Film Making Masterclass with Final Cut Pro X

hi again I'm Mike Roberts head of the electronic music department here at the Guildhall school introduced in the second of two film related master classes recently presented at Alice's and Luke's we're particularly excited to have partnered with Soho editors Europe's leading production and post-production agency gaining an insight into the process of directing and editing a film is essential for everyone involved in the film industry including musicians so given we now offer film music as a principal study degree discipline it made perfect sense for us to work together on this presenting this masterclass in filmmaking is Soho editors master trainer and film director John Williams with 18 years experience of music videos commercials short films and feature films and working with bands such as coal plate and Radiohead John is a multi award-winning director with accolades from Cannes MTV and the Edinburgh Film Festival to name but a few I personally found this session really inspiring but speaking to those who attended from a purely filmmaking perspective I know that John's expertise is right at the cutting edge of their discipline if you benefit from this masterclass please like share and hit subscribe for now and no you're gonna enjoy it as John explores the art of filmmaking dude join me in welcoming to stage John Williams thank you thank you very much if you came this afternoon hoping to see the John Williams the guy who composed the music for Star Wars and about every Steven Spielberg film ever made I'm sorry I'm not him but I am going to show you how to make some films and I hope you can come with me on a journey as we do that as we mentioned I work at Soho editors where we train the next generation of filmmakers and we're going to be walking you through in this masterclass how to work with Final Cut how to build and their film that we're about to see so what I'm going to do is I'm going to play that short film then we're going to go backwards and unpack how we did it and how to create it so I'm just gonna go and play this play this right now hello Matt guess what she said yes you never make it on time yeah not one myself I won't come on let's go [Music] [Music] [Music] [Music] [Music] hey I made it yeah it's been time [Music] [Applause] okay so we're gonna have a look at how we put this together in this master class we're gonna step through the steps it took to work both get in the film shot and then getting it edited and created and delivered inside Final Cut so if you've not used Final Cut before or seen it before you're gonna learn some things about how it works if you if you're an experienced user if you're a ninja at Final Cut then hopefully going to pick up some tips and tricks as we go but first how do we how do we get the project going well what we've seen here is a very short film 90 seconds it's got some fast-paced action in it it's got some stunts it's got some cameras moving around it's got a couple of scenes of dialogue between two characters we've got outdoors a mixture of weather obviously shot in Britain so we've got all sorts of weather happening in the same day it's filmed for cases ultra-high definition resolution and it's shot on a variety of cameras let's have a look at the some of the kit we use to film this up at the top left we see the red camera that's the red raven that shoots at 4.5 k next to that we've got the canon c300 which shoots pro res raw when it's linked up to the at Monsieur gun inferno I'm going to talk about RAW files in a moment down here the bottom left we've got the movi pro rig this is a little gimbal that you pop the cameras into and it keeps it all stable so if you want to run really fast move really fast that's a brilliant tool to work with we also shot some slow-motion on the iPhone and we used a little handheld gimbal for that and then the aerial shots at the end of the maze they were shot on a DJI drone so shooting RAW files is a really useful way of working I'm just going to show you this slide here we've got an image here what is raw well let's sit for most of us raw means you haven't cooked something properly but in film it means something slightly different you see on the right here we have the raw image as it came in through the camera and then on the left side we can see once we once we've corrected it we've got the finished image now the raw gives us a lot of raw information it's like an undeveloped digital negative and it means if something was slightly Oh Rick or underexposed we can fix it in the post-production stage and of course that's what we did so we had a lot of a lot of a lot of kit to shoot the film but when it came to editing it we had this we just had the iMac Pro and that was all we needed to bring it all together both with the sound and the picture and the final grade so to start with we had our concept we we know knew we want to make a short action thing so we thought okay let's get a couple of free runners to do a kind of race against time thing so we came up with our concept and then we needed to find a location to base it in now we had looked all around London we came across Crystal Palace Park which is a really great location because it's got a real mixture of color and texture and right in the middle of the park is this beautiful maze which became a good option for our final scene so that's the location was set on then we needed to find who was going to be willing to do our acting and so we started looking at some of the best UK free runners people who had experience working with film and we came across a couple of guys who were gonna be perfect so then we did some auditions with them and then we took them out to the location to work out what they could actually do because you can have an idea of what's possible and then when you get people there sometimes you realize it's not quite as possible so we took them out and we did various little kind of tests and jumps here's a little clip of Chris jumping over a quite a big gap and we could work out what we could do actually on the shoot in fact the stuff that when I first went for location the stuff that I thought was too dangerous or just a bit too risky they were really excited by so that was that was quite good so as a result of us doing a location recce and go and doing some rehearsal we're able to draw up a shot list and we actually worked out to have over 20 scenes in this in a finished film well that's very very short there's 20 little set pieces the intro and the outro scenes that are the longer ones but they're after that it's a lot of very short scenes a lot of very quick action so we set out to shoot over 20 scenes in one day and we knew we were going to be able to do that because we had the the kit and the crew help us do that unless of course someone got hurt if someone died then that would obviously ruin the plan but everyone was kept safe so we were able to shoot everything as planned I'm gonna just play a little behind-the-scenes making-of video now some of the footage and just talk through how that went so if we have a little look of this [Music] okay so we're blocking out the shots we shot the first scene first which might seem logical but normally when we're shooting a film you shoot it all out of order depending on the logistics but on this particular setup it was the hardest setup of the day really because we had sound running we had mics on both characters we wanted to shoot it ideally in the morning time we wanted to get the kind of you know sunrise but we didn't quite get the the Sun at that time of day but that was fine so I knew we could fix that in Final Cut later you can see the Mavi Pro in some of these shots they're going running around behind with a camera there in the Bobby Pro he's got about a hundred thousand pounds worth of kit inside of that thing so he's running off concrete blocks he's taking a bit of risk behind him is someone pulling focus behind him it's someone with a mic recording the sound behind him is someone saying action and cut shouting in their ear you can see the weather is the changing constantly throughout the day lots Sun we've got rain we've got clouds we've got a lot of wind but again we can fix all of that later and yes there's a few jumps where they are using big crash mats because they're having to do the same action again and again maybe they've got the director saying do it again do it again do it again Gavaskar so obviously to keep everyone safe there's crash mats I have shop wherever possible so we managed to shoot all the scenes in one day we had about 12 hour day and at the end of that then the next challenge is well how are we going to cut this down to 90 seconds so that's what I'm gonna step you through now how do we do that and I'm gonna jump over into Final Cut to start the process inside final cut I have a library here called Just In Time which is the name of the project and I have an event here that's empty at the moment called media so first up I want to actually start by bringing in all of my media I'm gonna hit import media and I'm gonna go and navigate to my media location inside here I can see different media for example I can see drone footage I can select on there's some of my footage of the maze from the drone and I go down to read have a look and there's so my read footage is one of my last shots movie shot so this guy appearing so I've got all the media here I