All right, so hello, everybody. My name is Joseph, and I'm here to show you the introduction to Final Cut Pro HD demonstration. Now, I'm actually following this up with the advanced Final Cut Pro right after this. So assuming I don't lose my voice, how many people are still planning on sticking around for that? About half of you. Okay, so that's good to know.

So when I go through this one, what I'm going to basically be doing throughout this demonstration is building an entire project, and I'm going to be skipping certain steps during this demo, which I will cover in the advanced demo. And then when I get to the advanced demo, I will have to redo some of the steps to get to kind of where I left off, but I'll go over them a lot more quickly, assuming that since it's the advanced demo, most people know some of those more basic features. So if you are going to watch both of them, there will be just a little bit of overlap, but I'll try to keep that as minimal as possible.

But first, before we get to the demo, let's go through a few slides here. That's me. I'm Joseph Linaschke. I'm the Technical Marketing Manager at Apple in the Pro Apps group, and I run a group that is responsible for creating all the demo content for all the Pro Apps for use worldwide. So that's all the retail stores, the trade shows, the road shows, et cetera. So anywhere you go and you see the demos of the Pro Apps, chances are it's my team that created them, so kind of fun. So let's go right into it.

What's Apple all about? Well, you all know, obviously, Apple's all about innovation, and one of the latest pieces of innovation that we had is Final Cut Pro HD. Now, I'm going to get into the HD side of this in the advanced demo, because clearly HD is an advanced feature. But for now, I just want to go through some of the basic underpinnings of Final Cut and where it's being used.

Over a quarter of a million people are using Final Cut Pro. How many people out here are already using it? Quite a few of you. Okay, so you guys, plus almost a quarter million more, make up that number. So we've got quite a few users out there, which is great. Really good for us.

And it's being used all over the place. Places like in standard broadcast houses, ABC, Channel 4 News, that sort of thing is using it. Recently used on the movie, the Coen Brothers movie, The Lady Killers, if you saw that, that was cut on Final Cut. Also Cold Mountain was cut on Final Cut Pro. Quite a few films out there and that list is always growing. The episodic show Nib Tuck, if you've ever seen that, that's cut in Towerland Final Cut Pro.

It's actually shot on film, even though it's broadcast standard definition, regular TV. It's shot on film, telecinated down to an HD format, and then brought further down to a standard definition format, cut on Final Cut Pro and output for broadcast. That workflow means that in the future they can go back up to HD if they ever want to. And since they use Final Cut, they'll be able to use the same software throughout and it'll actually be pretty easy.

I have a video that I want to show you, which, how many people were in the keynote? I'm assuming all of you saw the keynote. So this video is going to sound a little bit familiar. This is the video that we produced for the NAB show as a demo reel of what our customers are doing with the application. Let's go ahead and switch over to the computer.

Let's go ahead and switch back to the machine. I'm going to stay on there. So, because I know I'll get a lot of questions about the reel. First off, I'll say, one of the most common questions is, was that created entirely with Motion and with Final Cut Pro? Well, it was cut in Final Cut Pro, and Motion was used in it, but it was not done entirely with Motion.

I'm only saying that to lay down the point that it's not all about Apple-only tools. We, of course, rely heavily on you guys, on the third-party developers, and there's a lot of third-party applications and plug-ins and effects and so on that were used in the production of that piece.

So, it's not all just about us, even though we tend to turn out a few really cool things here. So, clearly, that also is not just about Final Cut Pro. You saw all the apps covered in there, DVD Studio Pro, Logic, Final Cut Pro, Shake, and Motion. If you guys saw, if you missed the Motion demo earlier this week, it's a shame. It's a fantastic demonstration that was on Wednesday. Later on today, we also have a Logic presentation and a, what's that? Music thing.

Logic. Logic, I said that. DVD Studio Pro, that's what I wanted to say. A DVD Studio Pro presentation this afternoon as well. Alright, so back to this. So the reel that you just saw, another kind of really interesting thing about this, you're watching it in HD. That was a high-definition image, 720p HD at 24 frames per second. This is not high-def projection, so it was scaled down for this resolution. But the really interesting thing is that that was actually playing off of the Final Cut Pro timeline, off of the internal hard drive. Just one. The internal hard drive on a G5.

Which tells you that you can do, today, high-definition editing with this new DVC Pro HD format off the internal hard drive. A single internal hard drive on your G5. And actually, everything I'm going to do today is off this internal drive. I, frankly, couldn't be asked to bring up my RAID today. So that's why we're just running off the internal. The RAID will give you a lot of advantages.

For example, more streams of real-time HD. Obviously, it will give you faster speed in general. And, of course, clearly a whole lot more storage. Three and a half terabytes of storage under your desk. Which is a nice thing to have when you're doing HD. But, for today's demo, this is all run off the internal. So let's go ahead and get started with Final Cut Pro itself.

I'm going to introduce you to the application with a brief tour of the interface here. Let's get a couple things open. And also a brief explanation of the standard workflow. Now, Final Cut Pro HD is simply the name of the newest version of Final Cut Pro. It's Final Cut Pro 4.5 Final Cut Pro HD. The HD name we just added on with the most recent release. Just to remind you.

We really drive the point home that this release is all about HD. High Definition. However, that doesn't mean that we've left everybody else behind. We still handle all formats in one application. So you've got DV, Standard Definition, Uncompressed, High Definition, and so on. And you can even do film if you incorporate Cinema Tools into your workflow.

And we're not going to go into all of that right now, being the introductory one. But the point that I'm making here is that regardless of the format you're working in. Again, Standard Def, DV, High Def, whatever. The workflow is identical. You have the exact same interface. You have the same set of tools. It's the same 999 piece of software.

So your options here are really quite limitless. If you get into this business, you get into this industry, starting with DV as many people do. Move into a broadcast space and then eventually move into High Definition. Unlike some other competitive tools, there is no huge learning curve to go from step to step to step.

It's all there. It's all the exact same tools. Now, the demonstration I will be doing today is High Definition. But this could be just as easily DV footage. So let's briefly talk about the workflow. How you get your stuff into the computer to start with. Let's just start with DV. Let's assume that we're mostly going to be talking about DV today.

So you've all seen DV cameras. You can buy many DV cameras from Circuit City or Best Buy. They're as cheap as, you know, like $500 or maybe even less these days. Of course, the DV cameras go up quite a bit. You can get the 3-chip cameras from Sony and Canon. They're really, really nice. Get up to a couple thousand dollars. But regardless, it shoots the same format, DV.

So DV is a digital format, digital video format that is recorded under those itty bitty little tapes. I'm sure you've seen those before. There's actually different flavors of DV. There's DV cam, which is slightly higher quality. But don't worry about that. We'll just think DV as general DV. From your camera, you have a FireWire port.

Or if you're in a studio environment, you'll have a deck, a DV deck that has a FireWire port on it. And the way, of course, that you get your DV footage from the tapes into the computer is over FireWire. It's as easy as plug and play. Just plug the deck or the camera straight into the back of your G5 or your laptop computer. Final Cut Pro.

Bring up something called the Login Capture Window. And you start capturing your footage. Now, it's not quite as simple and straightforward as iMovie. iMovie is dead easy. You just hit Capture and it automatically goes through your tape and it selects every shot and individually marks that shot and puts it in a little bin for you. And that's great for the consumer side of things. But this, of course, is a professional application. So you have professional tools to do your logging and capturing with.

