Today, I have a 90-minute class to teach you
everything you need to know about Final Cut Pro. Hey everyone, David Cox here with Tech Talk
America. Yeah, buckle up. We've got a very thorough class to go over
today. If you had been wanting to learn the basics
of editing, I'm going to teach you everything you need to know today, and I also have a
ton of extras for you at the end of the class. A couple of quick notes I wanted to share
with you before we begin. First of all, for those of you out there who
saw my video that I did on this last year, I made the little mistake of saying, at the
end of the video, that I was going to do a Part Two. What I decided to do instead was, basically,
instead of a bunch of shorter videos, and then I ended up incorporating most of those
topics into the end of this class. If you were kind of looking for Part Two of
my video from last year, this video will have all of the extras that I was intending on
putting in that video, plus the class, itself. Also, to help you learn how to use this software,
because it is very complex, I've created a free PDF guide. It’s available to all of you out there. If you want to go to my website at TechTalkAmerica.com,
there's a new page that I’ve created. called The Guides. You can download it for free, right there. Also, because this is a free class, as with
basically all of my classes, I just want to say something, especially in this class. The way that I'm able to do this for free
is by having ads, so you will notice that every 15 minutes or so, there will be an ad
that will play. Now, technically, I am not actually allowed
to tell you to not click the Skip button. However, I am allowed to tell you that if
you click the Skip button when an ad is playing, I don't get paid. Two else little things before we begin; first
of all, if you do get stuck with any of this stuff, one of the things I want you to know
is that I do offer remote private lessons with folks. I'm able to do it more during certain times
of the year, but if you want to find out information about working with me – I try to keep my
prices pretty reasonable – you can find all the information at TechTalkAmerica.com/privatelessons. On that subject, just in case any of you out
there are watching this class because you're looking to create your own YouTube channel,
working with YouTube content creators is one of my favorite things to do. I've been using YouTube as my platform for
the last, I think, six years now, and it's just been an amazing journey. I love getting to work with other content
creators, and help them grow their brands. If that is something that you're interested
in, you'll find information about my consulting services on that same website I just referenced,
TechTalkAmerica.com/privatelessons. Now, without any further ado, here it is:
Final Cut Pro 2018, coming up next on Tech Talk America. All right, everyone, I want to start today's
class off with going over where you should consider storing your footage, because you
can theoretically keep it on your computer, or you can move it to something like an external
hard drive, and there’s benefits to each. Let me explain it. If you decide to keep all of your footage
locally, on your computer's hard drive, it is going to take up a lot of space, so you
need to make sure that you have adequate space to be able to do this, but you're going to
find that the whole process goes a lot smoother. Everything is going to render faster; files
in general would just process more quickly; you'll have less stutter. It'll be a smoother process. That being said, a lot of people can't edit
locally, because their footage is either just so giant, it's bigger than the hard drive
that you've got. That's where an external hard drive comes
in handy. Unfortunately, because we live in a world
where there are a million different connections out there, because people at Apple can't make
up their mind, as well as other companies. What I would recommend that you do is, if
you don't already have an external drive, check out my website. There's a page on TechTalkAmerica.com called
Product Recommendations. Just know that the hard drive quality that
you get for something like a Time Machine backup, yeah, that's great for a backup. That's not really probably good enough for
what we're going to be doing here. You really want to take whatever is the fastest
possible connection from your computer, and have that be the connection that you use. If you have Thunderbolt, go with that. For today's class, what I thought I would
do to try to make this class fun, and entertaining at the same time is I just basically pulled
a bunch of my favorite drone footage that I've taken over the last couple of years,
and I just threw it into this folder that you see on my desktop, called Editing Class. Now, for those of you who are following along
at home, what I do tend to recommend doing is just take everything that you want to go
into that video – graphics, photos, whatever it is – just dump it all into that folder. me people like to get even more organized
than that. They like to put their music in a music folder,
whatever. The point here is to just get it all under
one umbrella. Part of the idea here is that if you ever
do need to move the project from local to external, that way it is all self-contained. One last little note about that process – if
you do end up creating a whole project, and you put it in a folder on your desktop, including,
by the way, the Library folder for Final Cut, and then, one day, move that folder, and everything
in- its contents over to an external hard drive, and then try to open the project from
that external hard drive, there is a very common issue you may run into, where, basically,
it’ll temporarily not know where any of the files are located. If you should encounter this problem, literally
the only thing you have to do to resolve it is just actually import all of the contents
again, and it'll re-link everything, and you'll be good to go. That's just a little problem you could encounter
at some point down the road that I wanted to make you aware of now. Now we're going to screen over here to Final
Cut Pro. I have it open here; we haven't really done
anything. The first thing that I feel like I need to
cover in this software is we need to go over just a couple of quick definitions. We have three different levels of hierarchy
– we have a library, we have an event, and we have a project. Let me give you the little rundown on each
of these. The library is basically the file that just
contains all of Final Cut Pro’s data. This file does tend to get to be pretty big,
so, when you're choosing where to save that file, you want to save it within that self-contained
file, which I'm going to do right now. I'm going to go here to the very top of Final
Cut. Go to File, and you'll see here we have New,
and we have a couple of different options here. The first one we have to do is library, in
this case. I'm just going to name, in this case, the
library the name ‘Demo.’ I'm going to locate it in that same folder
that I created just a little bit ago. From here. what we're going to do is we're going to start
to create events. In one case, an event can be a scene; in another
case, it could be basically the entire video. A lot of times, when I'm creating video content,
I tend to gravitate towards shorter formats, so, for me, usually my event is the same thing
as, really, the project, which I'll go over in a moment. Let's next create an event, so File > New
> Event, and we can call it whatever we want. In this case, just to keep a consistent, I'm
going to just call it Demo. You will notice that there is a button here
to also create a new project. What is a project file, you ask? A project file is the specific edit. For example, you could have a library for
a movie, and you could have different projects. For example, you could have a director's cut. It's the same content, but it's different
edits. That would be just one example of it. In this case, I'm going to tell it to create
a new project. What it's going to do is it's going to set
the quality based on the first clip. Now, sometimes, that's a good thing; sometimes,
that's a bad thing. For example, with my drones – it’s the
footage you'll see – some of my footage is in 4K; some of it is in 1080p. Now, I want the video to look as good as it
can, so, I'm going to tell it to ignore this setting, and I'm going to go here, where it
says Use Custom Settings, so I can tell it exactly what format I want it to be. In this case, we're going to go away from
1080p, and I'm going to go to 4K. Just one thing you should be aware of, and
I'm sure a lot of you do know this, if you are shooting things in 4K, the file size,
it is amazing at how it balloons up, so, just be prepared for that. Okay, looks good. We got a resolution. We got a frame rate. If you don't know anything about frame rate,
basically. the faster the frame rate, the more it's going
to look a little bit like a soap opera. For me, it's a little bit too smooth. My sweet spot has always been 24p. That's just the rate that I find looks really
good. Let's hit Okay. At this point, we are good to now begin the
process of importing our footage. Like with many things in Apple world, there
are different ways that you can [deal with 00:09:16] these things; there's a lot of shortcuts. This is where that little page that I have
for you, included with the PDF guide with all the shortcuts, will help you. If you want to import footage, a little shortcut
way is Command + I. Now, what I'm going to do is I'm going to
just pointed towards – it's actually already done for me. That’s not bad – towards that folder that
I have of all of my content, and I'm just going to tell it to import everything. If you notice here, on this side … Okay, let’s go over a few things here. Files. Just check this out; make sure that it's good
on your place, so you can either copy it to the library, or leave the files in place. Actually, I'm glad I did this because I want
it to leave those files in place, because the thing is, if you copy it to the library,
now you're creating duplicates, so your file size there just doubled, just with that one
click. Keywords … We're not going to really talk
a lot about keywords today. There are plenty of other people out there,
who deal with setting up keywords for your video files. I think it's actually rather straightforward. We're going to skip over that. You'll see here, there are also a bunch of
other options to just kind of automatically analyze certain aspects of your video. I tend to not really go with any of them. I'm just going to, at this point, hit Import
All. The next thing I want to do is I want to go
through what these various windows are; what they do. Some of these are going to end up getting
closed over time. One thing you'll notice is, if you go to the
Advanced Keyboard Shortcuts PDF that I'm going to make available for you all on TechTalkAmerica.com,
there is a little section here with shortcuts for just how to quickly get to, and close-
open or close any of these various windows. Let's start here at the top left; this top
left quadrant is referred to as the browser, and the browser contains a few different things. Here at the top of the list, we have the library
called Demo. Underneath that, you'll see we have our event
called Demo. Now, here to the right of that, you'll see
we have all of the footage. This is everything that we just imported. There are two different ways that you can
view this screen. You can either view it in this mode, which