want to import it into Final Cut rather than doing a clip at a time I'm gonna select each of those folders and that's ready to go now over here I've got options of how do I bring the media in this is known as media management now in Final Cut it can copy all the media for the library which makes a copy of it and puts it all in one place which is a really easy way to organize all of your media or you can choose to leave files in place which means you manually choose where the files are that can be useful if you've got huge amounts of media and you want it to be spanned across different drives I'm gonna choose leave files in place because we've got some very big files here I've also got this option here keywords this is a really useful organizational feature we're going to dip into this a little bit more in a moment but for the time being I'm gonna have a keyword from folders that means when I bring in the media it's automatically gonna make keywords for each of these folders and that's going to be really helpful so all I need to do now is hit import selected that comes straight in to my media and I can let's have a look through here I've got all the rushes all the footage from the different cameras if I open up this media event I've got c300 I've got my drone I've got my iPhone I've got my red and click on that now I'm seeing only the shots that were filmed on the red camera obviously loads and loads so to organize what I want to start doing now is I won't start putting things into the scenes that they were shot in before I start editing it's really important I start organizing so I'm gonna start by selecting this I know this is scene one because I shot it and I remember but if not I can always have a look at the clapperboard and I can see there this big scene one there so I'm going to select this hold down command I'm going to select all these clips from scene one which there's a few on this camera and once that's done I'm gonna go up to press this keyword button and I can add a keyword it's already key worded red because from the red camera so I'm gonna add a second keyword which is going to be called scene 1 and hit return down here now I have a new keyword called scene 1 if I select on it now I'm seeing only shots from scene 1 well in scene 1 like most of the scenes we had multiple cameras rolling so I'm gonna go back up to my what's called the B camera my second camera which is the canon c300 and go and find my scene 1 shots from here I think these partway down so there's that scene 1 shot 1 so I'm gonna select that if I hold shift and select the last one from scene 1 which is there select that I've got all those selected I want to put them also into the scene 1 keyword instead of remaking a keyword you can see I've got shortcut here so I can just press control 1 and now they're added to the scene 1 if I select scene 1 then I've got both shots from both cameras I've got all of scene 1 now organized it's very very easy what I'm going to do next is I want to go and do the last C nationally which is scene 22 the main scene these are the two biggest scenes the first scene in the last scene so I'll do those first than everything else will be easier this time I'm going to change my view from the filmstrip view which is nice and visual to the list view if I go over to the list view I get a lot more information what's known as the metadata and I'm gonna list this by the start time and we started filming in the maze around about 10:30 there I can see 10:30 I can select on that clip that's definitely a maze shot and we were there for a couple of hours - about 12:30 there's 12:30 shift select so I've got all of the maze shots there were three different cameras running there and I've got all of them all I need to do now is go up to my keywords and I can call this scene 22 or just call it maize hit return and now all of my maze scenes are now organized I just popped that over into the filmstrip view so I've got all the same one I've got all of the maze and that's easy for me to start working one other method I'm going to show you is a smart collection this really useful because if I go and choose to create a smart collection I can create a search for media based on the type of media that it is I've got different options here I could search for the media based on a name so certain cameras may have a certain name or an extension I can search for or they may be types of media like just audio or just video I'm gonna go and use this format option info button and I'm gonna choose video frame rate now we shot everything at 29.97 so if I do a search for everything that's not 29.97 that's instantly gonna show me all the clips that were shot at a different frame rate which in this case would be slow-motion shots so I've created a smart collection that's looking for everything that's not 29.97 I'm just gonna rename this to slo-mo because that's much more logical and now I can have a look through let's have a look at this one this isn't probably my favorite slow-motion or one of my favorite slow motions this is our shot runner a jumping over the ledge and there is actually a really big drop down there you don't really appreciate from him there's a big drop down there boom so I've got all my slow motions organized so I can organize the media by bringing it in using keywords I can manually keywords which I've done with these scenes and then I can use smart collections to automatically group things up which is super helpful okay I've actually got an event here called action setups and I've already selected a few of these ones in here in a moment I'm gonna build these together to create an edit but before I do that I want to go through and actually show you how to narrow down the media if I go back to my maze scene of course I've got all the clips in here but a lot of the clips for example at the beginning there's a load of stuff on there there's a clapper board cameras finding the angle and it's not until about here that it's any use to me so what I can do is I can select just part of the clip that I don't want and I can just press Delete and it just gets rejected now I'm just going to turn my filter so you can see what I rejected part of a clip looks like it's this red bar at the top at the end of this clip also the camera gets dropped down because it's pretty heavy camera I can reject that I can go through the whole edit marking areas that I want to reject in most of these there's loads of footage that I'm never going to want to use obviously because we're shooting digital rather than film it's a lot cheaper these days so cameras do run for a lot longer so I can go through and just everything that I know I definitely don't want to use I can reject after I've done that on a bunch of clips if I just go up here and go to filter just see rejected this shows me all the rejected clips if I show all clips I see everything what I want to do is actually have it hide rejected that means every time I reject a bit it doesn't get shown here it doesn't delete the clip it just deletes that part from the visualisation that we see so we've got a lot less media to look at whenever we bring in footage whether it's a film or a documentary or just some home video the amount of footage you're going to use in the Edit compared to the amount you bring in is a huge ratio so that sooner you can cut things down the better and if there's entire shots that you don't want thing say I'm not too keen on this show you can just select the whole shot and reject it again it's not deleted it's just hidden from the view so that's using rejects what else we can do is we can favorite and that's a really useful way of working so for example I've got this medium shot here of the guys entering the maze and running around they disappear under a tree quite early on and then they really want to use the first part what I can do here is I can just drag across drag maybe about four or five seconds of that and I want to favorite this so if I press F it adds a little green tag which means it's favorited so that bits now a favorite for example I want some shots where he's running towards camera there looks reasonable press F the favorite that I can favorite multiple times on the same clip so now he's coming forward here F to favorite that this is where he enters the may you f2 favorite that and then let's do one woman here when he jumps in I like that and I'll go all the way until she turns it'll be a good point for us to cut there we go I'll favorite that and then I probably want to see the reverse shot when she turns to say hello or hi and see a bit of that shot there okay so I had loads of media in here rejecting it can get rid of the stuff I know I definitely don't want to use favoriting really narrows it down so if I just go and have a look at favorites now I can see just the best bits of the best clips and this is going to be much more helpful when we come to editing so let's have a look at editing by building a scene together we're going to go over and we're gonna start with this before I do that just want to recap on the first few steps we've made there we've had look at importing and organizing we've managed the media so how do we want to deal with the media when we bring it in we've looked at key wording grouping things up into different naming categories we've had a look at smart collections to automatically organize the media for you and then we've had a look at rejecting and