[Music] nice to see lots of faces early on a Sunday morning welcome to FC P 10 world produced by our editors my name is Alex I'm not Rory can well he can't make it so I've stepped in in the last minute to talk through a one-minute broadcast film that was cut by Rory this is a oscar-nominated Spanish film called timecode you might have seen a bit about it it's actually a 17-minute film but our task was to create a one-minute broadcast kind of cut down so let's just have a look at this and then have a look at some of the elements of the workflow [Music] you're just gonna sell a ladder I hope your great looks lovely it's short on a mixture of red 5k which is all the red shots down here and GoPro 1080p Final Cut Pro is virtually resolution independent if you can if you have a look at this clip here I can access the red raw settings here so I can do a quick one light and adjust all of that before I start editing or I can create proxy files or I can create optimized files I've got lots of different workflows in the most recent update of Final Cut I can work in a new wide gamut color space as seen here here's my library up here with all of the rushes in it I've broken this down using smart collections and keyword collections in here it's almost infinitely powerful the way that you can actually break things down for example if I just look at my frame sizes folder here I've broken down the media into two frame sizes this was the GoPro this is standard HD and this was the red 5k and you can see that if I click on there this is just the red media so this is all it's basically a very quick search just based on the frame size like that so this not only works on already imported media any new media that comes in automatically goes into that search but I can combine this search with for example a favorites filter up here and I can see just the favorites of just the red media well I've broken down the audio using keywords here so I've pulled out various elements so basically I've just got a a custom color here on the timeline and I'm going to start cutting that to music very quickly we've laid some music down here I'm just going to play this and I'm gonna just put some cuts into the primary storyline here and illustrate some of the different edit types so we're gonna start with the the girl basically going to work most importantly I want this duration in the timeline to dominate so I'm gonna mark that just simply with an X and overwrite a clip into there the next clip is wide a shot of her walking like this and I'm going to create an effect shot whereby I wipe the title on using this tree here you'll see that a little bit later but most importantly the the out point the part at which this finishes is more important than the beginning so I'm gonna need to back time this edit so I've marked the end of this shot there and simply to fit that into this section here I use the same shortcut but just literally with the shift key and that back times the clip into the timeline there and you should say that the shot now ends as the tree wipes out of frame I've got a couple more shots but this is her going going to work underground it's a lovely sunny day but she's working on the ground so you can see why she's not very happy this time I'm going to use a replace edit again this is just cutting quickly to the music the next shot is it's going to be a little montage of her getting ready and what I'm going to do here again is just replace that into there but this time we're going to start creating this split screen effect so I'm gonna mark this clip here choose her buttoning up her tie there and this time I'm gonna press Q and because I pressed X we've now starting to multi layer here and superimpose edits up here the next bits two shots from one source so the bit I want first is where she walks through the door there so I'm gonna mark that is a favorite F and the next bit I want to combine is where he leaves he leaves his work there so he just walked through frame there like so and there's also dialogue so I'm just gonna press f4 favorite there but now very quickly if I just choose favorites there I can now just see the two shots now the dialogues more important here than the actual timing and the timeline so on just gonna use a normal over I edit in there and then I'm gonna superimpose this shot here above that again using cue and you can see these two shots now have audio in here if I want to see the audio I can double click there or I can actually open up my audio lanes and I can see all of the audio very quickly like so and you can see I'm going to try and combine the two elements of dialogue basically they say hello at the beginning of the day what will make that easier is if I solo one of these so he says I hope you have a nice day and I want to slip that slightly so I'm just going to move that you can see the waveform moving backwards very easily and I can trim the beginning of that shot because he also says when I switch is hello but that's kind of kind of gets in the way and I'm gonna do the same with her and as you can see because the clip above is connected to it that that shot is now going to move so that would be a little problem but I can press a little shortcut and that will stop that clip connection from activating so I can now slip this shot with impunity ever so quick so basically what I've got is two shots one above the other and we'll come back to that in a second the next shot that I know I'm going to need is the the very end shot so the whole film basically revolves around the final shot and I'm just going to literally put that at the end as it with an append edit very very useful simple the simplest of things often the most powerful I'm not going to jump forward a little bit a little bit later in the Edit we've we've laid down a few more shots here now first thing I'm going to do is I'm going to drop in some sound effects this sound effects came from the Final Cut Pro Library included with everything so there's a few footsteps there