is actually referred to as Filmstrip Mode, or you can view it in List mode. I find List mode is better if you are, let's
say, working with a client who is giving you time code. They're saying, “Okay, from this second
to this second, we want this part of the footage.” To get to the other view, if you look up here
towards the top, you can click over here, and switch over. You can see, now, with each of my various
shots, I can see the start time, stop time, duration, all that stuff. If you need that kind of information, that
might be a better view, but, for today, we're going to be sticking here to Filmstrip Mode. The next tab that you'll see over here, we're
not going to go over a lot, but I do want to reference it. The first thing you'll see here is a connection
to get into photos. If you have albums, for example, already created
within the app, known as Photos, you could theoretically drag and drop those photos from
there into here. The reason why, again, I don't recommend doing
that is because if you ever need to come back to the edit, down the road, if you have ever
deleted those photos, those files are now going to be unavailable. I tend to recommend, if you are going to take
some photos from the Photos app, what I would do is export them out of Photos into your
folder that you're going to be using, and keep them that way, so that way, they're separate. You also see here we have a direct connection
into GarageBand, iTunes. If you ever need sound effects for your little
videos, one thing to note, your Mac actually comes packed with a ton of different sound
effects. Oops, didn't mean to do that … If you ever
need a sound effect, it's worth going through here. You never know, you just might find something. Then, the last have that we have here is definitely
a pretty fun tab, when you start to get into some of the extra stuff that you can do here. We have Titles, and Generators. The next place I want to show you … Actually,
before I do that, I’m going to switch back over here to the library. The next window we're going to talk about
is right here in the middle. This is your preview window. Basically, whatever video it is you are currently
working on, that's what it looks like. Then, over here on the right, this is referred
to as the Inspector. The Inspector, you'll notice … If you look
up here at the top, see how we have these three icons right here? You’re really going to ever close the middle
one there, but you'll see … This is the browser. You see there- see, it's there; it's gone. Why I like that- to point that out, is that
when you're editing, once you've imported all of your footage, and you're actually starting
to work with it, it's kind of nice to hide that screen so that you just have a little
bit more space to work with. Again, your ability to open or close the Inspector,
you'll see, is right here. The Inspector is basically just information
about whatever it is you're clicked on. In this case, it looks like I'm clicked on
an audio clip. Show me the audio information. If I'm clicked on a video clip, it's going
to give me the information for that particular video. We'll go into that a lot more, coming up in
a bit. Down here at the bottom half, basically, of
the screen, this is referred to as the Timeline. This is the area where the actual edit is
going to take place. Two other quick places, just to show you where
they are; we're going to go back over them in more depth, later. Here at the very right-hand side of my screen
is this little bow-tie icon. That is going to open up this window here,
which is your Transitions. If you need something like a cross-dissolve,
or you need it to flash white between scenes, that’s where you can go to get that. One over, these are your effects. We're going to go over a few effects here. That's going to be more than, I think, covered
in the little bonus section that I have for you. Thanks for watching folks. We have a lot more. We'll be right back. At this point, what we're going to do is start
to process our footage. We've imported everything into the event. Now, we need to tell Final Cut Pro what parts
of these various clips to actually bring into the timeline. There are a couple of keystrokes that I want
to show you here to help make this process very easy. Let me use this clip here to begin with. First of all, you should know that Play and
Pause is typically always the spacebar. If I hit the spacebar right now. you can see it’s kind of playing a little
preview of my clip. One thing to be aware of when you're editing,
it's not going to actually play back at the full resolution. You'll see that when the video is done, but
when you're just kind of playing things back, don't expect to see it at full quality. When you you're going through here, and you're
looking for your shot … Let's pause after we switch to the next shot. Let's say I want to tell it to start this
shot right here. At this point, what I'm going to do is I’m
going to tap the “I” key on my keyboard. What that does is we are setting an endpoint. We're saying, “Start the shot here.” I want to make something really clear to folks
– you do not need to nail it, okay? You just have to be relatively close. If you're a few frames off, you can always
correct it later. Now that we've set our endpoint, I'm going
to hit the spacebar so that it keeps playing. Let’s say I want the shot to end right there. I'm going to tap the “O” key, and that
sets the outpoint. If you actually look here, you'll see we have
a little yellow bar [around 16:53]. That's kind of a visual representation of
our clip. At this point, we want to bring it from here
to down here. Of course, there's a couple of ways that you
can do it. You could theoretically drag it, and drop
it, but the way that I tend to do it a lot more these days is with shortcut keys. There are three different ways that you can
bring it here into your timeline. The one that I use by far the most, especially
when I'm just starting to process my footage, is the “E” key. What the “E” key will do is it'll put
it at the end. Because this is the first shot that we're
bringing, the end and the beginning are in the same place, but as you can see here, when
I tap the “E” key, it brings it down here to the bottom. One of the things you'll notice about this
space down here is that you can kind of zoom into it. If I need to blow it up, I can ... I'm using,
right now, my touchpad, in order to do this, but I can also pull backwards, kind of pinching
my fingers together, and it zooms back. This is where, if you do have the Apple magic
trackpad, I tend to think it's a really nice feature, especially for editing. The “E” key brings it to the end of the
project. Let's go over what a couple of the other ones
are there. Let's find another shot. I'm going to hit the spacebar. You can see my cursor is back up in the browser
here. I'll hit the “I” key right there. That's a nice little shot of the breakwater. You know what? I actually went a couple of frames too far,
there. One thing that's good to know is that you
can use the left and right arrows to go back, one frame at a time. There we go. We have the very end of that shot. Now, I’m going to tap the “O” key. This time, instead of hitting the “E”
key to send it to the end of the project, I want to do something different. I'm going to show you this feature here, knowing
that it's going to not look good. You'll see that we have this little yellow
bar here. I'm able to move around. That bar is referred to as the play head. It's just showing me, again, where in the
edit are we. I'm going to very specifically put the play
head in the middle of this shot. The second import key that we're talking about
… We already talked about “E,” which brings it to the end. The next key is the “W” key. What that will do is it's going to basically
split this clip apart, and it's going to insert it. Starting to see why I never, ever use that
feature? At this point, I'm going to undo. If you didn't know that, undo is Command +
“Z.” You should know that by now. The final way that you can import a shot is
to use the “Q” key. What that's going to do is it's going to actually
make it a B-roll shot. If you're not familiar with this terminology,
think about it this way: you know when you're watching the news, and then they show you
the file footage, but you still hear the reporter? That's an example of B-roll. You still have your primary story going on,
here, but then you cut to other footage. You can still hear everything else, but you
just see whatever else that you put on top of it. If I hit the “Q” key, watch this. You'll see it puts it above the shot. The original clip is, technically speaking,
still here, but as soon as you hit this point, you're not going to see it, because this shot
is on top of it. Video, it is layered, so that the layers that
are higher to the top, obviously, are the ones that you’re going to see. Part of why I like to bring that up is, as
you're going through the edit process, and obviously, right now, we only have two shots,
but as you go through the process of editing, you can definitely have moments where you
have a little pyramid of shots going here. I get people all the time asking me, “Do
I need to worry about those shots that are below?” For example, this clip right here, it goes
from this shot to this shot. This part of this shot, it's pretty pointless. Do we need to clean it up? No. You don't need to worry about it; it's not
taking up any more space. The idea here is, as long as the final product
looks good, that's pretty much all accounts. Don't worry about getting everything perfectly
stacked, so that it's just visually perfect, from an editor standpoint. As long as your video looks good in the end,
that is all that truly matters. At this point, what I'm going to do, folks,
is I'm going to basically repeat that process over, and over again. I'm going to go through all of this footage
here, find all of my endpoints, set my out points, and then, bring it into my timeline,
and when you come back, it’ll be magically done. I've gone through. I've kind of isolated my initial shots here. I’m ready to show you some of some additional
tricks. I want to show you, if you kind of focus in
right here, this is a very common thing that you'll run into. Let me just play it, so you can see what happens. Watch the preview screen. Did you see that quick clip there? That, obviously, wasn't supposed to be there. The way that that quick shot there … The
way it got there in the first place was when I was setting my endpoint, I set it just a
little bit too early. Now, what I want to do is I want to crop that
part out. This segment is referred to as trimming. The way you can trim – it's very easy – is
you just click on the clip … You’ll notice … See, right now, the way I have it, see
how the icon looks like that, and it's kind of pointed a little bit to the right? What that means is if I click down, and drag
just a little bit to the right, it's going to crop that out. We're dragging it back in time, trimming out
that shot; as opposed to, if I move my cursor just a little bit over here to the left, see
how it switched just like that? What that means is that now, we're going to
be trimming the other shot on the reverse end. That's just the 101 on trimming. The next thing we're going to do – this
is really just to set up the next technique I want to teach you – I'm going to add the
music, at this point, to this video. If I go here into my little media bin. I can scroll down to the bottom. You'll see music/audio; it's usually either
green or blue. You can just then drag it down, and you'll
see, I'm going to put it actually below the video. One thing to know about, by the way, music