favoriting so getting the best of the best it doesn't take too much time but the time you do spend at this stage of the edit really means when you start to put stuff down in the timeline when you start to tell your story it's just a lot more fluid it's a lot more fun if you just put clips on the timeline and start working with it it can get messy and you pay for it later but the bit of time you spend organizing using these methods upfront just means the editing process is a lot more fun and it was very fun and fluid on this project so let's jump back to Final Cut and have a look at how we can do this at this scene seven I've got scene seven which is just two shots so it's very very simple I'm going to show us how to build the Edit up with just two shots and make it a little bit more interesting so this is the first shot run RA running towards camera and that reveals gonna be on the bridge jumping down I want to make a project timeline for this so I'm going to right-click I'm going to choose new project and I'm gonna call this scene 7 oops not 67 the scene 7 and I'll go with the settings here that matched the footage okay and as soon as I do that I've got this clip down on the timeline I'm gonna take the second clip and I just want to add this to the timeline I'm gonna go down here and press this button here which is the append edit button it means it adds it to the timeline and now if I play back when that could ends the name let's click begins okay so obviously there's a big kind of overlap because the action happens twice we want the action to be continuous so I'm going to go to the end of my first clip click and drag and that trims it you can see in the viewer I get a split screen it shows me the clip I'm trimming and the clip on the right is the first frame of the next clip so it's nearly always a good idea to trim or edit on action so if I go and cut midway through his jumps about there that's looking good then I'll go to the second clip trim this in and you can see he's falling down there so if I play this little section back the Edit back that should be much more continuous of course I could extend the time he's in in the air by adding a few frames back on there feel like a bigger drop and I'm gonna trim off the end of this clip because that's much longer than I want okay so that's my first edit I want to spice it up a little bit I want to add a punch in shot a closer shot of him jumping off the bridge there now I don't have any more shots here we only had two shots of this particular action scene but I can create a new shot because this footage is very high resolution so what I'm gonna do is I'm gonna go back up here and I want to grab just the bit when we see him just before he's jumping so I can hit I to marketing point move along Oh to hit now point so I'm selected just that part and I want to punch that in round about here just before the orange guy leaves frame so that's that's it so with that clip selected I can go down here and I can go and choose to insert that I'm just going to insert that to the timeline and we'll see it just cuts in unfortunately it cuts back again so I don't need the second instance of that so I can select it I can just press Delete and you can see because of the magnetic timeline it keeps the clips together it doesn't create a black hole in the middle which is really helpful so if I play it back now and gin so I've just got an extra shot in there and for this sequence it's really helpful because we want to have a lot of cuts we want to keep the tempo up so if we didn't have enough shots we can create new shots by reusing shots I'm gonna select this clip I've not quite done with it I want to also resize it a little bit so I'm gonna go over here and open up my inspector I'll go over to the video options and I'm going to scale that out and bring that up to about maybe 130 or so and so now as I play through it just comes into a slightly tighter shot and then continues on again bit too long at the end trim that down and that's now starting to run a lot better okay I've got scene 15 ready as well I've already favorited my shots in this one there was a lot more shots and takes here but I've narrowed it down to my favorite shots this is one of my favorite scenes in the in the film it's just a short little action bit I'll play it back okay so that's them just running through there and then jump leaping up into this tree and then leaping off so I'm gonna start with this this shot here and I'm going to append it to the story line I can do that by pressing E that just pens it adds it to the story line and I want to find the moment when they jump up here looks around about here because I want to cut to my second camera shot which is the Canon shot here and that's when they leap up to the tree and jump down you can see so with that selected I want to go and insert this as well if I insert it and play it back see what happens I got a load and noisy already audio on this one so before I do that I just gonna undo that for a second I want to take the clip and before I insert it I want to go down here and I want to say video only so rather than sticking the video and the audio in I'm just gonna stick the video in I'll recreate what I did before I select it press W to insert that that's the shortcut and now it's gonna cut and there's not a big jump in the sound so that's much better I'll get rid of this clip at the end and I trim this clip off just so we've got the orange guy leaving frame again cutting young action is always nice there we go now the audio there is a nice bit of kind of atmospheric sound coming from here with the wind rushing through that we the leaves and some steps but it suddenly stops when the clip stops I want that sound to continue because it really helps edits flow when the sound is continuous so I can easily do that by going to the bottom third where the audio is double clicking that expands the audio and I can just trimmed only the audio part out this creates what we call an l-cut it looks like an L you can do the same at the beginning I don't need to on here but that would be a J cut and this is what really helps edits flirt the video the sound and the pictures start and stop at the same time it feels like you've just put a load of shots next week it's quite jumpy as soon as you've got Jay cuts and L cuts you've got much more fluid edit okay now I can put in extra sound effects the sound of him landing harder on a kind of leafy floor later but that's really helping for the purpose of us editing I'm not going to get into the details just yet I do want to again add another shot to keep the energy up if I go up to my event viewer here I have some I have another tape which was actually a mistake this is one of the guys made a bit mistake so we reset it there but I actually liked the way this shot starts because the camera's lower I like that so I want to go and add this to the beginning so I start down low and then I come out to the wide and then I go to the shot them jumping up the tree this time I'm not going to insert it I can use another option I can use this option here to connect it if I click connect it pops it above and the great thing about it being connected is I can move it anywhere I like and it's not touching the original storyline now if I play it back it's not going to be in sequence and see the same action twice so what I'm going to do is I'm going to find the end of this clip here when he's leaping the orange guy is leaping off I'm going to trim it back to that point there and I'm gonna find where is he leaping in this camera set up there I'll just leave the playhead there I can just move that over there and if I play that back it should now look like one continuous move okay so although these two shots were shot at the same time so do mix up these are two different takes of the same action but by cutting on action and using a particular motion I can match it to I'm able to cut the action together very very quickly I'll just trim that down pop that together and now my edit is starting to come together nicely so this is how we can edit picture picture with sound but our first scene is a little bit more tricky because we've got dialogue recorded and whenever you record professionally the audio is always recorded separately from the video so the camera does shoot reference sound but it's there's never very high quality we always want to use external audio recording equipment and sync it up so let's have a look over at my scene one I'm just gonna jump over to seam one and we can see here as my scene 1 I'm gonna tall open and have a look at shot one take two I've already favorited this and here's my wide shot if I play this back okay so there's my wide shot the reference sound I can just about hear what's going on but it's not really a good level of sound that I want to use so I've got that clip selected and I've got the three audio channels that the sound recordist was recording the first channel was a boom mic so the boom mic was put behind the concrete pillar getting all the sounds of the footsteps in the movement and then I've got my first channel what's during my channel 2 which is on our main guy here that guy in orange and the third channel is on the guy in blue so I can actually select this clip press command select all of these audio channels right click and I can choose to synchronize the clips if I synchronize them I'll call this wide missus first