How many people were in the last session? Oh, Jesus. OK, how many people weren't in the last session? I swear to God, I just saw the same number of hands go up. OK, that's just creeping me out. All right, so as I said in the first session, my demonstration today, including the last session, is one single project that I'm building. In the last session, which was Introduction to Final Cut Pro, I touched on the basics and invariably went a little bit deeper than I probably needed to on a lot of those things, just because there's a lot of interest in it. This time, I'm working with the same project. I'm going to spend a lot more time focusing on the more advanced stuff, and I'm going to try and go through the more basic stuff much more quickly. Clearly, there's going to be a bit of overlap, potentially even a bit more overlap than I said the first time because there were so many advanced questions in the first session. Hopefully, I won't put anybody to sleep here talking about some of the same stuff over again. But with that said, let's just go ahead and get going. So Advanced Final Cut Pro, that's me, Joseph Lenaski. I'm the Technical Marketing Manager at Apple for the Pro Apps Marketing Group. What that means is my team is responsible for all the demo content that goes out worldwide. We also do all the presentations. So if you go to NAB or Macworld and see a Pro Apps demonstration or the upcoming SIGGRAPH, that's us. So that's my background and where I come from and why I maybe potentially know what I'm talking about, although no promises.

All right, Apple, innovation. This is what, obviously, Apple is all about, and, of course, one of our most recent innovations is Final Cut Pro HD, high definition. Now, Final Cut Pro HD is the newest version. It's version 4.5, and it is the one that gives you access to the new HD format, DVC Pro HD. And I'll get into quite a bit more on that in just a moment.

But just a very quick little introduction here. Over a quarter of a million Final Cut editors out there. I'm almost afraid to ask, but how many people are using Final Cut Pro? Awesome. How many aren't? If I see the same number of hands, I quit. Good. All right, so maybe we'll get a few converts out of this. So a quarter of a million editors out there, and a lot of them have actually paid for it, which is great.

So who's using it? Places like ABC, KTVX and ABC affiliate. They use it for all their news broadcasts. Obviously this is just a tiny little sampling of where it's being used. But an example in the broadcast space, an example in Hollywood, Lady Killers, one of the more recent Coen Brothers films was cut on Final Cut Pro. Also Cold Mountain, a massive one, a Cate Award nominee. Didn't quite make it, but almost there. Beat up by Lord of the Rings. Yeah, couldn't compete with that. Was edited with Final Cut Pro. That's Lady Killers and Cold Mountain. Television show Nib Tuck is edited Final Cut Pro, they have a format or a workflow format that starts from film. They actually shoot on 35mm film, telecine that to an uncompressed HD format, and then take that down to Digi Beta and then to DV for editing, and then they relink back to their Digi Beta for final broadcast. And that means that in the future, if they manage to get syndication for HD broadcast, they can go back and relink or recut to the original HD tapes and broadcast the same show in HD. That's one of the great advantages of Final Cut Pro, giving the ability to go from format to format like that. It's the same app the whole way through. Let's take a quick look at a video, and then we will come back to slides this time. This video is something we produced for NAB this year. This is a sampling of what our customers are doing with all of the Pro products. This is Final Cut Pro, DVD Studio Pro, Shake, Logic, and this is the video that introduced Motion.

Let's go ahead and back to the slides, please. We absolutely love that piece. It was produced for us right before NAB, as I said, obviously highlighting all the pro apps. One of the questions that I get a lot is, was that produced entirely with Apple software? Was it all Final Cut and Shake and Motion and so on?

The answer is no. No, we didn't. It was a lot of--it was Cut and Final Cut, and Motion was used, and Shake was used, and so on. But we also used a lot of third-party apps. The only reason I bring that up is to highlight to you guys as our third-party developers that this is really important. We really need your guys' stuff. After Effects is using this, Photoshop, there's some Illustrator work, tons of stuff from Adobe, tons of other smaller third-party company filters and plug-ins and so on were used in there. So it really is spread throughout. So I say that just so that you don't look at something like that and think, well, what am I doing? You are doing the stuff that allows us to do things like that. So that's awesome. All right, so let's get into, on the topic of third-party, some of the third-party developers on the hardware side of Final Cut Pro. Companies like AJA, Aurora, Blackmagic Design, and Pinnacle Systems are all making third-party capture cards for Final Cut Pro. Now Final Cut Pro on its own is, without anything else, up until recently, was DV only, right? You had to have some kind of third-party capture card to get other formats in there besides DV, whether it was standard definition uncompressed or high definition uncompressed, required a third-party capture card. Now with Final Cut Pro HD, things changed a little bit, because now we have the ability to capture HD over FireWire, but that's a very specific format of HD, and I will talk about that a little bit more in a moment. That does not mean that all these third-party cards are no longer relevant.