is it sticks to a shot. See this? I don't know if you can see this. See how that little green dot right there? That means that this is attached, right now,
to this shot. For example, if I delete that shot, boom,
the audio deletes with it. If you ever encounter that little problem,
just know either how to just bump the music back to another shot, and then you can always
delete your clip, whatever it is. That's actually not what I was trying to set
up, but I am glad I went over that with you. Now, the real thing that I want to show you
is something that I know a lot of people encounter, and I want to show you how to get around it,
because this is going to drive you nuts, otherwise. Pretend with me, if you will. Let's say this video is maybe a little further
than it actually is, and I've got these different clips kind of synced to different points in
the song that's playing below. If I go ahead, and delete one of these shots
right now … Let me just delete this shot; let's say it's out of place. If I delete it, watch what happens to all
of the shots that are after it. See how they kick back like that? Well, sometimes, you're going to inevitably
want that to happen, and sometimes, you're not going to want that to happen. I'm going to undo that, and I want to show
you how to prevent that from happening. There's actually two different ways – it
depends, ultimately, on what you're doing. If you are actually deleting the shot, like
I was just doing right now, here's a little trick. Instead of hitting the Delete key, what you're
going to do is you're going to hold the Function key on your keyboard, and then tap Delete. Check out what happens. What it replaces it with is basically a black
screen. Now, if I play it, we've got this shot … Whoops,
sorry. Didn’t mean to have the audio on. We got that shot. It goes black, but the idea here is that all
of these other shots are still locked to the same time code. They match up with the music. I mentioned there is another way to do this. Let me undo that for a moment. All right, let's say I want to … Maybe I
don't want to delete this clip, I just want to move it to somewhere else. At this point, I want to just basically introduce
you to my own terminology, because if I went through the actual stuff, I think it's fairly
confusing, all right? I'm going to just refer this as A Mode and
P Mode. A Mode is the mode where, as I first showed
you here, when I delete it, everything bumps back. If you wanted to do that, all you have to
do is tap the letter “A.” Now. I'm going to undo that. If I want to just simply move that out, and
not have everything else after it shift back, that's where you go into P Mode, technically. I believe it's, if I remember, it’s Position
Mode. What is it? Yep, it is! Hey, I was right! It is Position Mode. Watch this. I tapped the letter P. Now, I drag this clip
out, and see, it's preserved the time code. Everything's there, and I can just move my
shot from one point to another. Now, if I want to drop it between these two
shots, like right here, I would have to first drop it on top, then tap the “A” key,
so that it switches back to the other mode, and then I can drop it in, and it shifts everything
else over. The next technique I want to show you is Splicing,
also known as Blade, also known as Cut. Whatever your preference is, let me show you
how to do it. There's actually a couple of different ways
to create a cut. Let's say I want to create a cut right here
at this moment. One way that I can do it is I can simply tap
the “B” key. Just think “B” for Blade. You'll notice that my cursor turns into the
icon of a little razor blade. Ouch. All I have to do is click, and you can see
here, it has now separated that clip into two clips. Another way that you can do it a little bit
faster, and allows you to keep in the arrow mode, is you can just hit Command + “B.”
The other thing that’s nice about this is that that also is, by the way, how to do it
in iMovie. If you knew some of the hotkeys in iMovie,
if you took my class, perhaps, you will be happy to know that quite a few of those do
translate over to Final Cut; not all of them, but a good amount of them. I hope you're enjoying the class. We'll be right back after this brief commercial
break. The next couple of techniques that I want
to show you all have to deal with audio. what I'm going to do right now is just kind
of temporarily hide the project that we were working on, and I'm just going to open up
a blank one. I'm actually just going to import the opening
to my last video that I did for Tech Talk America. In this segment, what I want to do is I want
to teach you just basically a whole bunch of different techniques having to deal with
audio. The first thing I want to do is I want to
show you just a great visual tool that you can use to help identify where you might have
some issues with your audio. A common issue with audio is peaking. That's where you have maybe … I'm just going
to give you an example here. Maybe you're doing an interview, and someone
sneezes in the background, right? It's not related to your subject matter, so,
what you would want to do is you'd probably want to dip the audio for that sneeze, and
then very quickly bring it back up so that the audience doesn't even really notice it. In order to identify, visually, where those
key points are, I want to show you a little trick here. We're going to go over to the right-hand side
of my screen. We've already talked about a couple of these
little icons, but we're going to go and talk about this little filmstrip icon. These are your visual settings. For example, this first slide bar here, I
don't really need, because of the fact that I have a trackpad on my computer. I can just spread my fingers apart, in order
to zoom in or out of the timeline. The one that I really want to show you here
is the second one, right here. Technically, this is the third item down,
but it's the second slider. This is the size of your clip. Check it out. As I bring it up to the right, see how, now,
if you look over here – this little segment right here – see how it goes into the yellow
zone there? Actually, I'll just make a little adjustment. Okay, now it looks really bad. See how, now, you can really see that? Watch this. If I move it back to the way it was, it's
a little bit harder to be able to catch those little moments, where it does peak out, so,
this is a good little trick to be aware of. Now what we're going to do, is we're going
to talk about how to make adjustments to the audio, itself. I'm going to start with a very bulk one, which
is just how to adjust the volume for the entire clip. There are two different ways to do this, and
it is important that you know both, because sometimes, one technique is going to work
better for you than the other. The first way – and, by the way, if you
did iMovie, it's the same way – see this little thin blue bar that's running through
the clip? You can grab that with your cursor, and you
can simply drag it up or down. You can see, right now, it’s lowering it
by eight decibels. If I bring it up, now it's up by four. Here's the point that I want to make: see
how every time I move it, it's a full increment; it's a full decibel? If you want to get in there, and make some
little bit more refined changes to it, here's how you do that. First of all, you’ve got to make sure that
you're clicked on the clips, so you've got that little yellow border around it. Then what we're going to do is we're going
to go up here to the Inspector, and I want you to notice where we are. We have four different icons here at the top. We have a filmstrip. We have a little triangle – that's color
correction; we'll get there later, and, right now, we're talking about the Audio Inspector. Right up here at the very top, this is our
volume adjuster. Watch this. If I click and drag here, see how now I can
make much, much more refined corrections; instead of just going just from two to three,
I can get it somewhere nice, there in the middle. The next technique that I want to show you
here – something you're probably going to use potentially even more than that – is
how to make those little dip moments that I was just referring to a moment ago, like
if someone sneezes in the background. Right now, let's just take … Let's actually
use this part right here. Let me zoom in. Let's just pretend that this little part of
audio, where you see it kind of peaks out here, pretend that's a sneeze. I'm going to create that exact dip that I
was just referring to. The first thing you're going to do is you're
going to put your play head just before the incident takes place. Make sure you’re clicked on the clip so
that it's highlighted. Now what we're going to do is we're going
to use a feature called Keyframes, in order to make this very refined correction. Now keyframes are something that you can use
in audio, but you can also use them in video, for things like animation. If you want text to start off here, and then
move here, and then move there, that's how you do it. It's all through keyframes. Let's talk about how to do it. We're going to go up here to the Inspector,
and you'll notice, if I put my cursor over this area, if I take it away, it disappears. You see that little diamond icon right there? That is the Keyframe. What we're going to do is I'm going to give
you the instructions for how to do this first, and then I'm going to do it with you, because
it can be a little confusing. When you're making keyframe adjustments, this
is the order. You start off with placing your play head
where you want the transition to begin. In this case, right there. Then you're going to add a keyframe, adjust
the play head to where you want the transition to end, which, for this kind of thing, is
probably only going to be about one or two frames out. Then, you make the adjust … I’m sorry,
after that, you make another keyframe, and then make your correction. In this case, it would be lowering the volume. Let's actually do it right now. I have my play head where I want it to be. I'm going to now add a keyframe. I'm going to now tap the right arrow on my
keyboard, so that it just goes ahead one frame. Sorry, forgot the speakers were on. I just hit the arrow once, so that it just
goes one frame ahead. Now, we're going to add another keyframe. It might be a little hard to see there, but
there are actually two diamond little icons there, on my timeline. Now, I'm going to make that adjustment. I'm going to take the audio levels, and I'm
going to bring them down. You don’t want to bring it down to zero,
because that's just going to sound like a glitch. I'm just going to bring it down to the point
where it's kind of, you know, good … Minimal. Okay, we've got a right there. Now, all we have to do is we've got to make
the same adjustment going the opposite way. Let's move our play head to just after the
incident, and we're going to create a keyframe; hit the right arrow, so we move ahead one
frame. Sorry, I was not clicked on the clip … One
frame ahead, create another keyframe, and, now, let's increase the volume. See? We just created that little dip, and no one
even knows that there was a problem in the first place. Next technique that we're going over is how
to fade your audio. Let's go back to the beginning of this clip. If you look here on the left-hand side, you'll
see I have this little blue dot. If I put my cursor on it, I can click it,
drag it, and bring it to the right. What it’s doing is it's creating a curve. What it’s showing me, in this case, is that