are be lucky if they match immediately but less let's have a look I'm just gonna connect that down there and again I'm gonna solo this slightly out of sync but again I can slip that I'm I may get away with that because you can't see her feet but on the next shot it's probably gonna be a little bit more demanding so I'm gonna try the same thing again let's just solo seemed to start okay but then it's it's drifting so the speed is not right it would have been very very lucky anyone like to guess if it's faster or slower it's quite difficult to tell but I'll have a guess so I can just activate the retiming menu on audio just like you can with video I'm gonna guess it's needs to be faster well in fact I know it needs to be faster but I'm just gonna make it faster there's no trickery I've made it about 125 percent there and let's see if that fits maybe a bit too fast there so I'm gonna stretch it back out maybe to about 120 percent and then trim it back and I'll probably do the same to match on this shot here so take that down to about 120 and you know we're getting there the next shot where I'm gonna add some sound-effects is this again and there's a little marker there where she's she's typing the key but it just it just helps subconsciously with your belief in the reality of the narrative so all I need is a tiny little bit of a keyboard press and I'm gonna put that in there and see if that works again that's working the next part I want is some radio broadcast so we've got a little bit of Spanish radio here and again this is going to be in the office so I'm gonna press X and put that shot down there okay so we've got the music we've got the dialogue and we've got the sound effects now all going on so that's that's getting quite complex what I'm gonna do now so I can make this starting to look a little bit complicated but what I am going to do mark all of these effects shots here not the dialogue there and I'm gonna change the audio rolls to effects so immediately I've got visual feedback so I can see what I'm doing and that makes me feel a lot more confident that I know what what's happening in the timeline it's not something that is always done but you can do this with video and it'll make things a lot easier with the video so and it comes to the timeline index here and I go yeah and I can see immediately all of the shots with go but what I want to do is I want to permanently see that so I'm literally that's they're all selected here in the timeline it's simply going to right-click that and I'm gonna change that role to GoPro there and then I'll immediately see a lot lot more clearly in the timeline what I'm doing again I'm going to type in a + 0 which will find all of the red media and I'm gonna do the same thing with this and I'm going to choose red death so then you immediately see the red shots these shots of blue because the audio is the audio role is is dominating so this is making my life a lot easier as the timeline becomes more and more complicated it would help her you know producer-director to be able to see where the shots were so that you know you're not not becoming confused now color grading it generally comes at the end of the workflow but initially when I look at these shots in Leanna you can see it's got a yellowy color cast it would be nice to be able to sort of fix that so I can simply just select all of those GoPro shots there and color balance them which is not necessarily a permanent thing but it's automatically just gets rid of that color cast like that as an example of something else that I can do I can just quickly come in to say this final shot here always like to take a little bit of saturation out of the highlights and the shadows replay and take it up a bit in the mids maybe take up the contrast have a look at the video scopes just so I know what I'm playing with just so I know what what I've got to play with when it actually comes down to doing the color grade but what is nice is that I can actually start jumping around between these different elements if I feel like I want to and it also looks a little bit yellow this shot looks maybe a little bit tiny bit yellow maybe there's some fluorescent light in the underground carpark so I can very very easily fix that just simply by dragging the mid-tones which is probably the most important in terms of skin tone up towards the blue and that gets rid of this yellow it's cast there and I can I can save that as a preset here and add it to others or I can actually save it as an effect here or it literally can can copy it and I can paste it to other shots literally by choosing and paste attributes and copy that and color correction onto onto here now that I'm here on this shot I just want to show you the little quick wipe effect how quickly it is to knock up some actual traditionally online effect so I'm going to mark that shot come up to the text titles here I'm just going to add a simple basic title above this shot and the title of the name at the title of the film is timecode so I'm going to type that in I'm gonna make the font a little bit bigger and I'm gonna change the font to the one that they used in the film which is a little bit further down here and I want to wipe this on as I said with the tree so let's see how how easy it is once once you know a few little tricks so the major trick I'm going to use is I'm going to mask off this with another copy of the base layer and then I'm going to add a mask I'm gonna draw a mask so you can basically draw you've got a free freehand draw tool on the any pretty much any shot you want so I'm gonna bring the cursor to around here and I'm gonna start drawing a mask around the top layer doesn't have to be that complicated because luckily is a straight edge here and I'm just gonna track this manually by hand by eye so I put one keyframe in there and then I'm gonna move along the timeline until the tree is almost off-screen and I'm literally just going to drag the edge of this mask like so to that and bear in mind