Hi, my name is Joseph, and I'm going to be taking you through basically what's new with Final Cut Pro 4. Another quick show of hands, the lights are down, but how many people here were at NAB? Just a few of you, excellent. Okay, so for those of you that are at NAB, you may have seen me do this presentation on the main theater there, but that was, of course, a very short, about maybe 12 minutes total of this same demo content that I'm now going to be running about an hour through. This actual demo is about two hours in length, so I'm going to be cutting it down in half from what it normally is. I'm also going to be kind of moving a bit fast here, so if you have any questions throughout it, feel free to call out.

I cannot see you guys at all right now, so if you do have questions, call out. If you raise your hands, I'm not going to see you. But I don't mind you interrupting me in the middle if you either don't follow something I'm doing or just want to take a quick branch off of it, that's fine by me. So, with that, we're just going to go ahead and get started. This is, of course, Final Cut Pro 4.

I'm going to be building the sequence that you see on the bottom there, and what I'm going to do to start is just play this through, and then I'm going to start with a quick tour of the Final Cut Pro interface. Jump into some very basic editing tools, just editing tips, just for those of you who may not be really familiar with Final Cut yet, and then we'll get into the new stuff.

So, off the bat, we'll go ahead and play the project that I'm going to be building. Santa Cruz Bikes stands for innovation and quality. Our goal is to deliver the most technologically advanced, customizable bike in the shortest period of time. I want this product that I'm making to be the best thing there is.

Alright, so that's what we're going to be building. So first off, a very quick tour of the Final Cut Pro interface. I'm going to start in the top left corner here. This is the browser. Now the browser is where all of my media is stored. So any video clips that I've captured or imported, any CG, any graphics, any Photoshop files, any audio files, etc. that I've brought into the application are stored in here.

Now we have various views in here, like list views and icon views. We can, with contextual menus, just change the view into icon view or list view, open up the windows just like you would in the finder. Within here, I can, of course, create new folders. In Final Cut Pro, they're called bins, store media inside of those bins, and so on.

Over on the next window, this is the viewer. The viewer is where I make my editing decisions. So any clip that I've opened from the browser is going to open into the viewer. And from the viewer, I choose what portion of that clip I want to use. So for example, if I shot 20 seconds of video, but I only want 5 seconds of it, I would go in here, mark what's called an in point and an out point to define the start and the finish of the clip, and then add that to the project. On the right-hand side here, we have the canvas.

The canvas is the actual final movie that we're creating. So this is the final project that you'll view. Also, the canvas is where I do a lot of my motion compositing. So any clicking and dragging to resize various video elements, reposition them, and so on, I would do in the canvas. Finally, on the bottom, we have the timeline.

Timeline, of course, is the linear representation of the movie that we're creating. And then on the right side, there's a tool palette and the audio level meters. So with that, I'm going to go ahead and open up the start of this project. We have one clip already on here with an audio clip, just a piece that I've started.

And I'm going to go ahead and open up the first piece of video here, mark an in point and out point, and then add it to the project. Just so you can see some of the basics. I notice there's a lot of people standing. There are some seats up in here. If you guys want to just come in here and squeeze in and sit down.

Alright, so anyway, as I was saying, I'm going to mark an in point and an out point on this clip and then add it to the project. I can scrub through here and just kind of choose any point at random. I've actually cheated. I've laid down a marker so I know exactly where I want to put that in point. So I put the playhead where I want to create the in point. And with Final Cut Pro, you'll find that you have usually two, three, four, sometimes even more ways of doing the exact same action.

It's a very user-friendly application in that you can find whatever's comfortable for you. So, for example, if you like to use buttons, we have on here a button on the interface to mark an in point. I simply click on that, and if I forget what the button is, you'll notice I hover the mouse over it. It gives a little tool pop-up telling me, "Mark in." Click on that, and it marks the in point. And that in point is now defined on that clip.

Now, I want this piece to be exactly one second long. One second is 30 frames in video. I've already marked my first point, so I'm going to go ahead and type on the keyboard, "+29." And you'll notice in this little window up here, it's recorded in "+29." Hit return, and that moves forward 29 frames. When I hit an out point between the two, that means that I have a total of 30 frames or one second of video. And you'll see this window here telling me that I have a one second video clip that I've just created.

Now, to add this one second clip of video to my project, I can drag and drop this onto the canvas. The canvas pops up something called an overlay menu. The overlay gives me a few different options of how I want to apply this video to the project. Now, the default is overwrite. I can go over here and choose any of these others. But for now, I'm just going to do a simple overwrite edit. So, I just go ahead and let go of the mouse.

And it overwrites that video clip. And if you look down here on the timeline, you'll see that that clip has just been added. If I undo that and then redo it, you'll see the effect that was added. That clip has been added onto the project. So, if I play this through, we now have the video that was there before with the video that I just added.

Our goal is to deliver the most technological... Pretty simple. Okay, so now another edit. Something a little bit more advanced. I'm going to open up another clip. And this one, I already have the in and the out points marked. So, you've just seen me do those before, so I've already set this up. What I want to do here is an insert edit.

The overwrite edit previously, if I laid an overwrite edit, any video that was there would get overwritten. Hence the name overwrite edit. Insert edit would push any video that's there out of the way to make room for the incoming footage. So, what I'm going to do is drag the playhead back between these two clips.

With this clip here chosen, I'm going to go ahead and drag it onto the viewer and choose insert. Now, when I do, you'll notice that it pushed the video out of the way, but it also cut the audio and moved it out of the way. I don't want to do that. I want to keep that audio intact. So, I'm going to undo that.

I'm going to go ahead and lock my audio to the back. I'm going to put my tracks in place. And then once again, choose an insert edit. And that inserts the video, pushing that video out of the way, leaving the audio intact because I locked those two tracks there. So, I can go ahead and unlock those now and I'm back in business. So, it's a quick overwrite edit and a quick insert edit. Now that I have these pieces on here, I'm going to show you the first big new feature in Final Cut Pro 4.

And that is multi-item properties. Now, for those of you who have worked with Final Cut Pro before, you know that you could select a clip. And either from the menu, choose item properties or hit the keyboard shortcut, command 9, to choose item properties. It would tell you everything about that clip.

Its compression codec, its data rate, its size, its location on the hard drive, everything you would want to know about it. If you wanted to compare multiple clips, you had to open one, look at it, maybe take some notes as to what it was, close it, repeat the process for another clip, and then compare them. Well, now with Final Cut Pro 4, I can select as many clips as I want. I'll hit command 9 to bring up the item properties window.

"It's a nice one, isn't it? Oh, we're just getting started." And that shows me all four of those clips. And you'll notice here it has all the information across. You'll notice that some of the text is gray and some of it is black or bold. Basically what happens is you read this left to right, any time there's a change in the data, it becomes bold. So by looking at this, I can see that--let's see here. If I look at composite mode, I'll start from the bottom. They're all set to normal.

So the first one is normal, and all the rest are normal. They're all gray. But if I go up to, let's say, the compressor, the first one is none, the next one animation. So that's different. Therefore, it's highlighted in black. The next one is DVC Pro and TSC. Once again, it's different, so it's highlighted in black. The one after that is the same as the one before, so it is gray. So I can very quickly go through here and see what matches versus what doesn't.

I'm going to cancel out of that. All right, now let's start doing a little bit more editing. I'm going to open up another clip on here, and I'm just going to drag this to the timeline to add it on. Just simply drag and drop this into place. And if I play this through, you'll see it's about two seconds long of this video clip. And the previous shots were about one second each, so this is a little bit on the long side. I'm going to turn off audio scrubbing real quick here.