it's going to take one second – that's one second – to go from zero volume to the maximum
volume. You can use that for either fading in, or
fading out any audio. The next technique is simply how to separate
the audio from the video, so that you can independently manipulate it however you want. In order to do this, all you have to do is
secondary click on your clip. You'll see here, it's the third option down
to detach audio, so that now … Let's say I want to get rid of the video … I’m just
going to mute it. I can keep my audio. Maybe it just becomes voice over, and I can
put something else visually on the screen. The next technique I want to show you is how
to disable a clip. Now, this applies to either video or audio. Right now, I'm going to show you in the context
of audio, because, frankly, that's probably how I use it more than anything. When I'm creating one of my little drone videos
for Droning Provincetown, a lot of times, I'll have several different pieces of music
that I want to just see how each sounds with the visuals that it's paired with. Rather than having to bring in a song, and
then delete it, and then bring in another song, and delete it, this is where disabling
can be a very good feature. For example, here I've got one track that
I was thinking about using, but what I'm going to do is I'm just going to drag it here into
the time. I’m putting it below … Sorry, there we
go … Just below my audio is my dialogue. Okay, now, let's grab another piece of audio,
and let’s put that right below. Let’s go right in there. Obviously, if I was to play this right now,
it would be a big mess, because both of these would be playing at the same time. This is where disabling can be a really good
trick. What I might consider doing is I might click
on one, and then disable it. The shortcut to disabling any clip is the
letter “V.” You don't have to hit command. It's just the letter “V,” and you'll see
it kind of grays it out. It's still there, but we're just ... It's
muted, basically. When you're editing, you don't have to worry
about deleting clips that are disabled. They don't add, or really remove anything
from your project. The next technique I want to show you is how
to add a transition between two shots. In order to do this, we're going to go to
our Transitions browser, over here on the right-hand side; the little bow tie icon. You'll see a bunch of the different ones here
that come with your Mac. There are, of course, a bunch of different
third-party transitions that you can always buy. I'm going to cover a couple of those at the
end of this class, but, for now, we're going to use the most commonly used transition,
which is cross-dissolve. What I'm going to do is I can drag this from
here, either between two shots, or if I were to actually do it at the beginning of my project,
it's just going to fade it in from black. If you need to change the duration, all you
have to do is put your cursor at either – depending on where you have it – either the beginning,
or the end of it, and just drag it to the left or right. For example, right now, you can see here it's
going to take a little bit over two seconds to transition from total darkness to my shot. All right, folks, the next thing I want to
show you is how to add a title to your video. We're going to be putting text on the screen. Here's the thing, there's a couple of different
options that you have in regards to doing this. You can either put text on top of your video,
so you could put … I'm going to end up doing that for you first, here. If I want to say, “A David A. Cox Film,”
while the video is playing behind it, that's one option. Another option is if you want to add it, and
you just want it to have a black background – very, very common. The third option would be if you want to put
text over something like a still image, like a still background, like a solid color, or
a pattern, something like that. Then yet another option is to have something
like an animated background, maybe bubbles, or something like that in the background. I want to show you how to do each of these,
so let's start with just doing the overlay. What I'm going to do is, here, at the browser
window, we're going to go to the third tab over, the one with the little “T.” Here,
you will see all the different title options. I'm going to be showing you the basics of
this now, but I want to just make a little note that I'm going to show you how to take
this part to the next level, in the end of the video, because the thing is that a lot
of these little things that they have, they're cute; they're fine. The basic title one, I have to say, is probably
the title that I use the most of the ones that do come with the Mac. The reality is, is that if you use like boogie
lights here, everyone who's ever used iMovie has seen this effect. If you want your video to really stand out,
really look professional, if it is a kind of … That's the video you're going for,
if you're going for professional, one of the easiest ways that you can take this to the
next level is to add a graphics package. I'm going to show you how to do that; again,
that's at the end of the class. For now, let's just do an overlay. I'm going to just grab this one right here,
a basic title, and I'm just going to drag it and drop it on top of my shot. You can see it's represented by this purple
bar. Now, in this case, right now, you can see
it's actually going a little bit too far. See how it kind of bleeds into that second
shot? If I want to adjust the timing of it, I can
grab either side of it, and I can just drag it left or right. The next way to add a title – let me delete
that one – would be to just put it over a black background. Maybe this time, instead, I want it to start
on just a black screen, say, “David A. Cox Film,” and then open to the shot. The way that you would do that is you grab,
again, whichever title it is you want. We’ll just do a Fade 3D. I'm going to just take that, but this time,
instead of dragging it above, I want you to see this. You can drag it above a shot, but you can
also drop it between shots … For example, if I were to put it there, see how everything
spreads apart? Well, now, we're just going to do that at
the very beginning. Text can either float above footage, or you
can have it be the shot. I don't think I need to put the text in for
that yet. Let me show you the other methods here. The other version that I mentioned here was
some sort of a background. For that, if you look over here, see, we have
titles up here. Then, down below here, we have generators. Generators are a combination of still images,
and animated. For example, one cheesy one they have here
is clouds, so you can make it look like you're flying. By the way, if you want to see the animation
play, the way that you can do it is you just basically put your cursor over this space,
wherever it is – here's drifting, the bubbles one – and just tap the spacebar, and you'll
see the actual movement of it. Another thing that can be handy in generators
is we have a place holder. Sometimes, you just want to kind of make a
note, as an editor, that you have a shot that's going to be going there. Maybe you have the audio, but you don't have
the video. You can just throw this there, and it's just
a note to swap it out eventually. All right, if you want to add text over any
of these things, all you basically have to do … I'll do
the glimmer one, here. You just drag this first into your timeline
… Let me put it at the very beginning. Whoops, sorry, didn’t mean to just screen
over like that. Sometimes, I have a tendency to do that. I just put it here. Now, if I play it, you'll see it's playing
that little animation. Then, I'd have to go back up here to Titles,
and grab you know whatever title I really did want, and then drag it over, and lay it
on top of that layer. Another thing I want to go over about this
is rendering. Jere you can see I've just kind of added … I
swapped out the generic text with just my name, and you'll now notice that it has, above
the clip, all of these little purple dots. What those dots indicate is that that shot
is not yet rendered. Basically, your computer has to process certain
types of shots more thoroughly. These would include shots that have text,
animation of any kind, different generators, backgrounds, when you add certain types of
special effects. This is a very common thing that you're going
to encounter. Now, by default, I believe your Mac will actually
begin rendering if you don't touch your cursor for a few seconds, but, for me, I really like
my computer to constantly be rendering. The way that you get to the setting for this
is you're going to go to where it says Final Cut Pro at the very top. Go under Preferences. Here, you'll see we have a tab for Playback. That's where we are right now. It's this very first option right here. Rendering, you want that checked, and you
can start it as soon as 0.2 seconds. In general, rendering times are going to be
one of the things that will be the most dramatic, as far as whether or not they are fast, or
slow, depending on if you are editing your content locally, or editing on an external
hard drive. Now, I want to show you how to actually manipulate
the text in the first place. I'm going to show you a couple of things here. Let's start with just adding a basic animation. I'm going to do a fade title here. I do want it to be animated, in this particular
case. I've added it to my shot, and, as of right
now. it says Title in the middle of the screen. That's not quite what we want. If we click on it – it's got to be highlighted
– go over here to the Inspector … You'll see we have all of these different tabs. In this particular case, because there is
an animation involved, there is this particular tab, which is the Title Inspector. Let's say, for example, I didn't want the
text to actually fade in, for whatever reason. I could uncheck this option here. If I wanted to change the direction where
it was coming from … Right now it's going … It's a forwards-fading title. Let’s see what that looks like. If I want to reverse it, I can just go in
here, and go backwards, so, now it looks like that. See I’ve just reversed that? All of your different animation options are
basically right here. Next, let's go over here to the Text Inspector. This is where we're going to actually go to
change the text that we see reflected right here. Now, depending on which of these little title
templates you use, sometimes – in this case, you actually can – sometimes, you can actually
double-click in this space, and you can just type it yourself. If you want to position it, you can just drag
it where you want. However, that's not always the case, so I'm
going to still show you the manual way to do this. I put it in my title. We’ll just leave it the way it is for now. If you want to change the font, which is usually
a good idea, since Helvetica is slightly overused, you can click here, and, of course, have access
to all of your fonts. If I may give you a slight tip, at this point,
in general, I would say it's probably a good idea to go with a font that did not come with
your Mac. If you want it to look a little bit different,
I think that's usually a good thing. A couple of other things that we have here
… Of course, we have some basic formatting options right here. Those should all look very familiar to you. The manual way that you can reposition the
text – this is, again, the way that I really want you to learn – is right here. We have your X, Y, and Z axes. In this case, it's not 3D, so Z isn’t going
to really do anything, but what I can do is if I … Let's say I want to put that text