Now, the term Login Capture generally means that you are going to log a clip, meaning you're going to look at the tape and say, I want from here to here. And then I want from here to here. And then from here to here. And then you're going to capture later. Something called a Batch Capture. So you say take all these logged clips and now capture them while you go have a cappuccino.

So the whole point is that you sit down, go through an hour of tape or 10 hours or 100 hours of tape or hopefully have your assistant editor doing that for you. And that's not fun. You mark down each clip that you want. You mark this is a good take. This is the best take. This one is halfway decent. Maybe it's good.

Make your little log notes in there. And then just capture them all at once and just have somebody feeding the tapes into the deck for you. So that's your standard procedure of getting your content in. That's your video footage. If you're talking about bringing in graphics, well, you just drag and drop your graphics in. Text and titling we'll get into here a little bit. Everything else that you do is basically just drag and drop into the application. So let's get a quick tour of the interface.

This is the standard Final Cut Pro interface for working with widescreen footage here. You may rearrange the windows however you like. I'll actually probably rearrange my windows a couple times throughout this demo to accommodate the work that I'm doing. But this is a pretty standard layout. On the top you have the viewer and the canvas, which you may also hear referred to as the source and record monitors.

On the bottom we have the browser and then the timeline. So let's start with the browser. The browser is where all of your media is stored. All the video that you've captured, any video you've imported, any graphics you've brought in, sound, etc. It's all stored in here. And I can just expand this window out a little bit. And you'll see here that it works basically like the Finder. I have various folders or as they're called bins inside of Final Cut Pro. Each one of those bins can be nested.

It's just like in the Finder. You can nest them and nest them and nest them. And you can color code them as well. So you can tag them with labels if you want to. Over on the right side here, you'll see there's quite a bit of information about the shots. So let's just select any clip on here. You'll see I've got a comments column.

I have duration. That's obviously how long the clip is. The current marked in and out points where the in and out point is on the timeline. And this just goes on and on and on. And there is a huge, huge amount of information in here. As you can see in there, there's just column after column. We're not even looking at all of them here. These are the ones that I've hidden right now. So there is an absolutely huge amount of metadata embedded in every single video clip that is exposed inside of Final Cut Pro.

Now, if you're working in a screen like this, and this is pretty low resolutions by editing standards. This is only 1280 wide, so we really don't have a whole lot of workspace. And as you can see, my browser is so narrow, I can only see one column in here.

In a more traditional working environment, you'll have two screens. In a professional environment, you would usually have two screens. And this browser would take up the entirety of another screen. Now, it doesn't have to just be one window. You can actually go in here and open up the browser.

Let me find a folder in here with a bunch of media in it. Let's see here. I'll take this one. Just double click that. It will open to a separate window if I want it to. I can even choose to view that as small, medium, or large icons.

And when I do that, I can obviously see what that clip is a lot more clearly. So you'll find if you have that extra working space, let's say you've got, I don't know, a 30 inch in front of you and a 23 off to the side. As we all do, of course, right? You've got plenty of space to view your clips, lay them out, spread them out, however you want to.

Just on that note, if you really want to set up like the ultimate editing setup, get one of those 30s in front of you. Those things are so cool. Get one of those 30s in front of you and then you have 23 on each side. Three displays. Now, why on earth would you want that much space? Well, having the 30 in front of you clearly gives you enough space to have your video and canvas up and a really big, wide timeline.

In fact, the 30 inch display is so high resolution that you can have two 720p HD clips up side by side at 99%. If you do the math, you actually should be able to get to 100% but there's a little bit of interface in the way. So I'm actually talking to our engineers about that. I'm going to see if I can get that taken care of. But you have enough pixels for two HD pieces side by side.

That's kind of cool. And then you've got a massive timeline on the bottom and then on your 23 inch off to the left, you put all of your browsers. You can open them up into multiple windows. All the space you could possibly want to see all your clips. And then on the right side, you have your video out.

Now, what you saw, the way I played this back earlier was full screen. Now, since we only have one screen up here, when I go into full screen mode or when I go into video out mode, let's just close this. If I go into video out mode, just hit the keyboard shortcut, it fills up this screen. But if I had a second display up here, then you'd see this image on the second display filling up that screen and I'd still be able to work in my canvas, my viewer and everything. And be able to watch it on that second screen over there.

That's actually a new feature in Final Cut Pro HD, something called digital video out. We are basically sending the video signal out over the DV port or DVI port into a second monitor. And if you go downstairs actually on the second floor where they have the 230 side by side, you can see that setup. They do have it set up so that you can see the video full size on the 30 inch monitor as well. But anyway, so there's your ideal setup, 30 and 223s, you go.

Okay, you don't need all that, but it's really cool if you can get it. All right, so there's a quick summary of the browser. The viewer itself, this is the viewer up here. Any clip that I open from the browser, let's just go ahead and open up a shot here. I double-clicked on a clip in the browser. It opens to the viewer. The viewer is where I make my editing decisions.

So let's say that you've captured a 30-second shot of whatever, somebody running down the beach. And you don't want to use that whole 30 seconds. It's just too much footage. So you need to make a select out of that or mark an in-point and an out-point to define what portion of that clip you actually want to use.

Well, the way that you do that is within the viewer window here. You simply choose the position we want. Let's just say, let's get something a little bit more animated. There we go. So let's say that I want to start the shot right there. Now, to mark an in-point, I have multiple ways of doing it. I can click the little button on the UI right there to mark the in-point. And that triangle there pointing to the right, that way. It's been a long night.

Pointing that direction is your in-point. That's saying this is where I want to start the clip. Anything before that will not get used when I drag this onto the canvas or into the timeline. Now, you do have non-destructive editing in Final Cut Pro. That means that anything you do, you can always undo. There's never any destruction to the original clips on the hard drive. So I can go in here and say, only want this one second piece. And then a year from now, I really wish that I had that second that I shot before it.

Well, it's still there, assuming, obviously, you don't go to the hard drive level and delete them. But anyway, so that's how you mark. And in-point. There's keyboard shortcuts as well. I could go in here and tap the O key to mark an out-point, the I key to mark an in-point. And put the in and out-points wherever you want.

And once they're defined there, you can drag them around if you like. Lots of different ways to do the same thing. And you'll actually find that in Final Cut Pro. There are lots of ways to do the same thing. So if you want to use the mouse, you can do that. If you like menus, you can do that. Keyboard shortcuts, you can do that.

In fact, Final Cut Pro 4 introduced a mappable keyboard, which means that you have the ability now to go in here and change the keyboard. And you can do that. You can change your keyboard layout to accommodate your own personal tastes, which I've found to be incredibly useful. If there's a command that you use all the time that the engineers didn't think you would use all the time and you want to assign a keyboard shortcut to it, great.

Or maybe you're coming from another system. You're used to Premiere, for example. And in Premiere, the keyboard shortcut to mark an in and out is different. And you just don't feel like forcing your brain to learn the new one. Remap it. Remap the keyboard to work the way you want to.

All right, so back over here. Once you've marked a clip in the viewer, again, marking it, meaning marking your in points and your out points, to add it to the project, you simply drag and drop it onto the canvas. I can drop it onto the canvas or directly onto the timeline, and I'll just put it here kind of in the middle of the timeline, and you'll notice that it is a little bit shorter. I have not used this part of the clip here, so that part of the shot is missing, of course, because I've marked the in and the out on there to trim that down.

And if I double-click on this clip, it'll open it back into the viewer, and before I do, you'll notice down here where the in and out is marked. It's just a smooth, plain bar, if you will. If I double-click on it, it opens up, and you see little tiny sprocket holes on there.