There we go. So anyway, so that was too long. So what I want to do is shorten that up. Now, you all know that we have a speed change command. I can select that tool, hit the Control key, and choose the contextual menu, and choose the speed command. And I'm going to go up to the duration, and I'm going to type in one second.

It's 196.67% speed change for a total duration of one second long. Hit OK, and look at that. It doesn't have to render. It is now a real-time effect. Now, for those of you who aren't really familiar with real time, let me quickly explain what we're looking at here.

You'll notice above the clip here, right where the mouse is pointing, there is a green bar there. That green render bar means that it is a real-time effect, and real-time, of course, means it doesn't have to render before I can play it back to screen. If I go ahead and play that back, you see that clip plays back without any rendering required.

It is dependent on CPU. The faster your processor, the more you can do in real time. And you're going to see me expand on this as we go through the demo, and you'll see more and more real time effects. Basically here, if that was red, I would have to render it. But again, here it is now a real time effect, and that's new over version 3.

So that's just a real quick example of real-time capabilities. And before I move on to show you more real-time, I want to show you other ways that I could go about doing that same effect. You saw me do the contextual menu. Control-click on there and choose Speed. What if you don't remember that you control-click, or you prefer to use keyboard shortcuts or other ways? Well, of course, there's a keyboard shortcut for this. I can just hit that keyboard shortcut, Command-J, to bring up the Speed command. Maybe you're not a keyboard shortcut kind of guy. Maybe you really like buttons. I referenced that earlier, being able to click on a button on the interface. Thank you. Excuse me. Thank you.

Now let's go ahead and take that button and drag it onto the interface. Close that, select the clip that I want to change, click on the button, and it opens up the speed command. You like that, huh? I'm going to cancel that. I want to get rid of that button. We'll just drag it off in a puff of smoke.

See a little theme going here, huh? This whole OS X thing's working out, isn't it? So, buttons, commands is awesome. As you can see, I'll bring up that dialogue again. Let's see here. Don't remember the keyboard shortcut. There it is. And as you can see, once again, every command in here has a button you can add to it. And you'll notice that I can add buttons not just to here.

Let's just go ahead and add a few just for giggles here. I'll grab--drag and drop a couple on here. You'll notice I can also add them up to this window. I can add them to this window. I can add them to this window. Anywhere where there's this empty space in there. We looked at the UI and said, "Oh, there's wasted space. "What can we do with it?" We can add buttons, and we're done.

They will be saved, absolutely. They're saved when you quit. And you can also save main button bars. You can save these out as little files. You can take these files with you to another computer, load them in, load main button bars, and load up your customized button interface on someone else's Final Cut Pro 4 system.

So basically, you know how if you have too many projects open and once these tabs get smaller and smaller, the tabs continue to shrink? That's basically what happens. So it'll force space for those button bars right there. Okay, so there's another way of customizing your interface for you. While I'm talking about that, I want to show you another great new customization feature in here. Adding buttons is great. What about keyboard shortcuts? What was the keyboard shortcut again for that clip?

Let's go ahead and bring up the brand new Keyboard Layout Customization Tool.

We now have a fully customizable keyboard for Final Cut Pro. How many people have used NavVid before? There are a number of people out there. Customizable keyboard. Pretty common on there, right? You can map the control key, the shift key, and the option key, and that's kind of it.

Well, if you look across the top of this window here, you'll notice that I have, of course, command, shift, option, control, shift command, command option, control command, shift option, control option, control shift. I have, as you can see, a lot of empty space in here to add commands.

Where was that speed command? Let's go look for that again. Only two E's in speed. There we go. And let's say that I want to make that, I'm just going to make it, what is this? Where are we? Control command 8. I'll take this, drag and drop it onto control command 8 right there.

It shows my current keyboard shortcut and the new one that I just added. Let's go ahead and close this window, and I will hit control command 8 on the keyboard, and it brings that up. It is also still Command J, that's right. You want to do that? Well, you can go back to the custom keyboard layout and choose Reset.

Oh, can you remove the Apple J? Absolutely. So let's go here, where's Find Apple J? Command J is right there. Let's just get rid of that guy. And it is now removed from Command J. So you can totally remap your keyboard. If you want to use an Avid-style layout, you can.

If you want to use a Media 100-style layout, you can. If you want to save these layouts, move them to other systems, you can. If you want to save the hassle of having to do this yourself and simply import one that somebody else created and post it on the Internet, you can. It's a totally customizable keyboard. You can save out your layouts and then switch them on the fly as you like.

That's a good question. I don't know. Michael, can you print the layout? Do you know? As a PDF? Jeff says as a PDF. I don't know the answer to that. If I'm wrong, find him. Take a screenshot. Anyway, alright, moving on. We don't have time for this all day.

Let's talk a little bit more about real time. I have a few clips on here. I'm going to add a few more clips to this timeline. Before I do, though, I want to add another pair of audio tracks. You'll notice that I have A1 and A2 here. Notice that my audio track here - this is dialogue to go along with this interview - is extending beyond my open video.

If I bring in some video tracks here that has audio with it, I'm going to end up overwriting my audio, which I don't want to do. I'm going to create two new tracks on here. You'll notice, once again, some of this video does have audio to it. This is the video I'm about to add. I'm going to take my targets here for A1 and A2, and I'm going to drag those down to plug them into tracks A3 and A4.

I'm then going to take all five of these video clips and drag and drop them into the timeline. Positioning them like so. See, I would have overwritten that part right there. I didn't want to do that. I have these tracks on there. Now that my video is on there, let's start adding a few filters to them. I'll play through a portion of what I just added. In the shortest period of time.

Okay, you'll notice here, bicycles going left to right, right to left, left to right again. This guy doesn't really match, I want to flop that, so I'm going to take a flop filter, drag and drop that on. It's a green bar, it means it's real time. "Playing back without any rendering." It's pretty good. I'm going to undo that. Flop filter is pretty easy. Let's try something a bit more complex, like maybe a Gaussian Blur filter.

Gaussian Blur starts off pretty light. Let's go ahead and open that. I just double-clicked on this clip to open it to the viewer. Click on the Filters tab. It shows me the Gaussian Blur filter that I added. Let's crank that up to about a 17-pixel blur. You'll notice it's still green.

"It still plays back in real time." So that's pretty good. We're getting pretty good with our real time here. We had that flop filter pretty easy, the Gaussian Blur, it's a bit more complicated. Let's do a color effect. I'll add a Sapia filter to this. Once again, it plays back in real time.

It's not doing too bad here. I'm going to go ahead and take that off and put my flop back. I kind of like that one. And just on the topic of real time, I'm going to take a transition here, and add a transition between these two clips, and play that back as well.

So there is a fairly complex transition added to this clip that is now a real-time effect. So once again, I've added all these things that I've had to do no rendering. But that's still a pretty basic level of real-time. So far, I've added one filter or one transition to each clip and it's played back in real-time. That's nice, but, you know, kind of a big deal, right? Let's take a look at something else called RT Extreme. I'm going to open up a clip here.

I'm going to take this clip here, which is just a computer-generated graphic, and I'm going to insert this into the start of my project. So I'm going to go ahead and choose the Insert command. It pushes this other video out of the way, frees up space for the clip that I just dropped in.

And as you can see, no rendering, so this is a DV codec clip. Play that back and you can see what it looks like. I'm going to start by adding a color corrector that's already been set up. So I drag and drop this on, it switches to green, so that color correction has already been done, and it plays back, of course, in real-time.

I'll take a flop filter and add that on. Still plays back in real-time. Now, I didn't undo the previous one, so I have the color correction filter and the flop filter. Let's add a mirror filter on there. Still plays back in real time. I'll add an Invert Filter on there. Notice the render bar just went orange. Why did that go orange? You've seen green render bars, you've seen red render bars, but you've never seen orange render bars, unless you saw this demo before, and that's cheating.