in the bottom left corner. What I can do is I can click in here. See where it says “0?” I can click in this area, and then just drag
down on my cursor. I don't have to actually guess the number;
I can literally just figure it out as I go. Let's say right there, and now I release. Now, let’s change the Y axis, and let's
go down … Let's just say we'll leave it right there. If I wanted to change the rotation, scale,
any of that stuff, you can see those options right there. If I wanted to make this 3D text, all I would
have to do is literally click this box. There are a whole bunch of different other
options that would then pop up, as far as the texture, and what material does it appear
to be made of. Just all of those options, I'll just show
you real quickly. You can see here. we can change the lighting style, the intensity,
environment, material, substance, blah blah blah. Let me just uncheck that for now. Also, the big one I really wanted to mention
here were outline, and drop shadow. One of the reasons why I wanted to just mention
this is that, if you don't have at least a slight outline, or a little bit of a drop
shadow, it can sometimes be a little hard to read it, if the color of your text is the
same as the background. Also, I just want to mention, if you check,
for example, drop shadow, see over here on the right-hand side, it says “Show?” I have to click on that to change the various
parameters here. If I want to change the distance of the shadow,
the opacity, all those different options you'll find here. Each one of these little options here has
their own options, there. I got one more title trick for you here. A lot of times when you're dealing with titles,
many times, you need more than just one of that type. Especially if you go through, and you make
all your little changes to make it look just the way you want. It's a pain in the butt to have to do it again,
and again, every single time. Here's a really easy way to duplicate a title,
once you get it the way you want it. All you have to do is, on your keyboard, you're
going to hold down the Option key, and then you can click, and move whatever title it
is. You can either move it to the right, or the
left. Just see, when I do, ta-da, there are two,
just like that. Just hold the Option key, and drag it either
way. Now, if I wanted to duplicate this one, check
it out: hold Option, move it to the right, boom, I got another one. See, isn’t that cool? Hope you're still enjoying the class. We'll be right back after this quick commercial
break. All right, folks, at this point, what I'm
going to do is tackle the very broad topic of special effects. I'm going to give you a couple of different
tools that I think are going to make this process a lot easier for you, and a bunch
of advice, I think, to also help with this process. Here's the thing, there's a bunch of effects
that come with your Mac. Some of them are good, but the thing is that
if you really want to take your abilities as a content creator, as a video producer,
or whatever it is that you call yourself, to the next level, you really need to get
some third-party plug-ins. Now, the thing is, they're not really all
that expensive. As a tool, I think they're just really incredible. I'm also going to give you a couple of tips
for how you can basically add a bunch of effects to a shot, and then duplicate those effects
on different shots, so you really only have to do it once, and get it pretty close. Then, you can apply it to a whole bunch of
different shots, and then, if you need to, you can always make little refinement corrections
as you go. We’re going to be using this shot, here,
as an example. This is actually a completely autonomous shot
that I did with my DJI Mavic Air. This is, I think, actually one of my- my second
flight I did with it. I just basically tapped on the crashed boat
here, and said, “Fly away.” It just takes off on its own, and does this
little reveal shot. That's the footage the way it is, raw, out
of the camera. We're going to add a couple of effects to
just make this look a little bit more cinematic. What I'm going to do is I'm going to go over
here, on the right-hand side of the screen, to the Effects browser, or you can do Command
+ 5, if you're into hotkeys. There are a whole bunch of different effects,
as you can see, right here, that come with your Mac. Not all of the ones you see here on my screen
are the ones that are default, but these are, by no means, even close to how many effects
that I actually have. One of the things about effects packages is
that when you apply them to Final Cut Pro, they're per user. They're not for the entire computer. This right here that we're on, right now,
is my demo account. My real account has quite a bit more than
this. The ones that I wanted to show you … Right
off the bat, one very, very simple effect that I think will immediately make your videos
look far more professional is the Vignette feature. I can just type here, into the little Search
feature, or I could just go through it … V-I-G-N-E-T-T-E. You’ll see I have a couple of different
options here. In this case, I'm going to use this, and watch
this – as I cursor over here, it immediately shows me what my shot is going to look like,
if I skim through here, with that effect. Now, if you are editing your footage externally,
it might not load that quite so quickly, so don't get frustrated, if that's the situation
you're in. What I'm going to do now, to apply this, is
I'm going to just drag it, and drop it onto my shot. With any effect that you use, any effect that
you drag onto a shot, you're always going to go up here to the Inspector, in order to
make changes to it. Some effects are just going to be located
here, under the Video Inspector, but others are going to have other tabs up here. Depending on what kind of effect it is that
you're going for, just know that everywhere that you need to go, in order to make the
little refinement corrections to it, all of that is going to be located up here in the
Inspector. In this case, for the vignette, we can adjust
the amount of blur that we have. We can choose, you know, where is the falloff
for this vignette? I can darken it, or I can lighten it. If I want to make it a little bit more subtle,
I could just do that. I actually kind of like a good amount of vignette,
so, we'll do that. Then, the other effects that I wanted to just
talk about briefly in here … One important one that I know a lot of people care about
is I wanted to talk a little bit about keying. A keyer is when you have an actor, typically
in front of a green screen. You want to delete the background, and put
something else behind them. It could be a still image. It could be a video. It could be some sort of an animation that
loops. Whatever it is, this is the tool that you're
most likely going to use, unless you go with a third-party keyer. I've actually had pretty good success with
the keyer that comes built in with the Mac. I do have a third-party one, which I’ve
occasionally used. I really don't green screen a lot anymore,
because I just tend to prefer more of a live format. Anyways, that's the tool that you're going
to go to. If you needed to do this, you’re going to
actually see it's attempting to actually add it to the shot. Watch this: if I put this clip right below,
you'll see … Let’s see if I can give you a little preview, here. No … If you look at the water … Well,
watch this: we can apply it to this shot. It's going to make no sense … See the water? See how it’s now kind of clear there? That's basically what a keyer is, right there. If I wanted to adjust the strength, all of
the different options are right up here. Just know, any effect that you add, you're
going to make all of your little adjustments up here. That's little bit of keying. Let's move that shot back. The next thing I want to do is I want to talk
a little bit about color correction, and some of the things that you can do. Again, one of the major tools that I use that
actually ends up dealing with color correction does not come with Final Cut. We’ll go over it at the end. Let's apply it to the shot. That's okay. We're going to go over here towards the middle
of the screen. You'll see there's a little magic wand icon. If I click on the little arrow next to it,
we have three options that show up. We have Balance Color, which is just … It
does its own thing. I don't ever use this tool, and I'm not going
to really go over it. Match Color – Match Color is really handy,
if you are in a situation where maybe you have an actor or actors, and you're shooting
with more than one camera, but the cameras are different. It's inevitable that the colors might look
a little bit different on one camera. What you can basically do with this tool is
you just click it, and you will just kind of, with your cursor, click on another shot,
and it will attempt to match the color profile- the lighting profile from one to the other,
so it just makes them look like they're the same. All right, the next one is the Color Inspector. That's the one that we're actually going to
go over right now, or if you're into hotkeys, this is Command + 6 to get into this. There's a couple of different ways that you
can deal with color correction. If you look up here at the top, we have this
little arrow. We can access a Color Board, which is what
you are looking at right now, in the background. This is the one that people have been using
for the longest. A Color Wheel is relatively new. This is a little bit of a different way that
you can deal with adjusting the colors. Your Color Curves, this is dealing with the
Luma, the reds, greens, blues, all that good stuff; and your Saturation Levels, your hue
and saturation curves. The one that I really want to talk about more
than anything is just the Color Board, because I think it's probably the one that most people
are going to end up using. Within this, we have three different options. We have Color, Saturation, and Exposure. Each of these categories has their own master
levels, shadows, mid-tones, and highlights. Really, here, what you just want to do is
you just want to adjust, and get it to the way that you want. In this case, I'll just add a little bit just
so you can see what they do. See, if you add too much saturation, it just-
well, it looks fake, and areas of the screen that are red just really don't look so good. Your mid-tones give it maybe a little boost
there, and my highlights, which, if you could see the sky, you'd really see that affected
a lot more. Then, of course, our exposure levels. You get this the way that you want; you apply
it to your shot, and now, I want to show you a trick that will save you a lot of time,
so pay attention, folks. All right. When you get your colors, when you get your
effects the way that you want them, a lot of times, you're going to want to apply that
list of effects to multiple shots. Here's the thing. Sometimes you want to apply everything, and
sometimes you want to just apply some things. I want to show you how to apply everything,
so you’re going to have to literally clone all of the settings from one shot, and just
plop them on top of the next shot. Let's do this shot right here. If I want to take those exact settings, and
move them over, what I have to do is I can do Command + C, the standard for copy. Then, the difference between applying everything,
and just some things, is one keystroke difference, as far as the difference between these two. If you want to apply everything, it is Command
… Let's see if I can remember this, myself … Command + Option, and the letter “V.”