shot this is the first shot in our film so first shot wide reset timecode and I'll make sure this is going at 4k and if I hit OK that makes a new clip I could put a sink clip the sink clip is here if I double click on the sink clip I can see there we go the video is much shorter than the audio the audio was obviously started recording first but we can see it's all in sync I can see that by the little audio waveforms there so there's my sync clip that's the first shot so I'm going to want to use that I'm just going to open up a empty scene one project just to pop this into so it's nice and clean easy to see I'm gonna take my sync clip of course I don't want to start it just to hear the sound I want to start it around about here when the picture starts so mark my endpoint I'll go and Tillie sleep and with that done I'm going to just go and add that by pressing he that's now added to my primary storyline of course I have still got my audio turned off so I'm gonna re-enable that pop that down onto the timeline and so my first shot okay that's now synced up using a timecode that was recorded on set but I have the different channels available in the inspector now I've got down here I can see I've got my different channels here I just want to use in this case I don't want to use the old the dialog from it I'm just going to use the effects so rather than using the radio mics I'm just going to use the atmosphere sound that's my first clip done I'm gonna go and do a close up next and let me go over to the just view the favourites so many of you in a bit so on this is the shot of my runner B if I go in for ListView I can see all the information about the clips and if I scroll along I've got different information I can see this is called the metadata now in these shots I've got some really useful notes that have already been recorded down there if I move those to the beginning I can see his information I can see if I go to my scene one runner be wide this one here I can see what audio does that sync up with well scene one will not be I can go and link that up to his the correct audio so I've got these ones here I can select there and I can just go and choose - oops sorry wrong one it's right next to it I can then just right-click synchronize clips this time I don't need to bring in all the three channels I'm just going to bring in the channel of him speaking so I'll call this shot one runner the see you for close-up and once again I just have that start at zero make sure that's for K so now that's gonna have synched him up and if I go along here where he actually speaks oops kanji file okay I can walk in and out and make sure I've got the right audio coming from here and I can go and add that to the timeline I'm also gonna press E that's added I'm not gonna do it for the other one I've actually already done it already so if I have a look down here I've got running a there's his section I can select that I play it back guess what she said yes okay so that's his line I can hit and now he's added into the timeline as well so I can very quickly build up my edit using these methods I've synced the audio external to the external audio I've got that in the timeline of course if I wanted to keep the atmoss on there I could keep running it through and having it cut underneath I can have it dip in and out I'm going to add an atmosphere sound later on just to keep it flowing through but we can see we can start building up the Edit very simply using these methods and that's what we're going to continue to do in a second before I go any further with this I'm just going to jump over to a work in progress edit so edit in progress just open up this one you can see here's one I conveniently did earlier and so this I've got various scenes and shots already edited in together here but if I wanted to work in a very organized way once I've done each scene I could compound the scenes by grouping them together and that's what I've done with scene one if I go into the scene one compound I've actually got that whole scene all edited together and I can go and just insert that at the beginning of my timeline if I select that there I'm just going to go and insert it at the very beginning so if I play that back now guess what she said yes you never make your time so you can see that's a compound clip if I double-click it I can go inside to see all the attributes that make it up all the different clips if I come back outside its compounded the great thing about compound clip is if I have a scene that's compounded like this one here this is about 3 or 4 clips compounded together I can move it around and this becomes a really great tool for storytelling if you've got scenes and you want to think what would it be like to put this scene later on in the film or put the scene earlier I don't have hundreds of clips and all their audio that I have to select and move up and down I can just have it compounded and I can move it around and we did that a lot not with the first scene in the last scene because they're all they were pretty set but all the action pieces between we could play around and decide what's the best structure for them so that's working with the compound clips so what in in recap of that we've had a look at editing the image by creating a timeline appending clips which is essentially adding them to the timeline one after the next we've looked at inserting Clips so you've got a sequence going you think oh I want to have another shot let me cut away to something here inserting connecting a clip that's like what we did back on this section here we had a clip that we connected above it and if we decided later to move it we can move it if we want to disable it or re-enable it I can press the V key to just turn that clip on and off so it allows you to play things around and then we had a look at trimming clips obviously making the clips longer and shorter so the edit you can see is coming together nicely what we want to do now is we want to start having a look at how we can enhance the Edit how to enhance the storytelling and I think scene one is going to be the best place for us to do that so I'm going to double click in my scene 1 compound that takes me inside of scene 1 and have a look at some of the clips I want to have a tweak with so I'm gonna have a look at the this shot here of the Apple watch so this is very short shot we've only got about a second and a bit to see it now we're seeing the timer go down so we want to emphasize this a little bit so I can select on the clip and I can go over to my crop tools here and in crop I can go and choose Ken Burns now who is Ken Burns Ken Burns is a filmmaker an editor who developed this technique to take a still image and to move into it slowly so often in documentaries you may cut to a you know a photo of someone when they were younger or a map and it will feel very static if you've got moving camera so to be able to move into a static image was a method developed by this guy Ken Burns and it means in Final Cut it means it's just moving an image within an image so if I if I just press the play button here to preview that back you can see now I've got a bit of a dramatic zoom on there it might be a bit too much so I can tweak that by just playing the size of the end and the start position I could make it more dramatic by zooming in more or bring it out a little bit wider I don't want it going in as much and I can choose to frame if I'm trying to bring the emphasis to his knuckles I could move over there I want to emphasize the times I have it centered there preview that back again that's looking much better so when I'm happy with that just tweak it a little bit I'm just gonna hit done that is now applied to the clip I've applied an effect is basically animation I've added to the clip I don't need to do any rendering I don't need to do any previewing in fact what you're gonna see throughout this session is me adding more and more effects and not needing to do any rendering at all because Final Cut is fast but of course the iMac Pro is incredibly fast so it means we can edit very very fast so that's a very simple straightforward effect let's go and have a look at one that's a little bit more complex I'm gonna go back to my first shot now if you remember earlier I said the first shot we were hoping to get some something happening in the sky but as you can see here it's very overcast and it's white there which is probably the most boring color in filmmaking so we need to fix that I'm going to fix that by adding an effect if I go over here I can open up my effects browser and I've got all different sorts of effects that I can apply for example focus effects you can see I can change the focus on a shot blurs I can add color Corrections color looks under things we'll do with color next but I'm not gonna work with the color just yet what I want to do is I want to go down to this keying category now keying is the process of selecting a color or a range of colors and making those colors transparent so you're removing them and you're going to replace them with something that's what a normal kid does but we have this thing called the luma keyer and the luma keyer looks at luminosity which is basically bright and dark areas so if I take the luma keyer click it drag it onto the clip it's applied the luma keyer I'm going to open up my inspector and see the settings for the luma keyer so the luma keyer what I want to do is