An orange render bar means that you are now in the world of RT Extreme. What is RT Extreme? Real-time extreme. RT Extreme is the next generation of real-time support. You have over here an option, a new menu, to choose between Safe RT and Unlimited RT. Safe RT is essentially what you had with Final Cut Pro version 3. If it can't play back at full quality every single frame, it will not play back at all.

By switching to Unlimited RT mode, we're telling the software that we're willing to sacrifice quality and frames to get real-time playback. What we're asking the software to do is pump as much information as possible to the screen to maintain real-time playback. And with that said, as I play this back, you can see it's playing back exactly as it was before. This may be an orange effect, but you can't even tell. It's still playing back just fine.

In fact, I'm going to take this title 3D piece that I have, I'm going to add it on top of here. And notice if I just drag and drop it on, it's too long. You can see the shadow on there. It's a bit too long to just drop on top of this piece.

So I'm going to go ahead and choose the Superimpose command, which is going to automatically trim that screen and turn that to fit over the background. And once again, it is still playing back in real-time. So I have a color corrector, a flop filter, a mirror, a color invert, and a title 3D all layered on top of each other, all playing back in real-time. Not bad, eh? What's that? What speed machine are you using? This is a dual 1.4, G4. What's the speed of the machine? I don't know.

This is G4, Dual 1.4.2. The requirements for real time is the same as what was in Final Cut Pro 3. Any G4 500 are better. Clearly, with the faster machine, the dual processors, you get more and more. So if you were to take the same project, open it up on, say, a Dual 800, you would get--oh, I don't know, I'm guessing here, but let's just say maybe you could get to the mirror, to the invert, before it would go from orange to red. So there will be a threshold where you will eventually hit a non-real-time effect. You will exceed the capabilities of that processor, put it on a faster machine, and you're back to real time.

The order of effects? Not that I'm aware of, but hey, I'm in marketing, so I don't know. Okay, alright, so that's the title, and that is clearly a Hollywood award-winning title right there, wouldn't you say? So, this is a chance for me to talk about another new application, an entirely new app that ships with Final Cut Pro 4, and that is called LiveType. LiveType is nothing short of unbelievable. So I'm going to give you a very quick tour of LiveType, because we just don't have enough time to do everything. This is LiveType.

Quick tour of the interface. It looks a little bit familiar. On the left side you have a canvas. Canvas is, of course, your working space. We have the inspector here, which is kind of an info palette gone wild. We have all the different information about all of our pieces that we're going to add that we can control in here. A media browser. I'm going to come right back to that. And then down on the bottom, the timeline itself. So let's start with the media browser.

I'm going to start by looking at my fonts. As you can see, we have access to all of our fonts in the system. So this is cool. Every font that we have, we can just take anything from here. We can type in something. So let's just say LiveType. Go through here and choose a font.

Find something kind of nice looking in here. Let's see here. I know I have a good one. There we go. I'll choose Apply, and it applies that font to that text right there. A little hard to read. Let's go over here to Attributes really quick and change the color of that.

"Of course, I can go through here and choose any other font, hit apply, and apply that font to it. That's alright. This is just standard system fonts. We have something else in here called live fonts. Live fonts are 32-bit animated fonts with alpha channel that are completely pre-built. All you have to do is choose the one that you want, type in the characters that you want, and you get this effect." How many people use After Effects? I've got to stop asking questions. I can't see people. A few of you. All right, cool.

So you'll see that with tools like this, you can save quite a bit of time. For those of you that don't use After Effects, you're going to find that you can do a lot more with Type now than you could before. Now, that's cool. The live fonts are great, but as you can see, there's not an infinite number of these. There's a fairly, you know, robust amount here, but not thousands and thousands of them.

So what about really customizable effects, taking text and doing things completely and totally original? Well, you can have the Effects tab. The Effects tab, I'm going to go up to the top on here, gives you all these amazing text effects that you can simply double-click to apply to any block of text. All the animation work has been done for you. All you need to do is take one of these and add it on. You see we have lots of different categories in here.

Some pretty cool ones. Let's find some really fun ones in here. Various scrolls. You can do title crawls, lower third crawls, zooms. Here's one of my favorites here. Behind Camera, right there. I really like that effect, so I want to apply that to my LiveType text on here. So I'll simply click on Apply.

You notice that it adds a new track to my timeline here. I'm going to shorten up my render space on here. You'll notice this little instant preview window up here showing me what's going to happen to my type. I click on Play, and it's going to very quickly cache that to RAM, and then play it back looping in real time, the effect that I just added.

That's it. That's all there is to it. This effect is now done. I can render this out as a 32-bit animation file with Alpha Channel, drop this back into Final Cut Pro, put it over whatever video I like. I can also import video from Final Cut Pro or from any other source, use that as a background, and export out an entire final rendered comp, if I so prefer.

So this is a pretty basic look at it. Let me open up something that's a bit more complex. It's already been done. Let's see here. I have a lower third sample in here. I'm gonna play this. As you can see, it's a combination of background effects, two different layers of text on there.

There's multiple effects applied, and if I actually go to this Santa Cruz title here, you'll see this top layer here, the piece that says Santa Cruz, has one, two, three, four, five different effects applied to it to give it this look, to give it this appearance. It's a simple case of choosing the effect you like, double-clicking to add it on.

You can reposition it. You can see the effects are spread out on here. I have this rush hour and behind-camera combined. Then the text just sits there for a bit, and then this glow happens, and the text sits there for a bit, and then the zoom and the vertical blur happen as the text goes offscreen.

So, full screen effects like that, or lower thirds like this one here. And as you can see, text is taking up a whole new space right now. You can do some pretty amazing things with very little time and very little effort to bring back into Final Cut Pro.

and I believe it's 99, just like Final Cut Pro is, but don't quote me on that. How do you get the background in? Just import, play a spec on, and just bring in any QuickTime movie. This is format and resolution independent. You can do this at standard definition, you can do this at high definition, whatever you like.

Final Cut Pro is a title I've already done in Final Cut Pro. I'm going to bring it back into Final Cut Pro to replace these lovely pieces I did earlier that just aren't going to win any awards. I'm going to select those two. I could delete them and drop this other video back in, but instead I'm just going to hit Ctrl+B to hide them. I want to leave them in place because I may want to come back to those later. Don't ask why, I just might. I'm going to add this piece on here.

You might be wondering, why is that giving me a red render bar? There's a very good reason for that. This is an animation codec. It's totally uncompressed. This means that I can do further compositing within Final Cut Pro and then render it out in the native codec, in this case, DV, without having multiple renders, without having multiple compression.

If I rendered this out of LiveType as a DV file, brought it into Final Cut Pro, and then decided to do a color correction to it, composite it with something else, I'd have to re-render it for the final output, and that means it would have rendered twice and the quality would go down. What we've done is we've allowed it to bring it in at full uncompressed, un-rendered quality, pop that into place, put whatever you want on it, and render your final output.

So, for this final piece in here, I'm going to go ahead and add one more little segment. I have a little white flash because the transition here from that title to that title is a little bit harsh. So, I'm going to take a simple little white slug, drag that on top of there. Let's go ahead and zoom into this to do an effect and to make a change to it.

And to zoom into it, I want to show you a keyboard shortcut that's really handy. You may remember the keyboard shortcut Shift+Z. Shift+Z is zoom to fit. It zooms the entire timeline or viewer or canvas in to fit. The new keyboard shortcut is to select anything and hit Shift+Option+Z. And that is zoom selection or zoom to selection.