It’s similar to paste, but you add the Option key. That … Whew, it did it. Thank goodness. That applied everything to that shot. The vignette is the same; the color profile,
all that; all the color correction is the same. Okay, let me undo that, so I can show you
the other way. The other way, very similar. Instead of the Option key, it’s Command
+ Shift + V. Then, when I do that, check it out, I can choose exactly which effects that
I want to move over to this other shot. Let's say I want to move over the adjustments
that I made in regards to the color wheel, the curves, and the board, but not the vignette
effect. Now, I can hit paste on that shot, and I have
exactly that. If I go here, into the … Here we go. See, I have all of those except the Vignette
feature. Just to review one last time, to copy everything
is Command + C. Then, to paste it, in general, I think the one you should probably just use
more than anything is the second one I went over, which is Command + Shift + V. One more trick on that subject matter: if
you end up creating an effect, and you want to redeploy it, not just in maybe this video,
but in future videos … For example, if you're me, and you tend to shoot, a lot of times,
similar lighting, similar everything, similar effects, what you can do is once you've assembled
your list of all of your various shots … Let's go back to this one, since this shot has the
vignette effect. One of things you can do is you can go in
here, and if you look, it says “Save Effects Preset.” We're just going to click here, and what it's
going to do is it's going to combine all of these effects that we have just created into
one preset. What I could do, maybe, in my case, is I could
call it you know Cinema Glory. I don't know, that's just what I came up with. Then I can choose the category. It's not 360. I'll just put it in Basics, for now, and I
can hit save. Now, if I go back here into my effects preset
… Let's get out of … Let's go into Basics. Check it out, Cinema Glory, right here. Now I can just apply one effect, and in the
process of applying that one effect, it can have multiple effects attached to it. For any of you out there who especially are
doing YouTube stuff, where you are going to be doing that thing, where you're going to
be using just a bunch of different effects all the time, this will save you a lot of
time. Hey, guys, I actually have one more trick
that I wanted to share with you in regards to color correction, in general. This applies to not just Final Cut Pro, but
also any photo-editing software out there. I cannot tell you how many times this has
actually happened to me. I was up editing a video late at night, and
I had finished the video, and I decided to just color correct the whole damned thing. It was very, very late. When I woke up in the morning, and I saw the
video – I re-watched it – I was just in tears, because it was completely wrong. That's when it hit me, I had color corrected
the entire video, when my Mac had gone into Nightshift mode. For those of you who are not familiar with
what this is, Nightshift is a feature that was introduced in one of their recent operating
systems, where, at a certain time of the day, the whites on your screen become warmer. The idea here is that it gets your eyes more
easily adjusted to the low light conditions, so that you can go to sleep easier. The problem is that if you’re color correcting,
you're going to be completely wrong. I just want to show you, for those of you
who are photographers, if you go into your Mac, if you go into System Preferences here
… If you go into the Energy Saver mode … I'm sorry, not Energy Saver, Displays. It's a tab right here. It's Nightshift mode. You can see on mine, right now, it's set from
sunrise to sunset, or sunset to sunrise, rather. If you turn that feature off, that might be
a good idea. I was trying to think earlier if there was
a way to create some sort of a script, so that every time you turn on a Final Cut Pro,
or Photoshop, or something like that, if there was just a way to make your Mac automatically
just turn that feature off … I don't know, Tim Cook, if you're stalking me out there,
there's an official request, okay? Any time any Mac user is using any video,
or photo production, kill that feature. Hey, folks, we have to go to a quick commercial
break, but we'll be right back. All right, folks, the next technique that
I want to show you is where to go when you want to make timing changes to your shot. For example, if you wanted to slow motion,
or make things go faster. We're going to work with this clip right here,
so I'm just going to click on it, so that it's highlighted. We're going to go to this icon right here. Currently, it's in the middle of my screen. You'll see here, if I actually close my browser
out now, it's shifted over here to the left. Just look for this one. It's the one that looks like the little speedometer. If I click on the little arrow here, you'll
see we have all of our different options here for if we want to make it slower, faster,
and a whole bunch of other options here. We'll go over a couple of those. For example, if I want to make this slow down,
it actually doesn't really matter which one of these I pick, because the thing is that
no matter which option you go with, you can always grab the little line that you see here
at the very end of the shot, and you can drag it to the left. This is making it faster. What you'll notice is that when I hit 100
percent, it switches over, because now, we're going faster than the original footage. Couple of other things you can do here in
this menu … You can also hold it, if you need to freeze the shot. Also, parents, let's say you're doing fancy
videos of your kid’s sport games, it might be good to know some of these down here, like
Instant Replay, where it'll freeze it. It'll actually add a little title that says,
“Instant Replay.” Sorry, it won't actually freeze it, it'll
just kind of rewind, and put it in slow motion, automatically. Another one that's good to know about here
is Speed Ramp. Speed ramping is when you are changing different
speeds throughout your shot. It starts off going at one speed, then it
goes to another speed, and then so on, and so forth. Another feature here that I wanted to really
point out is the Video Quality, especially if you are making your footage go slower than
the original. You might notice that if you use the Normal
mode here, it looks a little bit choppy. That's where Frame Blending, and Optical Flow
might be good options to explore. Next, I want to show you how to use the Voiceover
feature, if you want to add something like narration to your videos. In order to do this, you're going to go to
the very top of your screen, and just here, under Window, you'll see it's right around
the middle of the screen, we have Record Voiceover. Let's go into that. What, basically, you're going to need to do
is you're going to most likely need an external microphone. You don't really want to use the one that
comes with your Mac. For those of you curious about what equipment
I'm using right now, there's an audio company that I've been a big believer in for years
now, called Blue. I'm specifically using the Yeti Pro. If you want, there is a link to it, both in
the description of this video; it's also on my website, under the Product Recommendation
screen. The other thing that I would recommend, if
you do decide to get into doing voiceovers, is you need to get something called a pop
filter. It's basically a little screen that goes between
you and the microphone. There's one I'm using right here. What it basically just does is if I … Well,
let me remove mine for a minute. I don't know how well you're going to be able
to hear this, but the Bs, and the Ps, when I talk, I will bet you, aren't sounding so
good right now. Whereas, right now, I’ve just added it back. It cuts out those little pops that are in
your voice, and just makes it a lot more pleasant to listen to. In order to use the Voiceover feature, you're
just going to basically put your play head wherever you want it to record. At this point, it may be helpful to you to
also have a pair of headphones, if you want to be able to hear whatever audio is going
on normally in the video. Of course, you can't play the audio from your
speakers, because then it would be recording it through the microphone. That's where that can definitely be a good
feature. If I click here, on Advanced, you'll see here
this is where we can go to turn the monitor on or off. That would be the ability to hear the actual
project. Also there's just a bunch of options here. When I go to record it, it's going to automatically
rewind by three seconds, and just give me a little countdown. Then I can just record, hit the stop button,
and it will insert my voiceovers. I can move it around just like any file. When you're done with your project in Final
Cut Pro, all of the export options you'll find are here, under File, and under Share. Usually, what I tend to do is I tend to just
always do the master file version, and always get the highest resolution copy of my video
that I can … I always like to preserve that, even if I might make smaller versions just
for social media. I like to have one version that's really like
super-duper high-rez. At that point, when you're done with your
video, of course, you have the option to either archive your project, or delete it, and maybe
just keep that final high-resolution copy, and, yeah, you're pretty good to go. I think what I want to do at this point, folks,
is I have just a ton of little extra tricks to teach you all now. When you feel like you have the basics of
Final Cut … Please understand, it is a massive piece of software … There's plenty of things
that I'm still learning how to do. I want to just share with you, in no real
particular order, a bunch of tricks to just take your editing abilities to the next level. The first is I want to introduce you to a
website. Since I've been using this website, I ended
up somehow becoming friends with the guy who created it, Simon … Hey, dude. His website is motionVFX.com. I actually have it hidden right over here. MotionVFX – this is not the homepage – is
a website that has just a ton of different special effects, and plug-ins, not just for
Final Cut Pro; they also some other stuff. They have stuff they now make for After Effects,
and for Premiere, and Motion; they do a lot of Motion stuff. That's on my to-do list, as far as things
I need to get trained in. If there was one effect that I had to recommend
to all of you out there, over anything else, it would be one of these. These are what we refer to as LUT files. What is a LUT file? It’s basically a lighting profile. I'm going to open this one up here as an example. Now, I have to mute my computer speakers,
here, because I don't actually have the copyright to be able to play the music, but I can show