this is 5k rad [Music] maybe not perfect but that took what less than a minute it's very very quick and it's all inside a Final Cut Pro the next thing I want to show you is is how the genesis of this split screen occurred so she walks in the door she says hello in that shot and in the other shot he basically gets his jacket and says have a nice day hope it goes well I'm just gonna hide the top shot and I'm gonna start on her so how I'm going to achieve this is I'm gonna actually add a generator just as simply a bit of black above her and what I'm gonna do that's full-frame to start with but what I'm going to do is I'm going to crop the right-hand side so I can see like so she moves out of shot and what I want to do is I want to see she goes out of the screen and I want to keep the action in the right-hand side so again I'm gonna manually track this so as she gets to roundabout there I'm gonna turn on the transform effects keyframing wireframe and as she moves across I'm basically just going to simulate a little camera pan nothing too strong I now want to achieve the same thing above on that shot there might be another extra little issue that I'm gonna have to deal with here that some of you may spot and so I'm gonna crop the left-hand side I think it's the left yes I got that right again it's round about 1880 round about there the first thing I want to do is get rid of the microphone so I'm just going to zoom in like that drag the shot over a little bit like so and that's probably going to be my starting point so we've completely lost her so that's quite good so he's going to come in like that maybe I'll start a little to the left like so and then as he moves out of frame I'm again I'm gonna add a little keyframe there and gently if I click this cross here that allows me much more accuracy with the vertical and horizontal movement and again let's see if we get the result that I want okay so now so that's looking quite good in terms of the move but now what's happened is that this shot is now masking the shot underneath her side so I can very quickly select those two shots that make up a left hand split screen and create a complan compound clip of that call that left hand side and that's there it's still being masked but I can simply now just crop him there and the only thing I need to do on her now is to choose spatial conform and that's pretty much how the split-screen effect was created so now I'm going to jump forward to quite a few steps as you'll see in the final version and I want to talk about output so again you can see as the timeline becomes more complicated how useful these different color effects are so I can immediately see her I can see these are the sort of CCTV effects there's a black and white sort of raster effect being added to make this this look all black and white here but I can immediately see what's going on it also helps I think with the story when you look at the timeline you can actually see how the story is developing as well so finishing as you can see this is now starting to get quite complicated in in an actual film there's going to be a lot more effects down here so what I can do and this is new to this version of Final Cut Pro I can just basically create a compound clip of the whole sequence like so and that flattens all down here and now that doesn't look very useful those it doesn't look like I can mix this particularly well but wait wait wait if I come up to the audio inspector and I can arrange this in rolls all I have to do now is come to my timeline index and choose show audio lanes and I can now I've now got three individual lanes of audio for dialogue effects music so I could keyframe the music I can take that up and down I could add for example a compressor to the dialogue just to make sure that the audio levels are all nice and strong so that's incredibly versatile there because this is a broadcast job I need to look at the scopes and I also can turn on my range check and this rain check is basically showing me anything that's out of gamma so you have to be very careful with broadcast the Internet is pretty much agnostic you can put anything on there but broadcasters you still have to be very careful so you know this little zebra here is basically telling me that that's where I'm going to have problems okay so there would be two choices one would I would have to go back to the original shot and take the levels down or up you can see the problem here there's a little bit of footage just below black level zero so that's that's probably what's causing a problem there right rather than the highlights it's actually the shadows that are causing an issue here but I can come to my color filters and I can add a broadcast safe filter here and that hopefully pretty much fixes all of that in a couple of seconds now it's a nice thing to have in your tool set at the end of a job that's just an extra bit of security in terms of output when I click output master file share I can output this as this we started this with a 4k timeline so it's double double the width of a standard HD so I can output this to 4k if I want to so I could choose the standard and ProRes video and audio output if I want to create a standard HD project I'll just make a duplicate that's the duplicate though I'm gonna call that HD and how hard is it going to be to change the frame size to HD oh I've done it it's that quick literally to change everything's fitted in to the frame perfectly well I can now choose my master HD output and I can share that and this will give me all the extra codex AVC intra xdcam favored by different countries across Europe so I've got all of this ability natively within Final Cut Pro so I'll just share that put that on the desktop and that's the end of this presentation and thanks for listening [Applause] you

Channel: FCPX Tour

Views: 112,391

Keywords: FCPX, Final Cut Pro, broadcast, IBC, editing, Timecode, Apple, Soho

Id: cG6_82qC7tA

Length: 23min 55sec (1435 seconds)

Published: Thu Oct 26 2017