"It's a good one, isn't it? It's just the little things, isn't it? So it very quickly allows you to zoom into exactly what you're working on. I'll take my pen tool, just do a quick overlay change on here, so I'm changing the opacity from 0 to 100 and then back down to 0 again. And if I open up the next clip, we can see what that's going to look like, and I'll render that or play that out. And we have a very nice subtle effect in there." Alright, moving on.

Multi-channel audio assignment. This is another huge new feature in Final Cut Pro version 4. Previously, you had two channels of audio. You could set it up to your left speaker and to your right speaker and that was it. That didn't help out much if you were on a professional deck, like a DigiBeta deck, and you wanted to lay down four different tracks of audio.

Or, if you had a setup in a studio where you wanted to, let's say, put all your dialogue to a pair of speakers, or even to a single center channel speaker, put your music on other speakers, put your effects on other speakers. There's all kinds of different reasons you may want to have multi-channel audio.

And what we have in here is a great way to go about assigning that. I'm going to open up the project properties and go to audio options. You'll notice that I have on here two tracks of audio. Well, how many tracks of audio could we add, or channels of audio can we add? Up to 24 channels of audio.

That means that if I plug in a hardware device with multi-channel audio out, say a Motu device or an Emagic ME, you can go ahead and get six tracks of audio. So, you can choose eight, ten, twelve, whatever your device will handle, channels of audio output on here. Now, I'm going to go ahead and for this example, just choose four.

What I'm going to set up is an example of having all of your audio, your music, your background sounds, and so on, going to two speakers, and then having your dialogue go to one speaker. Let's say that's my center channel, and in my studio I have my dialogue speaker and then my sounds and effects speakers over here.

So, I go ahead and I choose four channels, but I only have three, so I'm going to go ahead and switch that from stereo to mono. Click OK. I'm going to ignore speaker four, and then I go over here and I simply choose audio outputs one and two for one, and one and two again for track two.

Continue to move through here and I can choose track three and track four for the other. So, let's just say, actually right here I've got dialogue up here, so I'll set that to three and that to three, and then my dialogue is going to be mixed down to mono and sent out the same single speaker, in this case channel three.

These other two tracks are going to continue to come out channels one and two, or in this case my left and right speakers. Now, fortunately I just have a mono mix down out here, so I can't play this back and have it come out properly out these speakers, but in a proper studio environment with the proper audio interface, audio hardware, you can do that. And again, up to 24 channels of audio out.

1648, an engineer, help me. Is it 16? Yes, thank you. Michael? On audio? I actually don't know. It's dependent on the DV Pro X. I actually don't know. I'm sorry. What's the session we're supposed to drag people towards? What are the questions that I don't know? I'm not a big audio guy, unfortunately. So, more of you. Sorry.

All right. Moving on. What have we got here? Let's take a look at some more real-time effects. How are we doing on time? None of these have clocks on them. How are we on time? I can't see this thing. It says I have 58 minutes left. Is that right? Yeah, you did. I'm sorry. I'm sorry. I'm sorry.

Alright, cool. Alright, onward. Real-time effects again. Let's go look at chroma keying. Chroma keying in real-time. This is kind of cool. I'm going to open up another sequence here. Shift-Z to zoom to fit. Here's a video clip that I've already added. As you can see, this guy was shot against a green screen, making it really easy to chroma key that piece out.

What I'm going to do is take this track, the video track, and I'm going to drag it up a layer. Just drag it up one track of video. And I'm going to take this same yellow background and I'm going to drag it behind there. So that once I drop out the green background, we're going to see the yellow piece behind it.

So let's go ahead and do this. I'm going to take my chroma keyer and drag it on there. Open up that clip and start doing this effect. Very simple. Here's my chroma keyer. Take the eyedropper, click on the green background. Most of it drops away. It's not great yet. So what I'm going to do is expand out my green there a little bit. Expand out my saturation and my luma on there. It's definitely getting better on there. Let's expand this out just a little bit more.

I think I'll take my edge thinning, take that down a little. Actually, I'm going to take that up a little bit. Encroach on that edge a little. Soften that a little bit. And without too much effort, we now have... I want this product that I'm making to be the best thing there is.

Not a half bad key, huh?

"Milk the audience, come on!" So I actually have one on here that I spent a little bit more time on. I'll go ahead and add that one on, and as you can see this one's even cleaner. "I want this product..." And it's all playing back in real time.

This is once again a real time effect, new for Final Cut Pro 4. Lots of real time in here. To give you an idea of how much stuff is in real time, I'm going to quickly go to the Effects tab. How do you know that a filter or transition is real time? "Bold." Bold, right.

Well, let's take a look. I'll go to my transitions, and look, they're all bold. Oh, they're all bold. They're all bold. Wow. Just about everything is bold in here. Not everything, don't want to give you the wrong idea, not everything is real time, but the vast majority of the effects and transitions are now in real time.

Let's say that this wasn't good enough for you. Let's say that you wanted to go the level of Hollywood, and you wanted to buy Shake to do your compositing. Shake is a fantastic compositing tool. How many of you out here saw Lord of the Rings? I hope everybody raised their hand. My goodness. Gotta see Lord of the Rings.

Lord of the Rings is composited with Shake. Compositing. Just real quick, if anybody's going, "What the heck is he talking about?" Compositing, the action of taking multiple layers of video and graphics, CG, and so on, layering them together, and then making them look like they weren't layered together.

So, for example, you'll look at a scene in Lord of the Rings, you look at it, and it's these guys walking across a marsh with some mountains in the background, and you think, "Okay, they shot that with these guys, you know, in the wild, with these guys walking across the marsh with the mountains in the background." And then you look at the composite plates, and you realize that the mountains were shot in one country, the planes were shot in another, the characters were shot against a green screen, Gollum was, of course, computer generated. There's layers of fogs, there's layers of light, there's about 15 to 20 different layers of video and CG animation all composited together to give you the final output that looks, for all intents and purposes, 100% realistic and believable.

So that's what Shake does. But that's a pretty high-end use of Shake. You can use Shake as well to do things much more simply. I can basically do exactly what I did here, but with Shake, using a industry-standard, Hollywood-level, Hollywood-grade tool to get out my Shake composites. So here I have the same composite done with Shake, so it's gonna be just a little bit cleaner in here.

And this was once again rendered out of Shake with the animation codec, or no compression at all, meaning that once I've got it back into Final Cut Pro, I can do more compositing. For example, I can go in here and add a lower third on top of this.

and I'll have my lower third composited on top of this composite that came out of Shake. I'm going to have to render this before I can play it back, but as you can see, the quality on here is absolutely pristine. So what I'll do is go ahead and open up the next sequence where this is already rendered, and you can see what that would look like. This product that I'm making to be the best thing there is.

Not bad, huh? So, before I move on, I want to talk about the rendering really quick. I just mentioned that we brought these pieces in unrendered. We're now going to have to render them. This is a DV sequence. So we're talking about a pretty low, you know, 411 color space. It's 8-bit. It's not going to be the greatest color space in the world.

But let's just say we're working standard definition uncompressed, or even high definition uncompressed. Well, 8-bit color space, or 8-bit rendering, used to be the limit of Final Cut Pro version 3. With Final Cut Pro 4, if I open up my sequence settings in here, you'll notice that we now have 8-bit.

If this was a high-def sequence or a standard def uncompressed, I could set it to 10-bit. More importantly, we have this all YUV material rendered in high precision, which means it is a 32-bit floating point render. This gives you the absolute best quality possible for your renders. It's going to render it in a 32-bit floating point space, and then on the final output, bring it down to whatever level your actual project is going to be, whether it be 8-bit, 10-bit, 16-bit, or whatever you have.

So this gives you the absolute best possible render quality. You take a render hit time on this. You turn this on. It's going to take a little bit longer to render, but you know that your quality is going to be absolutely pristine. is it affecting any previews in the timeline for the render? Not quite sure what you mean. What you're gonna see is going to look better on the preview screen and out to your NTSC, yes.