you guys the footage. Basically, what these effects do is – video
will clear up in a minute – you can see, that's kind of like a before and after. The idea here is you can take these different
color gradings, and just apply them with really just a couple of keystrokes to your footage,
and it just immediately enhances the cinematic experience that you get from your footage. Don't worry so much about getting the expensive
camera. I mean, yes, you want to get a camera that
can capture enough information that … Of course, that is important, but the whole idea
here is that, look, if you know how to edit, as long as you've got that information about
the basic composition of the image, you can really make anything look amazing. I was shooting my Droning Provincetown videos
for the longest time on my iPhone, and that blew people's minds, when they would see that
in the credits. Let me show you how to use one of these types
of special effects. One of the things I need to mention about
any products through this website, through MotionVFX, you need their special installer
to be able to let it communicate with Final Cut. If you look up here at the very top of the
screen, there’s this information for Learn More. That just basically directs you for how to
do this. Anytime you're installing special effects,
or LUT files into Final Cut Pro, you cannot have Final Cut Pro running at the time. In order to use mLUT, mLUT installs right
here into the Effects browser. Let's go in here, and you'll see that it's
listed here under Video Effects. We now have a little thing here for mLUT,
as well as you'll start to see some of the other ones that I have of theirs. The clip that I want to show you here … I
want to show you what this clip looks like without any special effects. This is just a drone shot of the Provincetown
Inn, and the breakwater there in the background, which now has a crashed ship on it, currently. That's the way it looks right now, out of
the can. What we're going to do is we're going to grab
mLUT, right here, and we're just going to drag it, and drop it right on top of that
clip. Now, at this point, so that we can make some
alterations to this, let me just juggle my windows around here, and add back in the Inspector. We can hide that, at this point. Here we have the initial controls for mLUT. Typically, the first thing I usually do is
you'll notice that the intensity, by default, is set to 100 percent. I usually don't do that; I usually bring it
down to like 40 – maybe even a little bit less than that –percent. A lot of these effects, it's one of those
things where, if you apply it at 100 percent, it's a little too much. You want to scale it back just a little bit. From here, what you would do, is you'd go
here to mLUT Library. As you will see here, of those various packages
that I showed you on that previous screen back there – not that screen, actually – I
do own quite a few of these. Basically all of these, like I said, are just
different lighting profiles. If I want to see how they would look … Let
me do the one for Alice in Wonderland. This is kind of a very bright one; goo when
you have lots of color. I just click on it, and boom, it's applied
in the background. If I kind of juggle my windows around a little
bit here, sort of like that, you can notice I can actually, right now, just play with
that intensity. Actually, that looks pretty good at 100 percent. I don't know. I’m going to scan the image over a little
bit. That actually looks pretty good. Let's check out the before and after on that. Where can I move this? All right, let me just hit Apply for now,
so that we can do this. That's the after. That's the before. Suddenly, the before doesn't look quite as
impressive, right? You add that in; suddenly, oh, my God, those
blues just pop right off the screen; the greens, very good. I’d probably still throw a little vignette
on top of that, and I'd say we're about perfect. You can change some of the little aspects
here – the highlights, mid-tones, shadows, all that good stuff – here. Just know that's how easy it is to make your
footage look amazing. You don't need all these expensive things. By the way, that LUT file? Yeah, $59. That’s not bad at all. Now, hopefully, you're having a little bit
of fun here. Let's move on to the next effect that I want
to show you. This is a great effect for any of you out
there who are looking at getting into YouTube. A lot of things you need with YouTube, you
need these little pop-up thingies. You need these little cute animations, where
you can put your name, and someone else's name, their title, all that good stuff. All those cute little animations, you don't
need to know how to animate anymore. All you need is a special effects package. I have to say the one that Simon put together
for MotionVFX is very cool. The name of this package is called mTuber,
and if it looks familiar, guess what? I use it in my videos every single week. Basically, this installs into your video. I'm going to use this clip, just because we're
already on it. This installs into a slightly different window,
so, let's juggle around here again. I'm going to bring back the browser, and mTuber
is actually here in Titles. You can see here now, when I'm in … I'm
in the browser; I'm in Titles. We scroll down to the very bottom … I just want to go through here, and show you
some of the different little effects that you can do. This one would be just a little something
that pops up at the end of the video, if you want to try to get somebody to subscribe to
your YouTube channel; that cute little animation. It's just literally, all you do is you just
drag it and drop it on top of your shot, right? How easy is that? Just like that. If you want to make it shorter, just like
any other title, you just click it, and drag it, pull it back. When it comes to making alterations to the
text, you guessed it, we’ve got to go back, of course. Now we juggle windows, yet again. Okay, up here in the Inspector, we have all
of the information that we need to do, to change the information about this. Let’s say I don't want it to be red, for
whatever reason. I can just click here, boom, change it to
blue. Any of the text, if I want to change the wording
… Maybe instead of “Our,” and say “My,” literally, that's how easy it is. This package has a whole bunch of different
things, all for people who do YouTube, so I highly recommend you check it out. It's just, it's so easy to manipulate this
stuff. I love it. Very, very easy. We love user-friendly, here at Tech Talk America. By we, I mean me. Next one we have here is mArrows. Again, this is going to be a big one for different
YouTube people. Sometimes, when you're showing people different
things, if you're giving presentations, you need to get people's attention. “Hey, look over here, buddy.” This is a great way to do it. All of these cute little animations you can
get. They're all included with a special effects
package, and it's super-easy to be able to use them. See, check that out. Isn't that a cute, cool little effect? If you look at the cost, it's 59 bucks. Not bad. That's mArrows. Next one here, I guess we’re kind of going
with a theme here … If you need to simulate a message, like you're having like a little
text conversation, here … Let's check out their little demo video, here. Okay, these cute little text effects … You'll
notice that they do also track, which is kind of a really cool feature. One of the effects that I want to show you
about this, that involves tracking, because that is a very common feature in a lot of
special effects is you want something that's going to move with your image … I'll give
you a perfect example of one. Let's see if I can find … We had a car shot
there, didn't we? Yes. Let's say, for this car shot, pretend that
you could see the license plate. A very common thing that you need to do is
to be able to blur things. Here's an example of a really simple effects
package that'll do that for you, and it's actually … I have it saved up here. Where do we have it? I thought I had it saved up here. Anyway, it's called mCensor. It's down here in the … Down here. Sorry, mCensor, right here. We’ve got a lot of windows going here. See? This is why you need to know how to do these
hotkeys, because it's a lot faster. It's a little hard for me, with my current
setup, when I'm doing voiceover work, for me to do hotkeys, but … Anyways, mCensor,
great little effects package. All you do is you drag it and drop it on top
of your shot. You find the first frame where you actually
have your subject enter. I'm just using the arrow keys right now, on
my keyboard. I’m waiting until I can see that license
plate. There we go. From here, all I have to do is basically … See
this white thing in the middle? We can move this, and we can reshape it. We're going to just try to line it up there. I’m doing a very sloppy job, but we're doing
this quickly. That looks about good, right? Then, if you look over here on the side, we
have just … This is the really simple control. It's like what kind of effect do you want? In this case, let's just blur it. You can do … Also, you can kind of like
do a mosaic, or you can just do a block; just make it look black. For now, we'll just do this. Now, all we have to do is hit Track, and the
Mocha software will do it all for us. It's right now going through every frame of
this shot, and it's tracking that license plate. When it's done … I'll speed this part up
in editing. Now we play it, and I don't know how well
you can see, but it is- if you watch there, it is tracking it, so now that’s all blurred
out. That's a great tool. I love that one. Let's go back here to the official list … This
is really just a general type of effect that you can get through these guys is they have
a ton of different, really funky, kind of funny … This one I actually used in a video
that I did last Halloween. If you have not seen my little Droning Provincetown
videos, some of them are quite … We'll just say unique. I actually used these titles in the end credits
for my video for Halloween last year. You can see, you can swap out all of this
text with your own text. I used that particular one. You can do end credits. It's really, really easy. It basically just installs just like … Yep,
let's go back to it. I'll show you real quick. For that one, that is … Let's see, that’s
MHalloween. Where is it? Halloween. Halloween. Halloween. There we go. All you have to do to make one of these cute
little animations is I just literally drag it and drop it into my into my shot … Let's
do a crazy midnight one. This is not going to fit with this video,
somehow, I suspect. We click on it. We go into our Inspector, so we can pull up
the Properties … There we go. Here we go. Check it out. All I have to do is just swap out the text. I can say, instead of Midnight A, David A.