In fact, they're extremely relevant. If you're doing standard definition, first of all, you still require a standard definition card. If you want to capture standard definition uncompressed, AJA makes a couple of options. They have the Kona SD card, SD for standard def. They also have the IO, which is a great FireWire box that allows you to capture standard definition 8 and 10-bit uncompressed over FireWire, which is just awesome, and that's something that we released at NAB, I guess that must have been last year. Aurora makes a card that's specifically designed to handle 24 frames per second editing. So if you're doing a film edit at 24 frames per second, this will allow you to view your film edit on an NTSC monitor at 30 frames per second, and a true NTSC at true 30 frames, and it'll do that pull-up automatically so that you have that type of a preview on the NTSC monitor. Blackmagic Design is making some very, very cost-effective capture cards. Very simple, not a whole lot to them, simply SDI, that's a serial digital interface in and out, very low cost and that's basically all it does is it gives you digital interface in and out. If you want analog interfaces you need to add options onto it, but if you're just looking for serial digital it's quite possibly the lowest cost way to go. And then Pinnacle is kind of the other side of the game there. They have one of the more higher costing cards but obviously with that you get a lot of features. So their standard definition card gives you a huge amount of real time effects, they also have an HD option where you have an HD breakout box that gives you the ability to capture uncompressed high definition.

Now someone had asked me beforehand with the Final Cut Pro HD does that mean they no longer need their Pentacle HD card? Well no, because Final Cut Pro HD, the whole thing about HD in there is the Panasonic DVC Pro HD format and again I'll touch more on that in a moment but what I want to mention here is that all of our current, well not all but the current HD cards from Pentacle and from AJA will allow you to convert HD cam footage on capture into DVC Pro HD, which means you can now edit it in real time in Final Cut Pro software only. So these cards are still very viable if you're not shooting with a Panasonic camera, you can still use the other HD formats, convert using these cards into the native DVC Pro HD format.

Some of the other stuff that goes on with Final Cut Pro, obviously things like QuickTime and FireWire, huge technologies in there. XML support, that's our big third-party link to get out to the outside world. XML is a way to export and import in Final Cut Pro, and just about anything can happen when you go down that road. Discrete, obviously, does things like combustion, and we work with combustion via XML. Companies like the BBC using it. And then Grass Valley is one of our more recent partners And back at NAB, we had this ad running all over the place. What's a file between friends? Once again, using the XML architecture, we're able to transfer files or projects from Final Cut Pro into the Grass Valley News Edit system for immediate broadcast to air. So you now have a end-to-end solution that we give you editing in the field out to broadcast, and we're all working together.

So HD, once again, is what Final Cut Pro HD is all about. Now, just to clarify, Final Cut Pro HD does not lose any of the previous features. It still has DV editing, standard definition, uncompressed, and so on. In fact, Final Cut Pro has pretty much always done HD. The only reason we added HD under the name on this was to really bore home the fact that we are talking about this new real-time HD format. Let's talk for a moment about standard uncompressed HD editing, the way that you're used to working before Final Cut Pro HD. You shoot in a camera native format that is either HD cam or DVC Pro HD. These are the two standard HD formats out there.

HD cam is from Sony, DVC Pro HD is from Panasonic, and they are the makers of the two primary digital HD cameras in the world. You would then capture that into Final Cut Pro using one of the cards that we mentioned earlier. But you would capture it into an uncompressed space. Now that has made sense up until now. In that process, you're effectively decompressing the image, but you're not actually adding anything to it. So what happens is a lot of people missed out on the fact that HD tapes are not uncompressed. The footage that goes on the tapes is just like DV. DV is not uncompressed. It's a four or five to one compression. So you have a massive amount of compression that's happening in the camera before it ever goes to tape. So if you take this HD camera, DVC Pro HD tape, and you capture it into an uncompressed space, you're not gaining anything. You're actually taking that, moving it into an uncompressed space, and by the time you get back to tape, you will have suffered a generational loss.

So the next step in here, of course, is to go back to tape. So into your camera-native HD, I'll not recompress, and there's where your generational loss is happening. And that's just a silly way to go. We'll come back to kind of the new solution of that in a moment. While I'm talking about uncompressed, I want to talk about the hardware requirements. Obviously, a very high-powered G5. A ton of storage, for example, the XServe RAID or any other RAID solution out there. You need a third-party capture card, the Kona card, the Pinnacle card, and so on. And you need a broadcast, HD broadcast monitor. These things don't come cheap. They run about 40 to 60 grand depending on your options. That's for a TV. be.