I don't think so. I don't believe it does. Let's just find that out. Turn that on, and it does. Oh, no, no, it doesn't. It, uh, the real time is still real time. It just threw away the render files for the pieces that were already rendered, because they have to be re-rendered now, but the real-time capabilities are all the same. Okay, onward. Let's see here.

Not completely. There is not a background rendering in the sense of while you're still working, it goes on and renders. But there is a feature that I didn't talk about. It's a new feature in here. And that is Auto Render. Auto Render means that after a set amount of time, whatever you like, if you walk away from the machine, you can have all open sequences, current only, or everything except the current sequence, automatically start to render for you.

So for those times when you go off to get a coffee and end up going out for lunch, come back an hour later and think, "I just lost an hour of rendering time. I could have had all those things rendering while I was gone." Well, this will automatically kick that in and start rendering for you.

You can also choose whether you want to have the real-time sequences rendered, real-time segments rendered or not while you're away. So it's not true background rendering. It's not what you're asking about, but this does save you quite a bit of time for those moments when you walk away and end up not coming back quite as quickly as you thought you would.

Okay, let's take a look at another real-time effect and another new feature in Final Cut Pro 4. Now, you saw the time speed change, where I took the clip and it was almost two seconds, and I shrunk it down to one second. Pretty quick and easy. Played that back in real time. How about something a little bit more exciting? I'm going to take these two clips here, Shift-Option-Z to zoom to fit, to zoom into those.

I'm going to change the track height. Now, you may recall this capability from within Final Cut Pro 3. You can adjust the track height by clicking on these little buttons here. We have a new capability, and that is the ability to adjust individual track height on here. So you can set any single track to any height that you like. This is great as well for taking, say, your audio down really small and keeping your video nice and big. So a lot of different options in here. All right, so I have this clip on here. I'm going to play this through.

And you'll notice that we have on here, the bicyclist jumping, hitting the ground, and going down the hill a bit. I want to make a change to this clip. I want to have this clip so that the guy jumps in the air, lands, and that's the end of the clip. At that point, I want it to transition to the next clip.

However, I don't want to change the timing of this clip, so I can't just trim it. I don't want to change the timing because I have a lot of my clips cut at exact one second increments, and I did that so that it would be really easy to do my music later. So I don't want to change this. I don't want to change the timing. But somehow or another, I need to change the timing such that he lands right at the last frame. So that's the first part of the problem.

The second part of the problem is I don't want to alter the part where he jumps up in the air. I like that just the way it is. I've decided that I'm willing to make a change from that point forward, meaning I'm willing to make a speed change from the point where he's crested that jump down to the ground to make it fit into this one second space in here. So for this, we use the time remapping tool. To access that tool, I go to my tool palette and I choose the time remapper.

I I'm going to go over here, and the first thing I'm going to do is click just once. Click and let go. And what I've done is I've added a keyframe to that point on the timeline. I said that that point of video is now locked to that frame or that point on the timeline itself, that segment of timecode. I'm now going to go to the end of this clip, and I'm going to click and drag to reposition the final frame of video.

Now I'm going to reposition it so that it's just as he lands. You'll notice from the little pop-up window there, if you can read that, it says that the speed to the left of the cursor is 61%. The speed to the right is 1,500%. Well, the speed to the right is off-screen, so I don't care what's happening there.

The speed to the left is 61%. Now I didn't have to calculate that. I didn't have to figure, OK, from when he crests to when he lands is this. And I could do the math and I get 61%. Don't have to deal with that. I simply click and drag, visually assign the frame to be the frame that he lands on, let go of the mouse, and now I can play this back in real time to get that effect.

That's pretty good. Let's take a little bit of a closer look at what we're actually seeing here. I'm going to open up another view here and turn on my time remap graph, which shows me the graph that I've just created. Here's the graph that I've created here. Now, if you'll bear with me for a second, this graph here is showing me the time and the clip. If this point was all the way down at the bottom and then this point was all the way up at the top, I would see the entire duration of that clip ramping in real time, at normal, standard time.

"As I take that clip and I make it steeper, the clip is going to move faster. As I make it flatter, it's going to move slower. So this point right here, you'll see it's moving at normal time and then gets a little bit faster, or gets a little bit slower. Let's play that through again." Let's make that more dramatic.

I'll take this point, bring it forward here. I've just sped up this portion dramatically and actually slowed down this portion. So if I play that back... If I want to smooth that out a little bit, just to make it a little bit more subtle, I can go in here, Control-click, and choose Smooth. Smooth out that ramp a little bit, and let's play that back again.

I actually kind of like it with the sharpness on there, so I'm going to take that corner back, and I'm going to go over here, take the pen tool, add another point on here, and drag this down. Now what's going to happen if this time ramp starts to go downhill? Oh, backwards. It's going to go reverse, right? If I play this back... Cool, huh? I love this tool. This is a great tool. This is like the total matrix time remap tool. I'm kicking cables down here.

Jeff, how am I doing on time? Because I know this thing isn't right. What's fine? "I've got 15 minutes of demo left. Is that right? We can go long. I like it. Alright, so there is some time remapping. Let's see here. What I'm going to do is now fix the audio for this, because you may have noticed - sorry? I'm going to open up the one that was actually kind of finished, so let me go ahead and zoom into this portion here. Let's open up that time remap. There's the final, quote unquote, final time remap that I did that's really nice and smooth.

"I really like that effect." But you'll notice here, if you listen closely, The sound of him landing doesn't line up with him actually landing, so that's a bit of a problem, right? Need to fix that. Can I get some more water, please? So what I'm going to do is let's hide these layers here. I'm going to open up my audio here, and I'm going to locate the sound of him hitting the ground. So let's see here. There's my audio.

and there is that landing sound right there. So I'm going to go ahead and place a marker on there. And now I'm going to look at the video itself and I'm going to drag through and find right where he lands, which would be right about there. I now need to move the video without affecting the audio and you slip this video into place so that that marker lines up with that playhead. So what I'm going to do is make sure that my video and audio is unlinked, which it currently is. Take my slip tool here, And we'll just slide this over a little bit and get that marker to line up.

I should have linked these two audio tracks as a stereo pair. Would have made that save me a step there, but there we go. Slip both of those into place. You see what's happened. I've moved that landing sound, that landing peak, to run into that frame of video, and now it should play back and sound actually correct. Just like that.

No, but with snapping turned on, it'll snap it as you drag it, but there's no keyboard shortcut for that. Okay, so now that that's done, if I back up a little bit and I play through the previous clip and the next one, you'll notice that there's a bit of a harsh cut in the sound here. The audio transition isn't very clean.

So what I want to do is add an audio transition between these two pieces. So, I'll simply click on these and choose Add Transition Crossfade. Let's do that on both of them. I'll extend the duration of that crossfade out. Just click and drag to extend the duration. Makes that really easy to do. And now when I play this back, it should transition much more smoothly.

Now we're done. Pretty easy, huh? Okay. Next, I'm going to go back and play a piece of the final project again. I don't have time to go through this entire build-up, because this build-up on its own can take about half an hour. But, as you can see, this final piece that I'll play is four streams of video playing back with some compositing going on and color correction filters. Let's just look at this.

Thanks for joining me today. I'm Jeff Lowe, and I'll see you next time. See you then. I'm going to open the second clip and do the same thing. Mark an in, mark an out, drag that on. The third clip, and you'll notice this is the third and final clip, has actually four sets on here of, or four markers, so two sets of markers.

Now I can scrub through here and find these markers, and as you can see, it's telling me to put the V3 in and the V4 out there and so on. But a little known feature in here is that I can control click on the time code window and show all of my markers right here. So I can go ahead and say let's go to V3 in. And it pops the playhead right there.