Cox … Why do I always do that A? Cox Productions … Now, I have to, of course,
shrink it. Let's make the text size a little bit smaller. Looks good. Let's give it a little space to knock that
production down. Check out how quick did I just create that
… There was no special effect in editing. One thing I will say about some of these ultra-high-definition
effects is some of them do take a little bit of time to render. When you initially go to … If you try to
immediately play it back, you'll see we have all the little dots here, above the image. It's going to take a while for it to process
away at that. In fact, I think I can hear the fans on my
Mac starting to turn on … Let's just give you a little preview of it. It's going to look a little choppy, but when
it's done, it’ll actually look very cool. See? Just like that. Yeah, and then it would fly away, just like
that. As far as all the different little things
that you can change, look at this- the size of the moon, you can change right here. The moon scale … If I want to make the moon
bigger, check it out. I can do it just literally by sliding this
little scale here. The bats that saw that entered earlier … Let's
see, see those bats that are right there? Check it out, you can choose how big they
are. That's bats. Let's see, Bats Two, Bats … Oh, I think
I want Bats One. Okay, that's Bats One. Those bats in the background, that's Bats
One. Then, the other one is … You’ve got the
idea. You just play with it, and you make it your
own. Okay, a couple of other little fun ones we
have here. This one can be good. It's a very cool effect, I find. It's Transition Zoom. If you're trying to kind of impress people
with the editing, especially if you have drone shots, you'll see that's how they tend to
use it in their demo footage. It just kind of zooms in. This would be an example, just one of those
extra special effects that you would find in your transitions. Some of these effects I've showed you in the
Effects browser; some of them are in Titles. They can kind of go all over the place, depending
on what it is they do, but you’ll see … When you see 20 of them in a row, then it gets
a little nauseating, but you get the idea. It's pretty cool. Here's another kind of a funky one. Don't know how many of you would actually
like this, but I actually use this to transition segments in Tech Talk America, occasionally. When you want to have someone holding up a
phone, if it's got something on it, same basic concept. It’s just you bring in your footage, swap
it out, and it makes the animation really, really easy. I think that one’s a $59 template. Yep, there you go. Noticing the theme here? Next one is Glitch. For those of you who are kind of doing techie
videos, if you're trying to look like the cool kids … A lot of kids using Glitch these
days; I don't know why. It's a very, very popular little effect. If you want to kind of transition things in,
if you want to add it to someone entering the frame, you can see a couple little examples
of how they're using it here. Very, very simple effect, and they even have
a little tutorial there, showing you how to do it. That's mGlitch. This one here, I love … I think it's good
to have some different titles, because sometimes you just need to say something with text,
and this just gives text a little bit of a personality. This is just one of several different- this
style of templates that they have. This one, again, is called mPop, I believe. Is it mPop, or mTitlePop? It’s mTitlePop; sorry about that. Very, very easy. Just swap out their text; put in your text. It's so easy. It animates everything for you. Love it. Another website I want to show you here is
FCPeffects.com, and I do … Just a little favor, if I may ask? I am an affiliate of these guys, so, if you
do use my link, it is much appreciated. These guys have a whole bunch of different
effects for Final Cut Pro. You can see there's a giant list, right here. If you're into doing weddings, you'll notice
they have like a Wedding Title pack, lens flare plug-ins, all sorts of different stuff. One of the ones I have been very impressed
with is the one called Skin Smoother. If you are dealing with an actor, or someone
on camera who doesn't … If they're not experiencing a good skin day, this is basically like Photoshop,
but for video. You just apply it to the face. They actually have a little tutorial that
comes with it, and actually, I believe I did a tutorial on it, ages ago. All right, guys, this next resource is a big
one. This is VideoHive.net, and there are several
different things that you can use this website for. For example, if you look here, we have a few
different subcategories here, under the category of Video. One of them you'll find here is Stock Footage. If you don't have access to a camera crew,
instead, you can just pay a fee per shot, and license a piece of footage. For example, when you watch television these
days … Now granted, I'm in the United States here, and I have a feeling we see different
ads than those of you who live around the world … It does definitely feel like, these
days, every single commercial is for a drug. If you've seen these commercials, the subject
matter never really has a lot to do with whatever the drug is. I swear that at least some of these guys are
just going onto websites like VideoHive, and just like punching in “Kids.” They just get different shots of kids, and
then they put some sort of a narrative to the background, and they just … That's how
they make the entire commercial, is it's just all licensed pieces of stock footage. If you need that shot of a family at a restaurant,
this can be a really good place to go to get any of those, whatever kind of shots you need. Now, the other aspect here that I want to
show you is the different abilities that you have within After Effects. Granted, this class is all about Final Cut
Pro, why would I even bring this up? Well, here's the thing, there are a bunch
of other pieces of software that are out there that do special effects. For example, if you want your logo to fly
into the screen, and distort, and do some sort of cute little animation thing to get
their attention, that kind of shot is typically referred to as a Stinger. While you may not have either After Effects,
or the knowledge of how to put that kind of an animation together, one of the things I
want to show you how to do is how to combine this website with another website, in order
to get someone else to animate it for you. Let me just give you a sample here. I'm going to go here, into VideoHive, and
I'm just going to type in the word “logo.” Let's just see what pops up here. All right, we've got a bunch of different
options here. Let me go into this Cyberpunk logo. Let's just see what this looks like. What this is, basically, just demonstrating
to us is that any text that you see there can be swapped out instantly. You put either your logo, or you can put text
there, and they're kind of giving you different versions here. Pretty cool. That effect, depending on what your use is
of it, I think it's usually right around $19, somewhere around thereabouts. These are all just different demonstration
versions of that effect. Yeah, there you go, $18 for a regular license. One thing you just have to check out here
is there is a difference between a regular license, and an extended license. When you do that, the price is going to go
up; just be aware of that, because you can license it for a single project, or just kind
of unlimited. Now, if you decide to get something like this,
and you're done with it, where do you go to actually get that animated for you? This is where you can check out Fivrr.com. Then, from this website … This is one of
those websites where you can go to pay people to do stuff for you. You'll see they even have a Video and Animation
section here. My advice is, when you go here, under the
search, I would actually type in the word “VideoHive,” because enough people make
requests that you will see several of these pop up here. Another piece of advice, if you decide to
pursue this method, when you do a search on Fiverr, make sure you always change it from
relevance to best-selling, that way you just get people who are a little bit higher rated. If you have someone who has a perfect five-star
rating, and has done, let's see, over a thousand projects, that's probably a pretty good indication
that they know what they're doing, and they're going to turnaround your product relatively
quickly. The next resource I have for all of you is
one for if you ever need background music. This is my good friend, Adi Goldstein's website. The name of the website is AGSoundtrax. Note that it's soundtracks with an “X”
dot com. Also, this is where you're going to be glad
that we're buddies, because I got you all a little coupon code. If you use the coupon code “DavidC25,”
you'll get 25 percent off. I can't even tell you, at this point, how
many times I am watching TV, and I hear this guy's music in the background for a commercial. Adi has had tremendous success; has worked
with political campaigns; has worked with a whole bunch of different people out there. I cannot highly enough recommend his stuff. If you check out his website, again, it's
AGSoundtrax.com, use my little coupon code, “DavidC25,” for 25 percent off. Another resource for music, this is an offshoot
of Envato. This is AudioJungle.net. I've had mixed results with AudioJungle. There's a few gems in there. Sometimes, you just have to really dig through
it to kind of find exactly what you need. Usually, with AudioJungle, I find my end price
tends to be around … Mine tends to be around $19, but the important thing to know is that
when you're buying rights to music, you need to tell them what the project is for. It's going to be one price, if your video
is going to end up on YouTube. It's going to be another price, if you want
to put it in an actual movie, obviously. Just be prepared for that, I suppose. The last resource that I want to show you
today is this service that I've been using for a little bit over a year, called Envato
Elements. Now, I need to explain a little bit about
how this service works. You can either buy a membership on a month-to-month
plan … I think I was playing paying maybe somewhere around $29, something like that;
I don't remember exactly. Or you can do an annual plan, where you just
prepay, of course, for the whole year. What's important that you should know about
this service, this service has tons of different resources that content creators constantly
need, like graphics, fonts, photos, all sorts of different stuff. What you need to understand is that the license
for any of these products that you download, it's a lifetime license. That does mean that, theoretically, you could
get a one-month membership, download a whole bunch of different stuff, and then cancel,
and you'd still be able to use all those different things that you've downloaded in that month. Now, that was actually my original intention,
and then I just started monitoring how much new content they would constantly be introducing,
and it really helped me, as someone who is not particularly talented in the graphic-design
department. I have really come to use this website as
a constant resource. As I mentioned already, one of the things
you can get, which is really great, are all these very creative, and beautiful fonts. For me, it's not even just the fonts, it's
the way that they pair the fonts with the background images. It can just really help you, in terms of style;
just as far as getting ideas … Because, while all of these fonts don't come with the
images in the background, then I could just go up here, and I could search for whatever
that background image is, and I can combine resources together to help me create content. Fonts is a major aspect that I use within
this service, but another big one is photos. If I go here, actually, under the Browse tab,
you'll see all the different types of assets that you have access to, including photos,
graphics, add-ons. These would be for things like Photoshop,
as an example. Fonts, graphic templates, presentation templates. For those of you out there, who, in addition
to whatever it is you're doing, if you do PowerPoint presentations, the number-one piece
of advice I can give you is don't use any template that comes with your computer. Go third-party. These guys have a ton of them. Web templates for things other than … Other
than WordPress; that's up here. CMS templates, and 3D models. Whatever your industry is, my advice to you
would be just to maybe consider checking out this service. Just type in maybe the name of your business,
what type of business it is there, and just see what comes up. You never know what resources they may have
that could really help benefit you, not just in any work you might do in video work, but
I also think, especially, in creating any images that you might need for things like
social media. It's a great service. I hope you like it if you do. I do appreciate if you use my link. Thank you for watching, everyone. Like I said at the beginning, a lot of love
went into creating this class. I do hope you enjoyed it. Please leave me a comment down below, if you
don't mind. Also, I do appreciate it if you hit that little
thumbs-up/Like button. If you haven't done so, please also subscribe
to my YouTube channel. That about does it for me today, everyone. Thank you so much for watching. I'll see you next time. This is David A. Cox with Tech Talk America. Class dismissed.