The sprocket holes are telling me that I'm opening it directly from the timeline. So if I make a change to this clip up here, it's going to affect it on the timeline. So for example, if I go in here and I move the out point, you see the out point just changed on the timeline as well.

If I drag it back out, it goes out on the timeline like that, too. So I now have the ability to continue to make my changes, my edits, within the viewer directly. All right, so that's getting stuff onto the timeline. There's obviously lots of ways to do that. As I mentioned with Final Cut, there's multiple ways to do everything. I drag this directly onto the timeline. I can also drag onto the canvas itself.

And when I do that, I get a series of options in here. I have an insert, overwrite, replace, fit to fill, and superimpose edit. Now, we'll go through some of these as we work, but the primary ones you'll use is insert and overwrite. So let's just very quickly see what that means. Let me open up a different clip in here. So here's another sunset clip.

If I put the play head at the beginning of this shot, so it's before the bird shot there, and I drag this onto the canvas and I choose overwrite, it will literally overwrite that clip. That second clip is now gone. It has been taken over by the first one.

If that first clip had been longer, let's just go ahead and stretch the duration of that out a little bit, and I'll actually shorten this one just to really show this clearly. Again, the play head is at the beginning of the clip. If I drag this onto overwrite, it overwrites as much as it needs to, and then the rest of the other clip is still there. So that is an overwrite edit. It will overwrite. It's a destructive edit. Overwrite anything that's on the timeline. The other most common edit is the insert edit, which will basically push the media that's there out of the way to make room for the clip that's coming in.

So I go insert edit. You can see on the timeline it pushed that bird shot over a little bit and made room for the one coming in. So there's two different standard common edits in there. And then the others, like I said, we'll get into a little bit more later.

Over on the right hand side I have my tool palette, your standard arrow, all the different tools, your slip, slide, ripple, roll tools, zooming tools, your crop tools, distortion. We'll get into some of these. We won't hit all of them in this introductory course, but there's all the tools that you would need to access are there. And then down here on the bottom right you have audio level meters showing your current audio levels. So when you're playing back you can watch there and make sure that you're not peaking.

You'll see here that you have negative 12, which is just as it starts to go from green to orange, minus 12 dB is actually the digital zero, if you will. You don't generally want to go over that. And if the little lights flicker red, then you're peaking. And if you're doing digital audio, that's generally considered a very bad thing. It'll sound horrible when it goes back to tape or even coming out of your home speaker.

So you'll definitely want to keep an eye on your audio levels, and that's what that's for. All right, so before I get into the actual demo itself, we have any questions about the interface? And let me preface this by saying, feel free any time throughout this demo. to holler out questions. Kent. Okay.

Only that one instance. So if I had this clip on the timeline multiple times, let's just paste that down there again, and I open the first one, change the out point of that. Can I hear you? Change the out point of that. It only changes that one instance of it. Cool.

You're welcome. You can also... That's not in Express. Okay, I'll give a real quick overview of what is not in Express. Express is DV only. So you have a majority of the tools set, but you can only work in DV footage. The question is about Final Cut Express versus Final Cut Pro.

Final Cut Express does not include live type or soundtrack to auxiliary applications that accompany Final Cut. Obviously, it does not include cinema tools either. And when you get into the compositing side of things, you have the majority of the compositing tools in Express that you have in Pro. And you'll see me use quite a few of those compositing tools.

But you do not have a compositing timeline, which means if you want to do advanced composites, it gets really tricky in Express. For that kind of stuff, you really want to go with Pro. You also don't have the ability to... I think logging capture is a little bit different. I think that you can't log multiple clips and capture later. I think you can log one clip and capture at a time. So you can't log a series of offline clips and then batch capture them later. Those are the primary differences. Yeah.

Okay, so the question's in reference to frame rate differences and how you're capturing between 30 frames per second, standard NTSC, or 2997, and Panasonic's 24 frame or 23.98 frames per second format. Basically, when you do your initial setup in Final Cut Pro, you have something called an easy setup that brings up a list of all the different setup options that you have for all the different formats that you might want to capture. And if you add third-party capture cards, and this gets into more of the advanced stuff, but as you add third-party capture cards like a Kona card or the IO box or the CineWave card, etc., you'll have additional options to this list.

And you can see on here that you have different frame rates, different formats represented, different codecs, and so on. And so basically, all you really need to do for 99% of the time is choose the preset here, and it will automatically set your frame rate and everything to the right space.

If you have some custom setting where you're going to kind of just go into something that we have. And if you hadn't thought of, then of course you can customize these and make whatever you want. Does that answer your question? Great. Okay, let's go ahead and get on with it then.

If you're going to stick around for the advanced one, I can go more into 24-frame stuff when I get into there. I'm just going to actually revert this project so I can start clean. And we'll start by building the piece. Now here, let's go ahead and play back the final piece that I'm going to be building.

Now again, being the introductory course here, I'm not going to spend a whole lot of time on some of the more advanced functions of this. I'll skip over them and I'll just point out when I do. I'll say I'll cover this more in the advanced area. But this is the basic project that we'll be building today.

So that's the piece that we're going to be building. Now, this piece, obviously, is not going to win any major awards. It's pretty simple. But just to drive the point home of how flexible Final Cut Pro is, again, this is all HD. This is all 720p DVC Pro HD format, which is the Panasonic HD format.

I edited this piece in the course of two evenings, maybe three, call it three evenings, from about maybe 10:00, 11:00 at night until about 2:00 in the morning at my parents' house when I was on vacation on my 17-inch laptop with an external FireWire drive, a little 800 drive, one of the little itty-bitty baby ones. That's all that I needed to do this. Okay, and some headphones. That's it. So the music was created in soundtrack. No comments if you hate the music. I'm not a musician. I'm not even a drummer. .

Those who know Phil, the guy who-- Phil Jackson, the guy who will be doing our demo later today for Logic. He's--I just stole his joke, but hey. Anyway, there you go. So... The Final Cut Pro HD is a full HD, ready for broadcast, or print back to film, whatever you're going to do, piece, and it was edited entirely on a laptop. That's kind of cool. That's really saying something there. All right, so let's go ahead and start building this project up.

So first thing I'll do is go ahead and add my audio. Now here's the audio track. Audio track was created in Soundtrack, and I'll go into how it was created in the next demo. I'll actually open up Soundtrack and show you the piece there. But this was the music that was created in Soundtrack. Actually, let's just launch Soundtrack real quick and have a quick look-see at it. You want to see it? Yeah, all right. I won't spend a lot of time in there. There we go.

So, Soundtrack is really designed for creating music for video. I kind of did things a little bit backwards here in that I created the music first, and then I went and started doing the video, and I went back and forth, back and forth, back and forth throughout the process. This final piece actually doesn't even have the video in it, but if the video were in here, it would be playing up in this little window here. But the reason I'm showing it without is more to show that this is how I originally created it.

I did create it without the video, and then I cut the video to match the music. Did that make sense? All right, so here's the piece up here. As you can see, it's a fair number of layers, but not a huge number. It starts off with a simple bass guitar.

You'll see there's a little drop two octaves. Can we bring the levels up just a little? All right. You see the different pieces coming in, little symbols and tambourine rather. There's four different upright bases on there, all playing different pieces, and each layer in here is a different loop pattern.