I'll mark the in point. Let's go to V3 out. Mark the out point, and I'll drag and drop that piece on. And then I'll do that one more time for V4. Subtitles by the Amara.org community Now, why did I just go through all of this instead of just showing you the final piece? Well, there's a good reason for that. As I drag and drop this final piece on, you'll notice something else happens on the interface. Let's go ahead and zoom into those pieces there.

We have these little red lines that show up. These little red lines are showing me duplicate frames. It is a duplicate frame warning tool. Now, why would you want to know about that? Duplicate frames bad when? In film. In film, it's very expensive to reproduce frames of film. If you have an original frame, you're going to put that in your Final Cut. If you have to duplicate that, there's a cost involved.

So you want to know if you've accidentally used the same shot more than once. So this is exactly what that's telling me here. If I actually go in here and Control-click on that, it's going to show me dupe frames. It says I have 54 duplicate frames, and it tells me exactly where that is duplicated. If I select that, it's going to bring the playhead to the start of that clip that is duplicated, so I know exactly where it is.

So if you have a two-hour long feature film on here, and you've got at the very end a duplicate frame thing, and you're going, "Where is the dupe?" Control-click, and it takes you all the way back to minute one, and you say, "Oh, look, I used the same piece in the intro," and there you go. You know you have to look for a different shot or pay the cost of replication.

How do we go about doing this compositing effect? I'm going to set up just one of them, and then you can extrapolate and imagine doing the rest of them to get the same effect where the video goes into all four corners. This is just some basic compositing. I'm going to start with this top layer of video here.

Right now, if I play this through, we're only seeing the top layer of video, right? Actually, if I go down to the timeline, that would be better. And play that, you're only seeing the top layer of video. You can't see any of the layers underneath, because they're basically being obscured.

So what I'm going to do is I'm going to take the playhead here on this clip. I'm going to go to my Motion Tab Effects, and I'm going to lay down a couple keyframes. I'm going to lay down a keyframe for scaling and for my center point. And I'm also going to expand this viewer a bit, because this window, or this monitor, is just entirely too small. If there's ever a need for Cinema HD display, it's with Final Cut Pro.

You've got to tell your bosses that when you go back home. "Dude, I've got to have one." Okay, so I've just laid down a keyframe, scaled it 100%, centered right there. I'm now going to, up here in the Motion tab, just type +20 and hit Return. That moves the playhead forward 20 frames. I'm gonna take my scale, set that to 25%. Actually, 50%.

and I'm then going to go over here to the canvas itself. And with Wireframe mode enabled, I'm gonna manually reposition this into the top corner there. Instead of having to figure out what the numbers are, just click and drag it wherever you like. And you'll notice in here that there's a motion path telling me that I've created a motion path so when I play this back, that object is actually gonna move. So if I play that back... you can see the effect that we just created. Just like that.

Now, if I want to clean that up a little bit and go over here and I look at that point, you'll notice that it's...well, since I did it by hand, it's minus 181.07. Well, I can kind of guess that actually minus 180 is the exact number there and minus 120 is the exact number there, and now I have it perfectly positioned into the corner there. I can replicate that for the next four clips and end up with a piece where it goes into all four corners. The next step on top of that is to add the real-time color correction. So I'm gonna go ahead and reposition my window layouts here.

And you'll notice, by the way, that I just hit one of these buttons here. These are the buttons that I previously added to the timeline window. Instead of having to go up to Window and choose a range and choose a window layout, I simply click on there to show that.

So that is now in place. And I can go ahead and start adding the color correction. So if I open up - let's see here, where's my color correction piece? I believe this has all four of these scaled out. Yep, here we go. So here's all four of them scaled. I would then add a color corrector to each clip, animate the color corrector the exact same way that you just saw me animate the scaling, and the final piece looks like this.

So that's compositing or animating video clips. What about animating stills? Well, it works exactly the same way. So you can bring in multiple Photoshop files, multiple tips, whatever you like, and composite them and animate them within Final Cut Pro 4. You can do that with Final Cut Pro 3 as well. Something else you can do is bring in a multi-layered Photoshop file. So let me open up this Photoshop file here.

Right here you're looking at an actual Photoshop file. You'll notice that it has four tracks of video. Well, in Photoshop this is four different layers. I can open up each one of these layers and you'll see that I have, go back to video here, the Santa Cruz bicycles piece and then I have these various little faded segments of colored stills that have been added in there. This is a simple Photoshop file. Bringing that Photoshop file into Final Cut Pro 4 allows you to then individually animate those layers to create some movement, to create a little bit of motion in there.

I'm going to go back over here and I want to add that entire Photoshop composite to this timeline. Now, with Final Cut Pro 3, that would mean going over here, opening a video track, going back to your composite, adding it in, and then repeating that process for the other four layers. Or you could go in here and just select all and copy and then trim them down, paste them and individually trim them. Yeah, it's kind of a lengthy process. We have a new capability.

We have a new capability in here. We've always supported nested sequences, which meant that I could take this sequence here and simply drag and drop it onto the timeline like that. And I now have all four of those layers, but to edit those layers I have to open them up and do the editing in a separate window.

The new feature is to take this composite, this sequence here, and drag it onto the timeline, and by holding down the command key, I can choose to expand that nest on the fly. So, hold down the Command key, let go, and it expands that nest, and now all four of those video layers are dropped in there, expanded, ready to go. Just little things.

Well, no. This is a - you've now basically expanded that sequence, right? So, if I was to - since this sequence essentially doesn't exist on the timeline, I've taken the contents of that sequence and dropped them in here. So, no, changes made to this will not affect this file here.

And then from here, the animation effect that you saw at the end is essentially the same thing that I just did, where I took a piece, keyframed it, moved the playhead forward, keyframed it in a different position, and it slowly animates the pieces around, and you end up with something that looks like this.

Okay, now, all of that said and done, just for the sake of argument here, since we only have half the time for this demo, which is really needed, we're going to say that all the video is done. Here's my final video project. You can see that it's got everything in here. It's got my titles. It's got my interview sequence. Got all these other effects in here. Got this interview. Got my speed change. I've got this compositing, and after that finally the Photoshop compositing. So what's missing from this piece? There you go, the music.

Is that you, Jeff? Exactly. So I need to add the music to this. Now, how do you go about getting music into your video projects? What are your options? You can go to CD, rip a song off the CD, or buy a song off the Apple Music Store and put that in there. And that's great if it's just for you when you're doing family home movies and you're never going to show them outside of your home.

Because if you did, then that of course would be illegal, wouldn't it? You can't steal the music like that. So what are your options for creating original music? Well, if you happen to know a musician, awesome. Good for you. You can have a musician compose the piece for you and just create that for you and you're great. But not everybody knows musicians, especially ones who work for cheap or free. So what about licensing music? Well, you can license music. That's certainly a really good option. There's lots of ways to license music.

The problem with licensing it, though, is that you have to find something that really fits the mood or the feel of your piece, that is the exact duration that you want, and fits all of your beats and fits all of your cuts. And if you have a cut of video that doesn't quite match the music, what are you going to do? Call up the store you bought the music from and ask them to change it? Forget it. You have to change your video.

And that's not the way to go. So what about creating your own music? You as a video editor, what if you could create your own music in an interface and a workflow that you as a video editor are familiar with? And that is what Soundtrack is all about. Soundtrack is an application that ships with Final Cut Pro 4. So I have my video here. I go to the File menu and I choose Export for Soundtrack.

The Export for Soundtrack dialog allows me to choose whether I want to export the audio and video or video or audio only. In this case, I've exported the video on its own because I don't want to have the dialog interfering with my music creation process. I'm going to go ahead and switch over to Soundtrack.