I want to make the white transparent and keep everything else so I'm going to pop on this alpha mode here I'm just going to invert it and you can see if I move this dial up here I'm just making the white areas brighter which is what I want and if I bring this one down a little bit and make the dark areas darker and that's now starting to look like a reasonable mat which is what we want if I go back to see that that's looking they're starting to look right I've got lots of tweaking tools I can play with I won't go too much into the details but you can see here I can just shrink the edge down so the edge looks a bit better I'm not going to go too far because it's really only when you put the background and you decide the final levels you want to use so once I've got that in there I do want to go and pop in a background so I'm gonna get back to my browser back to my scene one and have a little look in here I've got a sky image somewhere here we go here's my sky image so I want to go and just connect this to this clipper so there's the sky bom-bom-bom suddenly the weather was a lot better okay it's not totally convincing yet so I want to do a few tweaks I'm going to press shift and F that will match frame to find my original frame there I'm going to drag that one down and pop that beneath the other ones doesn't me zoom down here a second in unit grab that the clip see I mean it is fast I wasn't quite as fast as when I was when I was actually editing it I wasn't quite working this speed I have more than 90 minutes to edit it but now I'm rushing as fast as possible there we go so pop that in and I can just tweak it I could add blurs and different things to all I think will I need to do on this one is just bring the opacity down a touch okay probably about 50 or 60 it's just enough to give me some shape and some color in the sky and that's really helping so I've done a fact there by keying out the white replacing the sky blending it back in with the original a little bit of course I can play that back and that's starting to work if ice now select these clips I can make a compound clip by right-clicking and choosing new compound so we have a look at compounding earlier this is how you make when you just select as many clips as you want they could be stacked on top of each other they could be along in time and I'll call this shot one lead FX and when I hit okay instantly that just gets condensed down to one clip that's my compound clip now also the advantage we're working with the compound clip in this case is that I want to add a bit of a move to it I want to have the camera slightly creeping in and moving up so I'm gonna do it this time manually I'll select the clip I'll go over to my inspector I'm going to keyframe the scale so this is the scale value here it's currently a hundred percent if I press this button this drops a keyframe and a keyframe just means I'm going to record the value the scale in this case at this moment of time it's a hundred percent if I go to the last frame I can then scale that out probably about an oops wrong one scale them all up don't want to make everyone look wider yeah bring it up there about one hundred six hundred seven percent something like that and also I want to move it up a little bit oops I have done it I'm the wrong parameter there sorry guys reset that one I want to change the position as well so I'm go up to position I'm gonna drop the keyframe there and I'm gonna go to the end frame and I'll move the position up a little bit like that so if I select the clip and press the question mark key it's just gonna play the clip back oopsie I have definitely still messed that one up something like that okay and you can see that's as simple as that obviously I'm gonna do some more tweaking to get that right but you can see how quick it is to do quite enough advanced effect this is something that you'd normally have to send somewhere else or to someone else to spend a day or so to create but you can see I've done all that inside of Final Cut what's particularly amazing about this as she is that this is this is a pro res raw shot so I've got the pro res raw shot at 4k I've got two versions of the shot plus the sky I've got a keying effect I've compounded it all I've added some animation I'm pressing play back and it's playing back real time so it's doing all of that real time no rendering I'm running everything at better quality this is really incredible speeds we're getting at this system so that has now fixed a couple of shots in there I can just jump back and that takes me to my edit in progress so that's the result of the little effect I've done there's my little move there's a couple of other things I want to do I've got a slow-motion shot in here so where where is my slow-motion shot that was the slow-motion shot but it's actually been popped in at normal speed so I want to slow it down now this shot was filmed on the iPhone I think 240 frames a second so I can use those frames inside Final Cut and slow them down I want to have it start real time but when he gets up here around about here I want it to go slow-motion so let's go and change I'm gonna change my tool to the range selection I'm gonna click and drag across somewhere about there and then I can go up to my retime tools I have a whole selection of tools here to speed up to slow down to dynamically change the speed I'm going to go slow 10% as soon as I do that only that section of the clip is slowed down so if I play back so now I'm really milking that shot by seeing that bit nice and slow motion I won't want to customise it a little bit maybe it's a bit too long so I can just go here and squeeze it in maybe 15 percent it's gonna look a bit better that's looking good and I might actually want the first bit to be a bit faster as well just to enhance the contrast between real-time and slow motion so once that's done I can go and of course there's one I did earlier fantasy okay so that's adding effects to Clips very very quickly very efficiently and all of that just is running real time I'm not doing any processing of course one other effect is the color work that I need to do and my final scene because it's got three different cameras running they all look slightly different and particularly when we were at the maze location the Sun was coming in and out behind the clouds so the shots look quite different if I open up this compound clip I can see the shot if I just play back a little bit of that okay so very different looking shots so we need to use color correction to fix these to match them up I'm gonna go and do this shot first the medium-sized maze shot what I want to do is I want to go up and compare this to one of my other shot so I'm gonna go up to my showing works based comparison viewer and now I've got a side-by-side view now with the comparison viewer it's going to show me down here I can either view the previous edit the previous shot or the next shot now this shot here I need to do some fixing on anyway so I don't really want to compare it to that and this shot here is a little bit abstract on the back so instead of using either the previous or next I can go up here and say saved and then I can navigate somewhere in the timeline to say the frame now it's often good to do color correction based on a wide shot so this is my kind of widest shot in the sequence so I'm going to navigate to the last frame there I'm gonna hit save frame and then it saved that frame for the comparison viewer if I wanted to I could save multiple frames I've got a nice cheeky smile there I could save that one and if I wanted one of the action shots oh can it save that one and down here in the frame browser I've got a choice of all the saved frames I'm gonna go with this one here I'm going to choose to use that as my comparison you once that's done I'm gonna go back and it's a zooming in a little bit there and I'm gonna open up my color correction tools I'm gonna use the color wheels my favorite way of color correcting in vinyl car because I've got four different levels of color correction I've got the master which is everything I've got shadows mid-tones and highlights and for example in the highlights if I just have a look in here I've got a number of controls I can change the strength of the highlights you can see that's making just the brighter area brighter and darker I've got the saturation of the highlights I can bring bring out the color or remove it and then I can add tint and color in there I'm just gonna reset that okay so the main thing I want to do in this drone shot to match it is entry increase the contrast so I can do that by lifting up the highlights and dropping down the shadows and that's starting to get there already I can toggle on and off up here you see before and after that's looking good I might also want to because the Sun came out here and it wasn't out in the drone shots I might just want to introduce a little bit of warmth so maybe in the highlight so I can just bring a bit of kind of greeny yellow in not too much way too much but just too subtle them out there to start matching that up I think that's skin there's a little bit of a lift on the mid-tones okay before and after that's there that's good that's really gonna help color correction can be used for lots of different things but primarily in the editing stage we want to keep the colors consistent because as soon as colors or lighting changes you start to think