You'll also notice, let's go ahead and open up the bottom part of this. There's actually a tempo adjustment here. Things got just a little bit faster here for this tempo adjustment. And then towards the end here, the tempo is going to drop considerably. and that's all done inside of Soundtrack. Right? Not too bad. So enough of that. Let's just go ahead back to the app.

So that's how this music was created. So back into Final Cut Pro. So here's the project as an AIF file. From Soundtrack, you simply say export stereo mix. Takes everything, mix it down to a single stereo pair, bring that into Final Cut Pro. You can actually export out every individual track or layer inside of Soundtrack as its own individual stereo pair, and then reassemble that entire project inside of Final Cut Pro, or more importantly, reassemble that final project in another application, so for example Logic. So if you use Soundtrack as a scratch board, if you will, or maybe as the editor, you want to create this musical piece, you have an idea of what you want.

Soundtrack is designed for video type people, not really audio people. So you go in there and you create something that sounds like what you want. And then you hand it off to your musician and he takes that project, opens it inside Logic and goes, okay, now I know what he wanted to do, but I think this will be a little better.

Let's change that. Let's add an effect here. Let's throw this half away because he's obviously an idiot. And just go on and on and build the project. So it's a collaborative workflow in there. But anyway, here we have the piece brought back in as a single stereo mix.

So the first thing I want to do in here is mark a couple of important instances, or important occurrences on this project here. The first one I'm going to mark is the pitch change. If we listen to it, It's the same pitch and then a little bit of a pitch change.

So I want to mark that pitch change in here. And you can see it very clearly, what's going on in here, and I can go ahead and zoom into that a little bit more if you want to. That black bar represents the timeline or one frame of video.

We're talking about audio, but we're in a video space, so we need to think in the terms of frames. And even though there's a lot of audio happening, you can see the waveform all over the place in the course of that one frame, that is the one frame that I'm actually looking at.

And if I want to cut on a particular frame, I can just drag this back and forth, as you can see. Now let's just say-- I'm going to zoom in just a little bit more-- let's just say that I really wanted to start the cut, let's just say right there.

But if I drag this back and forth, you'll see that I can't get to that because it's snapping to the frame. Well, Final Cut Pro actually has subsampling on here where I can go down to 1/100 of a frame by holding down the-- I thought it was the Command key. Oh, there we go, Shift key. I can just drag this in and go down to 1/100 of a sample-- 1/100 of a frame on there. So I can get down to very, very accurate trimming on my audio.

If I hit I right now to mark an end point, the entire audio project will slip that fraction of a frame to accommodate that edit. So that way, if you have, for example, a pop that you're trying to get rid of, or you want to start on the beat, but the beat really starts there and you don't want that half of a frame involved, you can cut that accurately if you want to. Let's just back out of that a little bit. So there is the beat of the Shift pitch.

Let's just go ahead in there, and I'm going to mark a marker by tapping the M key. If you notice, this tiny little thing happened up here, that little guy right there, and that's a marker. And that marker is just a tag for me, so that I can reference that later. I know where something is.

And if I want to modify that marker to put a name on it, I can do that as well. Tap the M key again, and I can type in here something like pitch change. So now I know that that pitch change has happened on there, and that's where that marker is. So I've got that pitch change on there. Let's just go ahead and, well, actually I had another pitch change on here. I'm going to scrub forward a little bit. Let's see, I went a little too far there. Let's zoom back into that.

So there we go. There's that other pitch change. So once again, I'll go in here and add another marker right there. So now I have two markers added to my timeline, or to my audio. I'm going to go ahead and take this and add it onto the timeline itself. And as I add that on there, you'll see the two markers in place.

So now I know where those pitch changes are. Now why did I do that? Well, I want to cut my video project here so that some of the cuts or something happens on those pitch changes, on those pitch shifts, and at least now I know exactly where they are. I don't have to keep going back over and over again to try to find them.

All right, so that's in there. Let's go ahead and zoom into that portion of the timeline a little bit and add my first clip. So here's the first video clip that I'm going to add. Nice little purple flowers in here. As you can see, it's quite long, and I don't actually want the whole thing.

Now I showed you basic marking in and out, how we just go in and mark an in point and out point, and there's our edit. What I'm going to do now is mark the in and out a little bit differently. I'm going to mark it by actual duration.

I'm going to type in the exact duration that I want. If I look back down here on the timeline and I park the playhead at that first marker there, you'll see that the duration right now of that whole project is four seconds and nine frames up to that point. Now I want to add this shot on there, but four seconds and nine frames of this purple flower is going to get really sleepy, so I want to cut this in half. So I'll cut that in half.

Give or take, we'll call it two seconds and four frames. To mark two seconds and four frames, I'm going to go up to the duration window in the viewer and simply type in 2.04, two seconds, four frames. Hit return, and it automatically places an out point at the appropriate location.

Now let's just say that... Let me undo that. Let's just say that I know that I want my clip to start right there, and then I want it to be two seconds and four frames from there. I'll mark an in point on that position, and then go up here and mark 2.04. 2.04.

Hit return, and it marks the out point appropriately, so now I have a two second and four frame piece. So there's a lot of different ways to mark your ins and outs on here to get the exact duration of the shot that you want. So here we go. We've got this piece on here. Let's just go ahead and drop this right onto the timeline.

Now I'm dragging this onto the timeline this time instead of using... the canvas for a pretty good reason. The reason being the playhead is out here in the middle of nowhere. If I drag this onto the timeline, I can position it exactly anywhere that I want. Let me undo that. The playhead's still over here.

If I use the canvas overlays, then it's going to position it where the canvas playhead is. So that's something to keep in mind when you're doing your edits. Drag and dropping on, whether you decide to go to the canvas or to the timeline, will oftentimes just depend simply on where your playhead is. What's the out point? It didn't. The play had moved. Shush.

He works for me. I can tell him to shush. This is Kent, by the way. He did the motion graphics, the motion demo earlier this week. Stellar job. Alright, so there's that first shot on there. It's two seconds and four frames long. Let's get on with things here. I'm going to open up this next shot, this golden wheat, and I'm going to mark an in-point and an out-point at a very specific time code now. So somebody's given me, the senior editor or whatever, the director has given me time code.

I want you to lock in from this point on time to that point on time on this shot. And I have notes over here in my comments of where I'm going to mark those, and I can see that my current mark is supposed to be, one of the disadvantages of having a much more narrow screen, it can be hard to see your notes sometimes. I want to put this one at 2 hours, 15 minutes, 44 seconds, and 20 frames. That means that this tape came off of a much longer shoot. So let's just go ahead up here, and I can, of course, type that in.

So 2.15, .44, .20, hit return, and the playhead moves to that position. It didn't mark an in or an out point, it simply moved there. Because that top right window up there, that top right dialog, is showing me simply the current position in time there, where the playhead currently exists.

And by typing in a number, I'm telling the playhead to go there. So the playhead's there, let's go ahead and mark an in point, and then I'll do the same thing for the out point. I'm going to go up here and type in 2.15, .48, .23, hit return, and that puts the playhead where I want it, and I'll mark the out point there.

Let's go ahead and drop this piece onto the timeline, right about like so. There we go. And then I'm going to take this Japanese lantern shot in here, it's already pre-marked, so let's just go ahead and drop that onto the timeline as well. So let's see here, I've got a couple of shots in here, we can play it back now to see what it looks like.

You see there's a little focus shift in there. And a focus shift in there. Those focus shifts are actually pretty cool video events, so I may want to line those up with some of my audio events. So let's go ahead and take a closer look at that. I'll start with this Japanese lantern shot. I open this up, drag the playhead around, and I'm going to look for that focus shift there. And you can see it's right about here. That occurs over time. It's not a one-frame instance, so this is going to be a little bit sloppy, but that's all right.