And I already have this piece of video imported. And I already have a couple of tracks added. And I'm going to start to build up this music. Now, Soundtrack is essentially a loop assembly program. What I'm doing in here is choosing from thousands and thousands of loops, audio loops, music loops. We are literally shipping over 4,000 loops with Soundtrack. When you buy Final Cut Pro 4, it comes on four DVDs.

Over 4000 audio loops. How do you go about finding which audio loops you want? Well, for this we have something called the browser. The browser is awesome. I can go through here and search by simple categories. Now we're actually looking at a very limited library right now for the sake of this demo. I'm going to go to my setup tab right here and I'm going to turn off my demo library and turn on the actual shipping library. You see 4,112 tracks. That's what it actually ships with.

And I go in here and I click on things like percussions or synths or horns and world music. And as you can see, there's a lot in here. As you look at the bottom, it's actually showing me 1 to 50 up to 721. That's just under world. There's a lot of stuff in here.

So how do you narrow this down? Well, I'm actually going to go ahead and turn my demo library back on so I can find what I'm looking for. We go back to guitars and I'm going to type in strum. I just want strumming guitars. That brings me down to a much more manageable size list.

So now I can start playing these different soundtracks and listening to them and seeing how they're going to mix in with my music. Or with my video. Now I already have two pieces laid down here. I have a drum kit and a synthesizer. Now those have been added already. Let's go ahead and play this and see what it looks like and sounds like.

Okay, so it's a loop. It's going over and over again. Now, I want to start auditioning other soundtracks. You'll notice up here that it is currently running at 120 beats per minute. You'll notice over here that the tempo of these tracks is all over the map. Here's one at 90, 120, 110, 85, 92, and 80. All over the place.

If you take music that is of varying tempos and you put them together, what happens? Sounds horrible. If you take music of varying tempos and you scale them to force the tempo to match, what happens? You get a pitch shift. Your guitar starts to sound like the Chipmunks. Awful things happen. So what we've done in here is we've built into Soundtrack the ability automatically for your clips and your tracks to scale, to tempo scale, time scale, without any shifting whatsoever. Listen to this.

I kind of like this one. So I'm going to take this and I'm going to add it to my timeline. I'll extend that loop out. It's got a bass guitar in here. "I'm going to extend that out. And I now have four instruments stacked on top of each other, all looping, all playing in perfect synchronicity. Is that a word? Maybe I want this to be a little bit slower. It's a little bit too high beat for me, so let's just take that down a bit. Maybe I want to speed it up.

No pitch shifting whatsoever. Is that alright? This is a phenomenal application and it is free with Final Cut Pro 4. Unbelievable. Okay, so right now I've got four loops repeating over and over and over again. It's going to take about two more minutes for you to get a headache.

So, what we're going to do is we're going to build this into an actual song, something that resembles real music. So for that, I'm going to take my drums and I'm going to have them start about halfway through this piece. I'll take the bass guitar, I'll have that start about halfway through, and the synth, I'm going to have it start about a quarter of the way in.

The levels on the synth have been dropped to -12. What I'm going to do is I'm going to play this. As the synth comes in, I'm going to raise the levels up on here. I can actually keyframe all of this. Sneak preview there. You can keyframe all of this stuff. We're not going to get into that. So I'm going to go ahead and hit play. Raise the levels.

Off to a pretty good start. Now it's pretty simple still. So let's open up a project that has a little bit more work done to it. "I'm going to hide the browser there. And if you look at this timeline, you can see that we have guitar, tambourine, another guitar, keyboard, some drums, another - it looks like a bass guitar, another lead guitar, some cymbals, some organs, some keyboards. There's a lot of stuff going on here. Let's see what this sounds like." Pretty good so far, huh? Now, you may have noticed that there was something a little bit strange that happened back here. I'm going to play this again.

There was an audio event, an audio beat or change, that didn't really match up with the video event or the video change. That's right here. As we transition from There we go. This clip to this clip. It's an obvious, really big change in the video. Back up. There we go. Between these two, it's an obvious big change in the video, but if you listen to the music, there's a change in the music that seems like it should match up with that beat, but doesn't. It's a little bit later.

So what are we going to do about that? Well, first of all, how did this happen? This is exactly 120 beats per minute. I said earlier that I cut this video with one second clips so that I would easily be able to match it up to my music.

Well, 120 beats per minute, one second per video clips, do the math, it's pretty easy to see that this should line up perfectly. So what's happened here? Well, what happened here is what happens in the real world. You do a video project, you show it to the client, the client says, "This is great, but I want you to cut this and slip that and trim this and put this over here and that over there." And the next thing you know, your very carefully selected one-second cuts are no longer there. You have this piece that is a little bit of an anomaly. It's off. So what do you do about that? Well, you can't change the video because it's been approved by the client.

You don't want to totally recut your audio because that's going to be a drag. So what if you could just do a little bit of a shift to make that audio and video match up perfectly? You can. Watch this. I have over here, you'll notice that the play head is right on that video cut.

If I follow the play head down, right, follow the play head down, here's the cymbal crash that we're looking at that doesn't quite match up. Well, it turns out that this marker right here is exactly on the point in time of the new video transition, the new video cut that is a marker that I created in Final Cut Pro that was exported out of Final Cut Pro as a new type of marker called a scoring marker. And that marker I can now take and simply drag so it lines up with the cymbal crash. What I've done is I've just asked Soundtrack to very, very slightly alter the tempo of the music before that marker so that they line up. Let's hear it.

You can do that again. Okay, undo. All you gotta do is drag it. Okay, so, here we are. It's running at 120 beats per minute. I'll give you a little bit more insight into what's happening here. 120 beats per minute. If I play it through, it misses the beat. Music.

Right? So, I'm going to take this piece. This is the marker. This is the symbol crash I'm lining up to down here. I'm going to take this marker and just drag it over so it lines up with the symbol crash. You'll notice it's gone orange to show me that I've distorted something. You'll notice now that I cannot control the beats per minute anymore. This is now, since I've altered it, Soundtrack has taken over that.

I can no longer alter that beat per minute. The playhead over here shows me that I'm running at 120 beats per minute. If I put the playhead back here, it's running it at 125 beats per minute. It has ever so slightly altered the tempo of that. I can go through here and continue to alter this. Let's say I take this marker and I'll move that over a tiny bit. Let's move it that way.

So, that's 125 beats per minute, but the piece before it is 150. So, that's pretty dramatic because it was so close to the beginning. So, that probably would not really work out very well. It's not a fix-all for everything. You can't take something that's 30 seconds off and fix it like this.

You're going to have to do a little work there. This is really designed for those ever so slight, you know, half second, quarter second pieces that are just off the beat. And you can get away with doing that ever so slight pitch shift. ever so slight tempo shift. And so here we go again, playing it through.

Not bad at all, huh? Alright, from here, you can export out your soundtrack file. You can choose to export out a stereo mix, which you can then bring back into Final Cut Pro, or put it on your iPod, or whatever you want to do. You can choose to export out single tracks.

Every single one of these tracks will export out as its individual own stereo pair. You can then bring that back into Final Cut Pro, if you like, and populate the timeline with all the individual audio tracks. Or more importantly, you can bring it into an application like Logic.

Within Logic, you can do things like mix it, do further mixing, add other effects to it, add virtual instruments, mix it in with real instruments, do all the wonderful things you can do with Logic, and then bring that back into Final Cut Pro. The options are really endless. You can take this into Logic and make a surround sound mix out of it, whatever you want to do. I've already exported out a stereo pair, so I'm going to go ahead back to Final Cut Pro.