something changed in the shot and as soon as your viewer notices a change you they come out of the film experience so we want to keep them in that experience we don't want them to notice that there was different cameras or different lighting or we had to reshoot something at a different day so color correction is actually a tool for storytelling just by matching the shots you can also use it when you grade the whole film you can give it a whole kind of look because maybe want it to feel like it was a film shot in that you know that the 70s or something you can apply different overall looks but in terms of a shot by shot color correction is really useful storytelling tool okay I've got to shut the end of this scene that's actually the same type of issue I don't need to do all the work all over again I can just select the clip and go edit copy that copies the clip and everything in it then I go to the clip at the end I'm gonna go edit and I'm gonna choose paste attributes that means it's gonna paste everything in the clip I don't want to paste any of the crop or transforming I've done I only want to paste the color wheels so I'm going to have the color wheel selected I'm gonna hit paste and instantly the color correction from this shot is now added to this shot of course if I wanted to tweak it independently I could do that but that looks good to me so I'm ready to move on to my next shot this is my next shot and I can see straight away comparing to my comparing it to my white shot it's too dark so I just need to select the clip I'll lift the highlights and I'm gonna lift the mid-tones and that's helping but it's I've got another problem on this show his face is pretty dark that's just the way it was shot he's in under shadow but I can actually fix it if I go up here I can have as many color wheels or color correctors as I want I'm gonna go and down and add a second color wheels this one's now called color wheels - but color wheels - I don't want to affect the whole image I just want to press this button to add a shape mask and you can see I've got a new shape it's a circle and I'm going to position that over his head the inside area is going to be the area that's completely affected the outside circle is going to fall off so for example if I were to make it all brighter you can see it's only affecting the center fully and outside that it filters off so that's now on there I want to lift up the highlights now it's definitely helping and the mid-tones and now fine toggle on and off I've really brought the brightness of his face up maybe I'll bring the shadows down just so it's still got as much contrast as it should have but now I've got a lot more information I'm see in his face that's great although the problem is the shot of course is moving isn't it so I need to get this shape moving I can do that by going over the shape mask pressing this keyframe button again this is going to mean every change I make it's going to record so I'm gonna go a few seconds on a sec a he's moved there he's come a bit closer so he's got a bit bigger and then I'll go to my last frame he's a bit closer he's moved a little bit a little bit bigger and I'll go back nearer the beginning he's got the C moved again he's a bit smaller and right back to my very first frame there we go so if I select that clip press question mark just to play just that clip back I can see that's fixed it of course with that out without that on he is a bit in shadow that's definitely helped so you can see the color correction tools here really really powerful in helping match up shots and helping fix problem shots like we had here I'm just gonna remove my character comparison viewer I'm gonna have a look at our last shot to color correct this is one of the shots from the canon c300 so what I'm going to show you in this clip is that so I'm going to open up the scopes and I'm going to show you what's called the RGB parade this will looks very technical this is how the image is made up of red green and blue this what we're seeing on the screen now on this little scale here zero is the black point and 100 is the white point and this image here doesn't have anything that's very black and anything that's very white and because it's a raw image so we've got a lot more control in it if I compare it to one of the other shots here you can see that's much more expanded but the raw image like I said earlier is raw camera data and so something was overexposed which often it is because the sky could be too bright or underexposed because it's a bit too dark we can now have a lot more control to bring things up and down so we can add our color Corrections here now I'm not going to use the color Corrections this time because I want to show you one other feature inside of Final Cut if I have my clip selected and I go into the information panel here I've got camera luck and this is La stands for lookup table and different camera profile different cameras have different profiles different looks on them so there's built-in profiles inside of Final Cut and I'm gonna go to the Canon log - because that's the can lookup if I select that it automatically correct look for that so that's what it looked like actually on the day you can see it's really expanded the the scope out here which is a lot more accurate but if I decided I wanted to still tweak it I can still go in here and say oh yeah make the brakes a bit brighter or still make the shadows a bit darker or maybe add a bit more saturation I've still got all that control but that just pops out instantly so that's a really helpful way of working you can see cuz I've got a couple of those shots the other ones been fixed as well so that's pretty much bringing my whole edit together so if I go back out to my view here I can see my edit it's coming together nicely if I have a look of course everything I've done inside the compound clip is sure enough reflected in the edit straightaway so that's working with effects so let's have a little recap on that we've had look at enhancing the picture so we've enhanced a picture by adding effects we've got a whole host of effects that we can apply in real time we've had look at keying so removing a color in the case that we looked at removing the sky and replacing it with another sky we've looked at re timing so changing the timing of a clip speeding Clips up or in this case we slowed it down we've looked at compounding Clips so getting multiple Clips together compounding them into one clip for easy organization and then of course color correction we've had a look at color correcting to help things flow and to tell the story so what we're going to look at next is sound of course there's a lot we can do with sound so I want to jump back into Final Cut and have a look at a more complete edit I've got my final film here okay so this is what the final film is looking like I'm unpacked the compound clip so I can see all the clips independently and I want to bring in an atmosphere example there's certain things that was shot without any sound and so I want to add a continuous at more sound to bring everything together I could use various libraries and record things but actually in Final Cut I have this sound effects category here and I've got loads of sound effects here that I can just go and grab so this is really quick and easy I'm going to type in I want to kind of birds there I've got a couple of birds effects and the first one here if I preview that that's a bit loud isn't it and that's vicious birds that one is only seven seconds I want the second one because it's 54 seconds so I'm gonna use this one and I want to connect it so I'm going to select this one in fact I can just drag it down and have that connected beneath obviously it's not quite long enough so I can select it I can copy it I can paste it I've got two there I'm just gonna blend them together so they just cross-fading a little bit and of course this one is too long so I'll strip that down fade it out slightly at the end and probably it would be easy for me to compound these so if I press alt G that's the shortcut to compound I'll just call this Birds Moss and now I've got my birds at Moss running behind so if I play that bit again okay so that's bringing it together oh definitely want to bring the level down that's just sitting behind there I'm happy with that okay so that's adding an at Moss is missing is it's missing music before I bring the music in what I actually did in the project I had the Edit like we've got here and I went and exported it let's have a look at the exporting options it's as simple as just clicking up here and choosing which way we want to export I'm going to choose Apple devices because that's gonna make me a small version of the file I'm gonna go into settings and I can choose different settings from here I'm gonna I want to make it an mp4 because that'd be nice and small I'll keep it a good quality and I'll leave the resolution is set for there and I can just go and choose where that goes and could export that straight into the library or somewhere else and when I hit share that just gets exported very very quickly I'm not going to do it now because I've already exported that one plenty of times but that's all I need to do to send over to Jono who is the composer of the music so I sent him this film and then he composed the music to it he obviously saw the main beats and the moments where he could make his