So I'll just pick a couple frames into that focus shift, so let's just say right about there. And again, I'm going to add a marker down there. When I add the marker onto this clip, since I had opened it from the viewer, you'll see that the marker has been added to the clip on the timeline itself.

Now, this marker is one of my beat changes, right, or one of my occurrences in audio, so what I want to do is line up these two markers. Pretty easy. To do that, I use something called the slip tool. Now, the slip tool is a fairly interesting tool in the way it works.

Let's say that you have a shot that's this long, and you've marked an in-point here and an in-point here, or an out-point there. So you've got just this piece of the clip that you're using, and let's just say that it's one second long. Now, the slip tool allows me to change the content of that clip without changing the duration of it.

So, for example, the clip is five seconds total. I've chosen a one-second piece of it. It's almost as if that one-second piece is a window, and I'm reaching through the window, grabbing the entire clip, and sliding that clip back and forth like this to see a different one-second piece of it. So the slip tool, is going to simultaneously change the in-point and the out-point without changing the overall duration.

So that means that I can go in here, grab the slip tool, which is right here, position that on... I'll just grab the marker itself and drag it over like that to line up those two pieces. And now when I play this back...

Let's talk very quickly about transitions. Let's go ahead and add another shot on here. I've got another piece of video I'm going to add to my timeline in here. And I'll start with a very simple transition. A cross is all between these two clips.

There's lots of different ways to add transitions to your project. You always have something called a default transition. The default transition, straight out of the box, is the cross-dissolve. Clearly one of the most common transitions used in video and film. You can change the default to be whatever you want, but for now we're just going to leave it at cross-dissolve.

If I wanted to apply my default transition between these two edits in here, all I have to do is control-click on it and choose add transition cross-dissolve. If I change the default to be something else, for example a wipe or a page peel, whatever, it'll show up add transition, etc.

So I go ahead and click on that and it adds that transition in there. And since this is all in real time, without rendering I can simply... Play that back. Now that's a simple transition, a simple cross-resolve. There are loads of transitions inside of Final Cut Pro that you can work with.

And if I open up my effects tab here, which has mysteriously disappeared. There we go. There's my effects tab. Let me go ahead and put this down here in my browser where it belongs. In my effects tab you can see video transitions. I have loads of them to choose from. I actually have quite a few third-party ones in here. Eureka is from third-party developers. The CGM ones are from third-party developers. Hopefully Joe Maller is not in the audience because I don't think I have his filters loaded.

It's on my other machine, I promise. But there's a lot of third-party filters in here. And then of course our standards, dissolves, and irises, and maps, and so on. And if I want to experiment with any other transition, I don't actually have to go in here and delete this. I can simply, let's say a wipe. I'll go in here and take this band wipe, drag and drop it on, and it replaces the existing cross-resolve, and I play that through.

Bono experiment with some more. Do something like an edge wipe, drop that on there, see what that looks like. wants something a bit more interesting. Let's go for a page peel in here. Drop that on there. Okay, if you ever use this in real production work, I guarantee you'll be fired.

All right, so there's my cross dissolve. Let's go back over here and move on into some basic compositing. All righty. So let's see, here's the first shot that I'm going to add in here. It's already pre-marked in here. Nice shot of the Bay Bridge. Let's just go ahead and drop that onto the timeline.

This time I'll drag and drop it onto the canvas, since the playhead's in the right place. Doesn't overwrite. Drops it on like so. And then I'm going to take this next shot, which is the Golden Gate Bridge again, but obviously a different time of day. And I'm going to composite this on top of the original one. So here's my original shot.

You'll notice that the one that I've currently opened doesn't have any in and outs marked on it. And if you look up here, you'll see the total duration is five seconds. Now if I was just to take this and drag it onto the timeline, you'd see that it is longer than the shot underneath.

Now I can do this. I can just drag it on like that and then drag the playhead back, or drag the out point back to trim it up. But that's two steps. And why do something in two steps when you can do it in one? And the way you do that in one step is by having the playhead over any shot.

So for example, this Golden Gate shot here, I can take this shot, drag it over, and choose superimpose. What superimpose will do is-- position that clip on top of the one underneath it and trim it to fit automatically. Now if I already had an in point marked on that clip, it would match the in points and then trim it. If I had an out point marked, it would match the out points and then trim the rest. But the point is that it makes it fit with just one step.

So now I have these two shots stacked on top of each other. At the moment, since there's no transparency, opacity, or anything applied to this top shot in here, you're seeing only the top clip. And that's what I'm going to change. And this is where we get into some basic compositing here. So let's start by changing-- changing the in point on here to match a beat. Let's listen for a good beat in here to cut it to.

I think right there. So let's just put the playhead right about so, take this, and drag it over like that. So now I am looking at first this shot, and then the nighttime shot. Now right now, this is no different than having one shot after another, because once again, we're seeing the entirety of this clip. But let's go ahead and get into the compositing part of this, and you'll see how these things are going to all come together.

Basically what I want to do is I want to see both of these shots side by side. I'm going to crop them and reposition them on the timeline so I'm seeing both of them. However, if I take this bottom shot right now and I crop it and reposition it, it's going to be cropped and repositioned up here as well.

And for this first part of it, I want it to remain full screen. So to make sure that I don't affect the entire clip, I'm going to take something called the razor blade tool, go down here on the timeline, click on there, and slice that clip. I've now cut it in half effectively, and I can position this clip elsewhere. I can move it around, do whatever I want to it, and it is treated as a separate piece.

You'll notice, however, that when they're together-- OK, I am going to kill myself on that. You'll notice that there's little red arrows in here pointing at each other. That tells me that this is a seamless break, that there is unique time code or progressive time code between these two frames.

So for example, the last frame on that first clip is frame 70 and then first frame of the next one is frame 71. They go together, and that little red marker there shows me that. And I can actually go in here, Control-click on that, and say Join Through Edit, and it will heal that break.

It's kind of nice. Back to work here. Let's go ahead and take this first shot here and do some basic compositing. Now again, I'll spend a little bit more time on this in the advanced one. I'm going to go through this fairly quickly here. This top shot is sitting right here.

I can just drag it around in the canvas, position it wherever I like. What I'm going to do is take my cropping tool and crop this shot in a little bit. Let's just crop it like so, like so, bring this down a little bit, and that down a little bit, like that, and position it about like that. There we go.

And the bottom shot, the one underneath it, I'm going to do the same thing. Let's slide it over like so. cropping it a little bit. Looks like I need to crop this in. Just very quickly go in here and do this. So now I have these two shots on the timeline side by side. So now if I play this back.

I've got the two shots of the bridge. Now, that was all manual, just clicking and dragging to get those in there. If I want to get a little bit more control into that, I, of course, can. Let's go ahead and open this up into the viewer. There you see the shot on its own against a transparent background. If I click on the Motion tab, you'll see all of my actual controls, numeric controls. So, for example, my cropping settings in here, my basic positioning settings, and so on.

So, if I wanted to go in here and numerically change some of these, I could, but we'll just leave it as it is for now. That's close enough. So, there's that shot all set up in there. But I do want to make some more changes to this, so let's go ahead and listen to it again. And there's another beat, and I want something else to happen on the next beat.