They're not timestamped with the timecode that came out of the video, but what they are is they're all exactly one length. They're all exactly the same length. So if you have a clip that starts later, like this, you'll just get blank space in here. So you bring them in and you just slap them all to time zero, or to the start of the playhead, or the start of the video that you exported. So if you only exported a small chunk of video, bring them all in, line them up at the start of that video, and the blank space is there. And you can trim the blank space off if you want to, but of course you don't have to.

"You can do anything you want with this music that you create." "I have not tried that yet. I don't see why I wouldn't, but I don't know how it would handle the whole 'do you have permission'." or convert it to an AIF is what you'd want to do. 'Cause going to MP3 would be-- you'd lose quality. So you'd want to go to AIF. But, of course, you shouldn't be doing that anyway, because that's unlicensed music. You're not allowed to do that.

You're licensing it for personal use only, so you could not turn around and rebroadcast that or resell it or anything. If it's personal use, there are ways around it. You can do the AIF, you can do the MP3, you can hack it, but you're not supposed to. Am I allowed to say that? I just did. It was on camera. No, you shouldn't do that. I mean, obviously, you're not supposed to, so.

Yes. The looping format is an industry standard. We've added a few things to it. We've added a few extra tags. And so, when you install this whole bundle, this whole suite of applications, there is an extra utility called the Soundtrack Utility or something like that. And it's in your Utilities folder. Let's see if I can find that really quick.

Soundtrack Loop Utility will allow you to import other loop formats, add the extra tags that we want on there, and queue them up and put the categories. See we've got all the categories in here, so they line up with the categories in Soundtrack. Oh, okay. So let's repeat all the questions from the translator. Sorry, guys. Okay. Is that the Soundtrack's ? Yes.

No, I don't want to repeat that. He said, is it true that Soundtrack supports Logic plugins? Yes, as far as I know, that's right. Isn't it, Michael? Just the filtered plugins, not the virtual instruments. That's Michael Wong. He's our resident export on the East Coast on this app. And he works a lot more with the audio stuff than I do, because he's a musician.

I, on the other hand, am not. Ah, you can actually change that. Let's go over here. I'll show you. Up to 96? Oh, and here, um, well, you can change, you mean, like, the track height and... No, no, the actual, like, the kind of clips of audio you use.

Do you get sample resolution? Oh, oh, oh, do you get sample resolution on there? You know, that's a really good question. I don't know. Let's see. They actually talk about it down to beats. Down to beats. Wow, we're... Yeah, ask the audio guy. I was told I have like 15 minutes left until Q&A, and that's a lot more than I thought, because I've... Five minutes to Q&A. Okay, that's better. Good. Now we're back on track. Okay. So, back over here, this is the video that I had exported. Here is my soundtrack music that I have exported out as a stereo pair.

"And I can simply take this piece, drag it onto the timeline in here, and I've added that back in. And as you can see, it's exactly the right length because I cut it out, cut it to the video, so it is coming in at exactly the right length in there.

And, you know, Santa Cruz Bikes - Plans for Innovation and Quality. Our goal is to deliver the most technologically advanced, customizable bike and ensure it's good with time.

Santa Cruz Pikes - stands for innovation and quality. So what I need to do is lower the levels of the audio on there.

Now I could go in here with a pen tool and add a couple points in here to lower the levels, but there is a better and easier way to do that now with Final Cut Pro 4. I'm going to choose a new window layout here, and choose my audio mixing layout to reveal the brand new audio mixer. This is a 99 track audio mixer.

You can have every single track of audio on your timeline represented in this mixer in here. You'll notice that I have currently six tracks of audio, therefore I have six tracks on my mixer in here. On a larger screen, of course, you'd be able to see all those at once.

I also have the ability to hide and show individual tracks on here. So if I do have 99 on here, but I'm really only concerned with a couple of them, I can hide and just show the ones that I want, and I can even save different views. So for example, here's view one with all of them.

Let's go to view two, and I'm going to hide three and four, and we'll just say five and six. And I go back to one, back to six, and back to two, back to one, back to two. So you can save out these customized views very quickly. Just click on the number and do it. You don't even have to save it out as a separate file.

So, let me go back to having all of them visible. I'm actually going to hide 3 and 4 because I'm not concerned with those. 3 and 4 right now are my background audio, the existing audio that came from the video. Tracks 1 and 2 are my music. Tracks 5 and 6 are my dialogue. What I want to do is lower the levels of the music when the dialogue is on. So, keyframe recording is already turned on.

I'm just going to go ahead and hit play and start adjusting these levels. Santa Cruz Bikes stands for innovation and quality. Our goal is to deliver the most technologically advanced, customizable bike in the shortest period of time. Back up again, and down. I want this product that I'm making to be the best thing there is.

And you notice that the timeline has been altered. My levels have all been added in there just like that. All there is to it. If I want to make changes to this, I can go ahead and - let's go ahead and zoom into this a little bit. I'll zoom into that.

I can go in here, take the pen tool, I can rearrange this however I like. If I want to totally redo it, I can just hit undo, or choose the remove attributes command, remove levels, hit OK, and start that over again. Now you'll notice when I did that, that it didn't lay down a thousand keyframes. You may have seen tools similar to this before, where it lays down, for every frame of video, it lays down a new keyframe.

Which means that when you go back to change that later, it's just about impossible, because for one second of video, you have 30 keypoints to move, or you have to go in and remove a whole bunch of them by hand. So clearly it's a tedious process. But what if you actually do want those keyframes in there, for whatever reason? Let's say you're doing some really fine tuning to it, and you want to really fine tune into your levels, and you want to make sure that every single nuance has been recorded. So I'm going to go ahead and bring up my button search here, and I'm going to type in "keyframe". Here's my keyframe recording button. I'm going to go ahead and drag this onto my tool bench.

Notice here that I have three different choices. I have Record All Keyframes, Record Reduced Keyframes, which is what you saw, or Record Peaks Only. Peaks Only is an extremely minimal amount of keyframes that will be laid down. Possibly a bit too minimal if you have any type of subtle adjustments to it. The default is the center one, Reduced. But let's go ahead and just set it to the All and see what happens. I'm going to go back down here, play this through, and make these changes again.

Santa Cruz Bikes stands for innovation and quality. I'll bring it down. Our goal is to deliver the most technologically advanced, customizable bike in the short term. Okay, you get the idea. And now as you can see, there have been a few keyframes added, yes? Let's just zoom into that a bit.

Let's go ahead and make these track heights really nice and big. And as you can see, there are far too many frames in here to want to edit. So you can make that choice if you want to, so every little nuance is recorded, or simply go to Reduced and have that much cleaner and much more manageable.

Zoom in on the playhead here. I mean. Yes, I just zoomed in on the playhead. Oh, yes. Did I zoom in on the playhead? Yeah. If I just, basically, okay, Shift+Z to zoom back out. Nothing is selected, so when I do Command+ and - it zooms in on the playhead.

If I have anything selected, no matter, regardless of where the playhead is, as I zoom in and out, it's going to zoom in and out on the selection. So zooming and where it zooms is just dependent on either whether there's a selection or if there's no selection, just the playhead itself.

It's time to go to Q&A. Okay, I'm going to wrap this up with one quick thing that I do want to talk about here, and then we're going to hit Q&A. Export options. You have under here a whole suite of export options. Export out to QuickTime Movie. Export out your audio to OMF.

A new capability that has just been released here at WWDC is the beta for XML, exporting XML. The SDK for this is also being released here at WWDC. So for anybody who is interested in XML exporting, this is all new, and there's an entire session dedicated to that.

So that's a big announcement for us going out to XML, and that's something that if you're interested in this at all, you're definitely going to want to check out that session. So okay, I think it's time for me to hit some questions. So Jeff, you want to come on up? And let's see if we can answer any of the tough ones.