dramatic score he worked on that we went back and forward and then he sent me his music at the end the music was actually recorded just earlier in the first session so I'm gonna go and bring that music in I'm gonna select the work-in-progress command eyes the shortcut to import I'm gonna go into music and in there I've got final stem so I'm gonna select the final stems because inside there and it's got looks like five stems a stem is each individual sound part has been recorded separately so the strings which performed on stage the brass and then some synths and some drums and an effects return I've got all these things here so I'm going to have the final stem selected I want to leave them in place I do want to have them keyword from folder because that's easy to find but this time I'm going to use this option assign roles roles is a way of organizing the type of sound you bring into Final Cut you can change it once the sound is in final cut but if you do it at the beginning stage it's really helpful so I'm going to tell final cut this is music so it applies a music role to it and we'll see how useful that is in a second if I hit import selected those stems come in if I go to the keyword that final cuts made for me I can see my stems I just pop them into list view for a second and so I've got my five stems now I want to add all of these at the beginning because Jono has very helpfully started them all from the very beginning of the timeline although his music doesn't start until these guys do their first jump it's all gonna sync up from the beginning so I will start with the brass and I can just press Q that's the shortcut for connect drums q FX q strings q since Q I've added them all in you can see them all now they've got their own little wave form if I were to select on one like they let the drums press option s I'm only gonna hear the drums okay so this gives me a great way of organizing if I wanted to jump over I've got this thing called an index which allows me to see the different types of sounds I've got here and if I wanted maybe to move the music at the top I can just select that and pop the music up a little bit or the dialog down I can reorganize all of these roles very very easily so the colors are as you can see their music is coming through as green the effects is coming through this kind of darker cyan color and then dialogue is blue so everything's organized there once that's all together I want to just compound the whole thing for my final mix my final export so I'll press command a to select everything I'll press alt G to compound it and I'll call this master mix and I okay and that's instantly compounded that into my master mix I'm happy with that but I might want to do a little bit mixing on the sound so I've got this other option inside the index called show audio lanes what does that mean well click on it and I can see now each of those rule rolls comes through as a lane so for example my dialogue which I can see here which is blue is all on its own if I decided the dialogue is too quiet hello Matt guess what I could bring the dialogue up a little bit if I decided my my effects and atmoss is too loud birds are still too loud on a so I'm going to bring them down a little bit as well and then the music I definitely want that to be loud [Music] yeah that's booming that's sounding good okay so I'm happy with how that sanding I've got my music in I've mixed it I am ready to watch this back so let's have a look at this now all play back I'm gonna roll that from the beginning hello Matt guess what she said yes do you never make it on time yeah not one myself I won't come on let's go [Music] [Music] [Music] [Music] [Music] hey I made it yeah it's been time [Music] okay so let's just have a little recap on what we've done there we've had a look at working with sound we've added the Atmos like I said that could have come from any place it could have been recorded on location as a wild track could have been brought in we brought it in from the Final Cut library we imported the music stem so the advantage of having music composed for your piece of music means it's going to fit nicely but we bring in the stems of different parts because even the editor at the last stages you might decide all we need to ride the music have a little bit louder we need to drop the effects down so we can do the mixing what why using rolls and mixing the audio together so this is really how we made the film how we brought it together how we collaborated with the musician to finish the film in final cup now what I'm going to show you next is I want to show you actually earlier today the music was created and composed on stage you can still see the the seats out here where the orchestra were and that was performed and the music stems i've just brought in were what was recorded earlier today also though there was I phones on pretty much every musician recording their performance and what I'm going to attempt to do is pretty much a live edit of all of that footage so we're going to bring that in before we do that though I just want to show you a bit of a short that led it called behind the music so this is how the music was created so I'm going to just roll that now and then we'll have a look at editing all the footage together that was shot earlier [Music] I'm John a mechanic I'm the composer of this piece of music we've been rehearsing this morning and that we're going to be taking through to the master class in a couple of weeks time the thing that I enjoyed most about this process was the energy that's in the film and reflecting that in the school so today we've just been playing it on our own as a group so it would be really great to be in front of an audience playing this with people watching and experiencing it line Logic Pro is almost like my invisible writing partner I've been using it for so long that has become like muscle memory for me to be able to make kind of creative musical moves within the program without having to think about it so I've always found it a really good to kind of creative partner for the music that I want okay so there you can see the music being composed and rehearsed I'm gonna jump back into Final Cut now and have a look at the multicam so I've just that just over the break we've imported all the clips so for example I can have a look here these are all the iPhone shots I've got eight iPhone shots and also we have a red camera that's been roaming around throughout the day taking various shots so I've got this one as well what I'm going to do is I'm going to try and sync up all of these clips so I'm going to select the first one hold shift select the last one and I'm going to right click to make a new multicam clip I'll just keep this simple I'll just call it multicam clip and every one every one of the cameras was started at a different time because peoples pressing the start button so it's not going to sink or it's not going to sink by the time code in the on the footage I'm going to use the audio to synchronize each of the clips that's the option there use audio to synchronize and when I start synchronizing that it's going to start scanning through the sound of each clip and it's going to find the peaks and the troughs and it's going to match them up together so I've got eight i phone clips plus the red clip it's running them all bear in mind they've all been shot up 4k resolution that's done that at really no time at all and that's giving me this thing called a multicam clip if I double click on it you can see what the multicam clip is I can see there's all the different shots all running together and I can see all the iPhones were going on for ID in about 10-15 minutes the red shot there's just a little section of the main performance so that's the only bit I'm actually going to use but you can see all the different streams in here so I'm going to now edit these together if I take the multicam clip and just drag it down onto the story line here I've got it in story line and I'm gonna go up to show us a new viewer is called the angles viewer now the angles viewer shows me pretty much as you might guess all the different angles so I've got 9 angles the 8 iPhones and the one red and actually the main performance starts around about halfway through so I don't need to see anything much before that so I'm just going to trim that down so what I can do with the multicam is up here whenever I click on a clip you can see it changes down here I can change real time I can edit real time just by clicking around and normally when I click it's gonna edit the sound and the picture and when you edit sound and picture at the same time which we looked at earlier it can make the Edit quite jumpy so I'm going to choose which camera I want to take the audio from and I listen to this just a few moments ago and I notice that when the cameras are really near to like the violins the violence has really loud so if I go over to my conductor then at least I know when I on him he's pretty much in the center of the action so everything else should be normal so honest I'm gonna choose him but I'm gonna choose this button here so now it's only gonna cut video you can see the audio there is green that means it's taking the audio from that camera but it's going to cut whichever picture I want so if I start I'm gonna start here for example and play back as I'm playing back I can choose [Music] so I can just go through it and choose