So, let's see, what am I going to do? Let's go ahead and take these pieces here. I'm going to copy and paste. I pasted right where the playhead was, so now I have a duplicate of those. And I'm going to take that second set and nest them. If I go under the sequence settings here, I can say nest items. What nesting items does is it takes any number of clips.

This can be two clips, it can be a thousand clips, and it collapses them to one single piece. Now, for all intents and purposes, looking at it on the timeline, it's going to appear as a single clip. But the beauty of Final Cut Pro is, since it's non-destructive, I can double-click on that nest and open it up to a new timeline. That new timeline shows me everything that I had nested.

I can make changes in that, close the nest, back to the original timeline, and all the changes will be updated. So, in here, I'll just call this the Golden Gate Nest, hit OK, and as you can see, it is now showing up as a single clip on the timeline in there. If I double-click it, it opens up into a new timeline or a new project there, a new sequence, excuse me, and you can see the two clips that I nested. Let's go ahead and close that.

Back to this piece, and I'm going to do some work on this shot here. So, the work that I want to do is to apply a filter to it. You know, you haven't seen me apply filters yet, and this is definitely getting into more of the advanced stuff, which I'm actually going to skip past a lot of for this demo. But just to show you what I'm going to do and where I'll be spending time in the next demo, if I go into my video filters here, somewhere, you know what, I actually have it saved off right here.

There we go, replicate. I'm going to take this replicate filter, drag and drop that onto there. I'm going to put a replicate function in there. I'll then take that replicate function and over time, and I'm just going to do this very quickly, but again, we'll spend time on it later. Add a couple of markers on there. Increase the complexity of that filter over time. So now we go the two shots, replicate it, replicate it again. So that's the more complex compositing effect. And again, I'll spend more time on that in the next session.

Let's know, no it shouldn't be, let's just find it. Replicate. It lives, oh well, okay that one does. I don't think that's the one I used though. Stylize, there you go. The CGM filters do have a more advanced replicate filter, but I'm pretty sure I just used the basic one here.

All righty. So there's that. Let's take a look at the time remap tool. This is a lot of fun. Did any of you guys see the quick time intro presentation Frank Casanova delivered on Tuesday morning? Only a couple of you. Okay, good. So this won't be too repetitive.

This next piece is what I actually demoed in that presentation, although I did go through it very, very quickly there. I'll spend just a little bit more time, not a whole lot here. Again, this is something more for the advanced segment. But here we go. Here's that shot of the pool break.

And as you can see, it's just a nice, clean little pool break shot on there. I've already pre-marked exactly the point where the cue hits. If I back up one frame, you see it's right before it's going to hit, and there's the hit. So I've got that break marked. And if I scrub forward in the timeline a little bit here, Let's see here, I need to find the position where I want to actually mark that break. Let's go ahead and listen to this.

Okay, that beat right there is where I want to mark that break. So let's go ahead and zoom into that a little bit. There it is right there, and I'll position this clip on the timeline, and then of course just slip that back. So, oh, I forgot to mark the break. Silly me. There we go. Is that it? There we go. Mark the break, and I can mark it on the audio clip itself, drag this into place here, and let's just slide those over so that they line up like so. There we go.

Okay, there we go. So, there's a little gap in here. I'll come back and fill that up later. What I really am concentrating now on, though, is, of course, this shot and the fact that that break lines up with that beat. If we keep listening to the music, and of course you saw me play this in full screen in the beginning, so you know what I'm going to do in here. But if you listen to it, you'll hear a repeat of that heavy beat on there.

So let's go ahead and I'll put a marker, and this time I'll just put a marker on the timeline itself instead of on the clip. It doesn't really matter where I'm going to put it now. Let's put it on the timeline. And I'm going to end up having something happen there.

Now before I go in here and I start remapping the time on this shot to make that beat line up twice, or make that break rather line up twice, I want to make sure that after the break here, the balls do continue to go out for a little bit before anything funky happens to them.

So let's just scrub back here really quickly, scrub forward a little bit, and I'll say, no, that's far enough. I want to make sure that they play at least to that point, so I've just added another keyframe there. And then if I drag forward to that next beat and I click on here and drag back, what I'm doing here in remapping time is dragging that frame backwards to get that break lined up just perfectly like that. So now the break is hitting twice. Now what's just happened here? Let's take a look at the graph underneath. This is time versus the actual frame. And notice that if this line was to go from here to here in a straight line, that would be normal time.

As it goes up in here, though, you'll see that it goes down. Well, anything downhill is actually moving backwards, and I can also see that by these red hash marks. Red hash marks tell me I'm moving backwards. So I'm moving backwards from this position back to the break again.

So technically, that's what I wanted, except that it doesn't look that good because the cue ball never goes back to the stick. So let's go ahead and go somewhere in between this shot, add one more keyframe, and back this shot up so the cue ball is just at the stick. Let's say right about there. Good enough. And play that again.

Too bad, pretty easy. HD, real time. High definition, doing that kind of timing mapping in real time is totally unheard of. That's kind of fun. All right, moving on. How much time do I have for this? Not much. All right. Keep your questions coming as we go. Basically, the way that the timing works on this, by the way, I've got 20-odd minutes left, about 21 minutes left.

Supposed to spend about the last 10, 15 minutes doing Q&A. But if you keep your questions coming throughout, then I can keep going up to the end. If you feel like you're going to have questions at the end, then I'll need to stop a little bit early. So what do you think? Questions throughout, or do you have questions that you're holding to the end?

Doesn't that look lovely? Sets that down on the cup.

There we go. So it's a nice long shot on there. It's already marked on the timeline here. And I need to put this on a specific spot on the timeline. So let me just check my notes here and see where am I supposed to put this thing. This is the great thing about Final Cut.

Your little comments column gives you all your hints that you need for a long demo like this to see exactly what in the world you're supposed to do next. All right, so... I have no idea where I'm supposed to put this. Excuse me. Excuse me while I figure out what I did at 3 in the morning two months ago.

Oh, here we go. Look at that. Put it at... There's my time code. I knew it was in there somewhere. All right, I have a note in here of where I want to position this in time. This little time code readout here is the time code of the timeline itself.

So once again, as I drag the playhead back and forth, you see that updating, or I can go in here and type in a number, for example, 3003, to position the playhead at a specific point. So there's the playhead at that point. I'm now going to take this shot and add it. Just do an override edit. It adds it on there. And if I zoom into this, you'll see that we have a gap in there. That is actually intentional.

What I'm going to do is fill that gap with a slug. Now, that just puts a black nothing there. Now, I could technically just leave it open, but gaps in the timeline is generally considered a bad idea for a number of reasons. One of the most important being that it's entirely too easy to, let's just say I left that gap blank, to take this and slide it backwards later in time and not realize that I had shifted it, because there's nothing keeping it from moving. If I, however, have that slug in there, it makes it a little bit harder to move that back.

A lot of my ripple and roll effects, the kind of things that would work, the kind of things that would move things on the timeline will say, "Yo, can't do it. There's something in the way." So that's why I put that slug in there. It also would allow me to do a transition if I wanted to between two shots. And I'm not going to do a transition here. I'm actually going to use the pen tool to simply do a quick fade to black on the end of this shot here.

That pen tool is my opacity ramp, and if I step through this, you'll see here that, step through, step through, there we go, it's now fading to black over time there. So it fades to black into that slug. All right, so there's this shot here of the cappuccino cup.

So I have a couple things that I want to do in here. You'll notice that, well, first of all, him putting the cup down is missing. But if you remember from the original shot, there's actually a long time between when he picks that cup up and when he sets it back down again.