which angle and it's doing all the cuts real time down here [Music] I'll get two bras [Music] I can press the number keys as well [Music] okay and my edit is done you can see while I was pressing the buttons through it was doing the cuts I can now view this down here in the timeline and I can see all of those cuts now if I want to tweak them it's very easy so there's a bit when the brass comes in and I was a little bit too late so let's have a look here just a few frames too late so I can just hover over there and I can roll the Edit back so it just comes in a little bit earlier I can do that anywhere I want to change the Edit I can just roll it across because it's keeping it together it's rolling the edit not trimming it it's not affecting the audio of course I don't want to take any of the audio out because that's creating the spine of our edit here that's really helpful now I might want to change some shots around so for example here I don't want to see the conductor at this point I want to see one of the performers so I can select the clip down here and then up here if I just press alt I might say I want to go and see these strings and it's just going to let me leave my playhead over the clip now I switch that out for that shot I don't want to end on those strings I want to end maybe on the wide so I can click on that so very quickly I've built the Edit together and that's running through but I want to add more than just the iPhone shots I'm going to go up into my event and you can see I've got some cutaways that were also filmed earlier today so I want to go and use these cutaways to start dropping in some other shots so I'm going to cutaways I'm gonna choose favorites because I've very quickly gone through these and found some ones that I want to use for example here we go exteriors I've got a couple of exterior shots so Sant Luke's earlier today couple of shots there which ones you know I'm gonna get for this one I think so I want to pop this one in I don't want to insert it I want to connect it so I'm gonna go select that clip press Q that's connected so now we're opening with an exterior [Music] Luc's that's good then I'm gonna go interior I think oh yes let's have some audience some of you lovely people let's connect that in if you look close enough you might see yourself time-lapse of things being set up a bit a bit of it abou there's people moving around very very fast okay so I'm making a little mini sequence of these cutaway Clips even before we see the orchestra [Music] okay so I can see the orchestra there what I think I want to do is when I've got a mini sequence like this eclipsed they're not stuck together like the magnetic timeline down here I can easily resolve that by selecting the clips right-clicking and choose to create another storyline now when I've got another story lying this is a secondary storyline I can move the whole storyline as a group but also now I can trim the clips in it which is much much more useful and I want to kind of cut on the beat a little bit [Music] okay and let's go see some other things I've got some nice shots of Jono's presentation showing how he'd start music in Logic Pro so I'm gonna select that one cue connect that in what else am I gonna go to its gonna see he's pressing some keys there see if I can get that in time with something maybe I'll pop it in time with that note good and I'm gonna pop in I think I've got I've got night a shot of exterior night or not night but dark it's dark out there now be prepared when you go okay so I'm going to pop that one in maybe bit later when it's getting dramatic I think okay so as much as I want I can pop in these shots I think the very last one I'm gonna put in is look that's them clapping so you that's the end of the orchestra performing they get collapsed so I definitely want to pop that in add some fades and that is looking good okay so that's my edit starting to come together I want to add a little bit of finessing I am going to go in and add what we're gonna want to add a title at the beginning so first up I'm gonna add this thing called a custom generator it's basically just black I'll pop that in the beginning of my first edits there and if I press command T that adds a transition so that means rather than just being black and doing nothing it's now got a black [Music] okay so that's looking good once that's done I want to add a title so I'll go over to my titles lots of different pre-made titles in here I always think simples good so I'm gonna go to blur this probably my one of my favorites it's just simple text blurring in so if I drag that pop that above so that's connected connect that from the beginning there's my title saying the word title I'm going to double click and I don't want it to be saying title I'm gonna say behind the day and I can change all the settings on that very easily in the inspector I want that to be a impact font and I want it to be slightly bigger and I want to affect the tracking which is basically the spacing between the characters because it makes it easier to see and let's face it most people will be watching this sort of thing on their mobile phone so that's nice and clear to see if I play that back [Music] okay that's coming together nicely so you can see in no time I'm able to put this edit together what's really as he summarizing me here is that we've got eight streams of the iPhone footage I've connected in some other streams I've got this generator I've got this title I've got this these red Clips going in there if I play this back this is all running real time so it's really really slick I'm really impressed with how fast and seamless this is playing back on this machine so let's go add one more thing to it before we wrap it up I'm going to go down to I want put my hashtag the end so I've got that I've already created that I can go pop that at the end and that's stuck there at the end so once again when I'm happy with this or even if I'm not totally happy with it I can go and compound it I can come in here and change it later so I'm selecting all the elements out G I'm gonna call this master oops master grade okay that that pops out all into a compound and because I've got all the different footage I haven't got time to go through and grade in each individual clip to match them up and to color correct them so I'm gonna do this very quick and easy I'm gonna go into my effects and I'm going to I want to search for an effect teal and orange if I type in teal I see teal and orange which is a color corrector you can see it's quite a strong look can pop that on there now everything has this look which is basically adding some orange to the highlights and this kind of TV blue color to the shadows is a bit too strong so if I select it go up to my inspector I can say oh it's a bit too much bring the amount down that's none at all about half way I think that's very quickly just gonna bring everything into the same sort of color tone that helps the Edit flow a lot better I think I'm going to add something else I like vignette so I'll go type in big yep so there we go there's my vignette if I drag that pop that on there got a nice little vignette again it's just bringing everything together if I toggle the effects this is gonna toggle both of the effects on and off at the same time and that's really helping so I've literally put this together in what's that about 10 15 minutes it could do with some tweaking here and there but let's have a look at how that's running back now I'll run that back [Music] okay so let's have a summary a recap of what we've looked at we've looked at importing and organizing inside of Final Cut we've looked at editing the image in a multiple number of ways now we've looked at enhancing the image which is a you know a valuable part of the process to really enhance your edit tell your story add things to the image that weren't there or remove things that were there that you didn't want in there working with sound both sound effects and music and audio recorded exporting the final edit and then in this case we've looked at multicam in taking multiple clips and working very very fast that's that's a that's pretty much sums up what we've looked at today I hope this has given you some insight into how fast and efficient it can be working with Final Cut as I said multiple times we've worked on many many different formats everything's at 4k resolution it's all running back real-time on the iMac process real pleasure to work with that's we've in about 90 minutes we've created a 90 second short film and a kind of behind the scenes of the music here we've been working as fast as I possibly can go and and that we've had no problems at all everything's being running real time without any rendering so I hope you've learned something from this I hope this is perhaps inspired you to make some of your own films or work with music and and and see how you can get creative with using these tools and these tips so I do want to thank you very much for listening and yep thank you very much you

Channel: Guildhall School of Music & Drama

Views: 717,942

Keywords: logic pro x, final cut pro x, film making, film scoring, film editing, guildhall, school, music, drama, london, electronic music, apple, masterclass, tutorial, workflow, editing, production, producing, filming, shooting, footage, film footage

Id: H883qIGV48E

Length: 85min 54sec (5154 seconds)

Published: Fri Jan 18 2019