And frankly, we don't want to sit there and stare at the newspaper all day, so we're going to, it's not Sunday morning after all, we are going to trim that shot out, trim that gap out of there. So let's just go ahead and play this. And I've stopped it, now I'm moving, using the arrow keys, moving one frame at a time. And I'm going to position the playhead just where the cup exits the frame.

Once again, with my razor blade tool, I'm going to go down here and cut that. Now, what I'm doing is separating the first half from the second half. And now the next thing that I want to do is use the slip tool again to slip that shot to choose a different in-point and out-point. Remember from my description before, the slip tool does not change the duration of the shot, but it does allow me to change the in-point and out-point of it, again, without affecting the duration.

So let's go ahead and take the slip tool, click and drag on there. And as I drag this, you'll see up in the canvas that I have two windows that popped up showing me the new in-point and the new out-point. And so I'm going to drag this back, back, back, until I get to just before the cup comes back into picture on the in-point there. So there's, again, the in-point. Let's drag that up right about so. And now if I play this back.

I've created a jump cut. A jump cut means that I've cut a piece out of it, it's just jumping forward in time, and there's a simple little edit on there. In fact, I think I'll slide that forward just a tiny little bit, make that look a little cleaner. Sure. Question, go ahead.

Ah, keyboard shortcuts. The love of keyboard shortcuts. How am I switching between tools so quickly was the question. There are lots of tools in here. If I hover over any one of them, it will tell you what the keyboard shortcut is. Selection tool is A. So I tap the A key, boom, it grabs that.

The slip tool is S, so I tap the S key and it grabs that. In fact, if I hold out on here, you'll see that the time remap tool is SSS. So, there's keyboard shortcuts that are combinations of keys, so tap the S key three times. You may have noticed that that just changed to the time remapping tool.

So, there you go, that's how you change that. And once again, if you want to change any of those keyboard shortcuts, you can using the handy-dandy customized keyboard shortcut tool. Let me just talk about this real quick since we're in here again. Let's say that I wanted to change that slip tool.

I go in here and I search for slip. There's the slip tool. Current keyboard shortcut is S. Let's go ahead and unlock the keyboard and let's say that for some strange reason I want to make it control shift F12. Let's just drag that over here. Drag that onto control shift F12 and there you go. It now has both S and control shift F12 as the keyboard shortcut. Kind of handy. You want to get rid of that. We just go poof and off it goes. Alrighty then. So, here we go. Back to this. So, I have this shot here.

You may remember from the original playback of the final piece that I'm going to have three graphical elements, three frames of that cappuccino cup coming down into play. So let's go ahead and set that up. All of the work that I'll do is going to be based off of this shot here.

If I open this shot into the viewer, you see once again it's from the timeline because of the little sprocket holes there. I'm going to choose a good frame. Now I know that I want three. I want three individual frames of this cup coming down, so I need to time them intelligently.

Let's just go ahead and choose that frame as my first frame. And then under, I believe it's under modify, there we go, I can choose something called make freeze frame. What make freeze frame does is it takes that single frame of video and it makes it a still.

So I now have a still of that frame in there. You see if I drag the timeline, or drag the playhead, nothing's happening in there. So there's that still. So let's go ahead and add that still onto the timeline. So drag that onto there. Boom, like so. And it is clearly really, really long.

And there's that first shot on there. So I've got that in place. I do need to shorten that up a little bit. So let's just go in here and trim that down a little like so. Zoom back into this portion of the timeline. And let's see again what that looks like.

Okay, so we're off to the good start. I now need to get the additional frames that I want on there. So back to this shot, and I'm going to fly through this part of it here. I'm going to go down to about there, hit Shift N, which is the keyboard shortcut, to make that still frame, and I'll choose Superimpose so that it adds that still frame above the original one. Let's go ahead and hide that. So now I have the second still frame right there, and I will then target just this track so that the next time I do a superimpose, it goes on top of this one.

And let's go back to this shot, grab the third frame, let's say right there, Shift N again, and Superimpose, edit that. So now I have all three of those shots clearly on top of each other, not a whole lot going on there, so let's go ahead and space these out a little bit so that they're happening over time, like so.

Except it looks like I got them in the wrong order, so let's go ahead and position that like so, and that one down there, and that one there, and shorten this one here, and lengthen that one there, and I think now I got them right. Let's see. There we go. So now they're in the right order.

Kind of on the beat, close enough. Let's just go ahead and trim that to the beat a little bit better. I can see, looking at the audio on here on the timeline, that I'm not quite on the beat, so let's just go ahead and position the playhead like so, drag those out, and that should match a little cleaner. Excellent. All right.

So now I need to set up the whole graphical element part of this. Again, something I'll spend more time on later, but let's just fly through this. Let's see here. I'm going to take this shot and do a little cropping on here. You saw me do that before, so let's just not rearrange the entire UI here.

Let's reset that. There we go. With my crop tool, I'm going to shrink that down. I want about a third of the frame taken up in here, like so. And if I want to get these out of the way to hide them, I can just do that by hitting Control-B, and it hides those other shots. So now I no longer have those other ones in the way. I'm only concentrating on this first shot here. So that looks pretty good. Let's go to the second one here, make sure the playhead is over it, and reveal it.

And let's go ahead and crop that in again. I keep doing that. This is, by the way, a really cool feature in Final Cut Pro, even though I keep dragging it accidentally. The ability to grab any seam between windows and rearrange the size of your UI. Isn't that kind of handy? That's kind of cool. All right. Reset that back to normal. Arrange to up. There we go.

All right, where was I? I need to crop that shot down, so let's just go ahead and bring that shot in like so, reposition it like so, and then the third one, of course, I need to do as well. 1, 2, 3, clip, clip, like this. Ah, there we go.

Drag that over. Okay, now this could be a lot cleaner, and I will spend more time in the next demo making it cleaner, but this is good enough for now. So there's my three shots, and here's how they're playing it. Not too bad, huh? That's kind of cool.

On the beat. So now I need to colorize those shots, so to do that I'm going to once again just give you a quick little taste of how that works. Let's go ahead in here and open up my tint tool, which I already have saved off. Drag that onto here, open up the tint tool, into the filters tab, and change the color of this. And of course using the color picker I can make that any color that I want.

Looks a little hideous there, let's drop this opacity down a little bit, like so, so now it's kind of red. And then, quick little advanced tip for you, I'm going to take these next two shots on here, take this tint tool, and drag it onto those so it applies to those other ones as well.

Now since the opacity level is set for that first one, it's now set for the second one, and if I don't want to change anything but the hue, I can go in here and quickly change the hue of these next three shots, and I end up with that.

Well, they were never actually created in the Finder. They only exist inside of Final Cut Pro. So they actually require the original video clip to be present for them to access that. They're simply looking at a single frame of video from the original clip on the hard drive and then saying, play just this one clip for X amount of time. You said it.

Well, you can't-- if I drag this from here back into the timeline, like so, or back into the browser, it is now an asset in the browser. However, it does not exist on the hard drive as a separate clip. If I wanted to make it a separate clip on the timeline, I could.

I can simply go in here and say export and use QuickTime conversion and convert that to a TIFF or PSD file, whatever you like. So I can do that as well. All right. Great, 12 minutes left. How are we doing on questions? Anything else while I jump to the next one? In here? Well, when you were changing the color.

OK, I was simply double-clicking on the clips. Let's go ahead and zoom back into here. If I double-click on this, it brings up the viewer. There's my Video tab, and there's my Filters tab. Now, if I double-click on the next one, it opens the same shot in the viewer and the same shot in the viewer again.

No, there's no way to like solo. You can, well, when you say show it, you mean show it in the playback or show it on the timeline? In playback, yes, you can. If I go into down here, let's see here, this is my visible clip. If I click on that, it turns it off. Or if I option click on that, it turns everything off except that one, and then I can go in and turn on just the ones that I want. There you go.

The question is, can you add more transitions to the control click? I presume you meant keyboard shortcut. No, it only applies to the default shortcut in there. So whatever the default one is, is there. Now you can save out favorites, and you can have a favorites folder where your favorite ones are more easily accessible, but they are still only one accessible at a time under the control keyboard shortcut.

All righty, what is next? I have absolutely no idea. Let's see here. Simple Graphic Effects Part 2, I just did that. Complex Adjustment for Transitions, I'm definitely going to skip that one for now. Let's do a hue shift over time. Let's do this one. I'm going to actually open up a new sequence that is just a little bit farther along in this project since I'm skipping a step. Just pretend that you saw me already add this shot in here. There's the shot of the nighttime bridge, which is a nice shot, but frankly a little bit boring for too long.

What I want to do to this is add a color effect to it and then have that color effect change over time. This is one of those seemingly really advanced features that's actually just dead easy to do. Let's go ahead and do that. Color Correction, there's two different color correction tools and I will next go into the other color correction tool, but this time I'm going to just choose under Effects, Video Filters, Color Correction. Here we go. There's several of them. I'm going to choose this one. This color correction tool, here's my little visual interface button, brings up two color wheels.

The first color wheel, the one on the left, is my color balance. This applies to the entire image. Color balance for the entire image. The other color corrector, which you'll see in a minute, has three different color wheels just for balance. One for highs, one for lows, and one for black, whites, and mids. That's what I meant to say. This one additionally has a hue rotator.

While I have only one control over my balance, I have an entire control just for the hue. If I take this shot, let's get rid of those lines on there, if I take this shot and I rotate the hue on there, you can see how the hue of that shot is changing right directly there in the canvas. If I wanted to do a little before and after on here, I mentioned different window layouts. Let's go up here and choose a color correction layout.

The color correction layout shows me my scopes. I'm not going to talk about those, but it also shows me my frame viewer. Just because this screen is so small, I'm going to do something horrible and totally mess up my UI. Just so that you can see the before and after there more clearly. As I rotate through the color wheel, you can see that up here, I have a little bit of a blur. You can see that updating in real time on there. I can see immediately my before and after.

Kind of a nice little tool in there. Let's go back to standard 2-up layout. I've got this shot in here. I've rotated the hue. That's great, but as I said, I want to have this change over time. To do that, we keyframe it. Let's go ahead and drag the playhead here to the beginning of that shot.

Back to the color corrector here. I'm going to reset the hue back to its standard default setting. Actually, I'm going to go back to the default setting. To do that, the easiest way to do that is simply click on the little white ball there, which resets it. I will mark a keyframe.

Keyframes, for anybody who's not familiar with keyframes, the whole idea of a keyframe is I lock in a position here, whether it's a color, or a position, or a crop, or a scale, or anything. Lock it here in time, then I lock it here in time in a different setting, and the computer figures out what goes in between. I've just put this keyframe at no effect.

Then I'll drag the playhead to the end of this shot here. I will rotate the hue. When I do that, since I've made a change, it automatically added a keyframe for me. It knows that I want to put a keyframe there, so it just adds it. If I change my mind, I can just go in here and delete that keyframe easily enough.

I've just added those two keyframes, one with no effect, and then one with a nearly 180 degree hue rotation. Now if I play this back, see that he rotated over time. Kind of cool. It's a simple effect, seemingly complex effect, but actually very simple to apply on there.

All right, let's move forward a little bit into basic color correction or standard color correction I should say. I have on here this great windsurfer shot, but as you can see it's a little bit on the yellow side. So let's just go ahead and add this piece on to the timeline here. It's already pre-marked for me. I need to mark in and outs on here. And, is that right? Actually I should have marked in and out, but that's okay. There's the shot on there.

I want to do some color correction on there, so let's just take that shot and add this time the three-way color corrector. The three-way color corrector gives me, as I said before, a lot more control. I have individual controls over my blacks, my mids, and my white levels. Now what you're looking at here in these three wheels is several different things at once.

You're seeing the color balance for the black, mids, and whites, and you're seeing the levels for the black, mids, and whites. So the difference being you could have something that is supposed to be black that's a little bit too bright so it looks gray, and a little bit too green so it looks greenish gray.

So there's two things that you need to do. You need to reset the color back to black, but until you adjust the levels it's going to actually look gray, right? So there's two different things to control in here. And that's controlled by color balance, and then underneath that, underneath those balance wheels are the sliders for the levels. So I'm going to start by adjusting the color balance.

The white, as we can see in the blue, is very, very yellow, foggy, muggy, icky. So I'm just going to go in here and grab the eyedropper tool and say that's supposed to be white right there, and it resets that to white. And as you can see, it's added a whole lot of blue to the image to make it look white.

I'll go back in here and do the same thing with the blacks. It looks like there should be some black right about, we'll just call this black right there. Click on that, and I actually really missed that. So let's undo that, zoom into it a little bit so I can get And maybe that really wasn't supposed to be black, so let's find something that should be black.

How about, that definitely looks like a black shadow in there. Let's go ahead and eye drop her there. There we go. That looks a little bit better. Now, again, I've changed the colors, but it still looks a little washed out. So let's go ahead and bring up our whites a little bit, bring up the white levels a little bit to brighten that up.

And I'll bring my blacks down just a touch. And maybe I'll increase the gamma ever so slightly. And then let's just saturate it as well to bring some punch into those colors on there. And there's the final image. If you want to see a before and after, let's go ahead and bring up the frame viewer for a comparison. And there's a before and after in there. Not too bad, huh? And that's just quick, quick click. Almost any shot can be improved with this color correction tool without even getting into the advanced settings of it.

Just go reset black, reset white, adjust levels, done. And if you've shot, let's say you're shooting, I know, Christmas morning or something, and talking on the consumer level, you're in the same lighting situation throughout the morning. You've got the same color correction that needs to be applied. So you apply it to one clip. Figure out what to do. And then copy that same color correction to all your clips. So it doesn't actually have to take all day to do. All right.

How do you copy it? So let's just go ahead and do that. I've got another shot on here. Funny you should ask. I have another shot on here that needs the exact same treatment, so I'll add this onto the timeline in here. Let's go ahead and zoom back into those.

So this one has the treatment, this one does not. There's several ways you can do it. I can simply go to the color corrector, grab this tool here, and drag it onto this shot, like so. Or there's a really cool little thing in here, copy one forward, or the next one over says copy two forward. What this does is it will copy the same effect to the next clip, or skip a clip and go to the next one. Why would you want to skip a clip? Think of the two-up interview. I interviewed you, I interviewed me.

I've got two shots on there, back and forth, back and forth, back and forth. Well, I need to apply one color correction to this shot and another one to this shot. This will allow me to instantly just skip the shot of me, for example, and apply the color correction to the shot of you. I just skip over leapfrogging.

So there we go. So there's a couple more things that I do want to do in here. However, they are going to be saved for the advanced demo as well, and that is going to include titling done with Live Type, which is included with Final Cut Pro. So I've got about three minutes and 53 seconds left. So let's see if we've got any more questions before I skip out of here.