of expensive. I know, it's crazy. And this is what you need to do uncompressed high definition editing. Well, let's go back to the way that we were talking about it. And slide--oh, this is right. Okay, so this is the way that it used to be, right, uncompressing and going back to the native HD format. But what we've done is we've replaced that entire process with a FireWire cable. This is FireWire A, the standard default every single Mac ships with FireWire A type of a FireWire. Not B, not the really fast stuff, standard FireWire. unbelievable that we can actually do HD over FireWire. How in the heck does that work? Well, what it does mean, before I get into how it works, it means that your hardware requirements change dramatically. G5, you can now capture and edit from an internal drive using FireWire, and using the new DVI video out function, you can actually preview on an Apple Cinema display. Now, this is not a color accurate display for broadcast. It's RGB versus YUV, right? So this means that you cannot do your final color correction on this, but it does mean that you can outfit a studio with 10 HD editors each with their own HD monitor and not break the bank.

You can have just one of those $60,000 monitors in your color correction station, and everybody else gets one of these monitors to be able to preview their HD at full screen. So that's some of the way we've saved on the cost on there. Let's go back to the native DVC-Pro HD format and why this works over FireWire. So, first of all, it is camera native. There's no recompression.

I touched on that. We're shooting in DVC-Pro HD, capturing DVC-Pro HD, editing DVC-Pro HD, so there's no recompression. It is a high-quality format. This is the same HD that you've been using since day one. 422, color space, YUV, it's a professional HD format. You also have multiple sizes and frame rate options with the Panasonic DVC Pro HD codec, including 1080i, which is 1920 by 1080, 720p, 720 by 1280, 24, 30, and 60 frames per second frame rates. And actually, the Panasonic camera, something called the VariCam, allows you to alter that frame rate on the fly. Pretty cool feature of that. The data rates of this HD is a surprisingly low 5.8 to 14 megabytes per second. And you're thinking, well, wait a minute, that doesn't make sense. DV is only like 6 or 5 or something like that. How can this be HD? Well, again, it's a compressed format. And before you think, well, I don't want to compress my footage, remember what I was saying earlier. It's already compressed. That's how it was shot to tape. In fact, if you wanted to shoot true uncompressed HD, there is no tape format in the world for that. D5 is the traditionally highest quality HD tape format.

A D5 is compressed 2 to 1. Most people consider that to be the highest quality, and it's actually compressed. The only way to shoot, well, let me back up for a second. There actually was a deck produced that was fully uncompressed. It's called a D6. There's like three of them in the world, and George Lucas has all of them. So we don't even talk about that. If you want to shoot truly uncompressed HD, the only way to do it is to take a camera with an HD SDI output and plug it straight into a G5 with two XRV raids striped together, because you need that much bandwidth, and you capture straight to disk. We've done it. It's really cool. It looks great. But it ain't for everybody, and it sure as heck isn't portable. So that is not the traditional way to go. You shoot to tape, and off you go.

This is the new Panasonic deck that allows the capturing over FireWire. Again, the format hasn't changed. DVC Pro HD is the way it's always been. That's what you've been shooting to tape since day one on the Panasonic format. But Panasonic and Apple together have come up with a way to copy the bits straight off the tape over FireWire exactly the same as we do with DV. And, of course, that requires the DVC Pro HD codec inside a Final Cut Pro. So this is the new deck that supports this format. As you can see, they're the world's smallest HD recorder. This is actually a field deck. You can slap a battery on the back of this. You could take this deck with you on the plane, put a battery on it, stick it under your seat, and on your laptop, capture high definition while flying across the ocean. It's possible.

Pretty cool. Firewire is on there, again, supporting all the different formats. It actually supports, this deck actually supports all DV formats, including standard DV, DVC Pro 50, and DVC Pro HD. It's kind of nice. It does SD down conversion. That's the standard definition down conversion. If you want to do that, that's built in. And as it says there, it's portable, AC/DC powered.

And it's under 20 pounds. That's how much it costs. Now, I hear someone laughing. You're thinking, "Oh, my God, that's a lot of money." That ain't nothing. HD decks usually started at about 60 grand and went up to 100 or more. So this is dirt cheap for HD. Now, clearly, I don't expect all of you to run out and buy one. You're not gonna run out and buy the camera either. The cameras start at around 40 or 50 grand and go up from there as well. So we're still not talking about cheap to shoot HD, but it's cheap to edit it. So what this means is that you as a small production company rent an HD camera and rent the HD deck for just a couple thousand bucks for a week, get all your stuff shot in HD, and then spend your time editing it on your G5 over FireWire. So HD over FireWire, no additional hardware required. Once again, it is, of course, frame-accurate. It wouldn't be worthwhile if it wasn't. Again, it's FireWire 400, and it's giving you 100 megabit per second stream, of which we're only using a fraction of that. Final Cut Pro HD also gives you real-time extreme for HD. Real-time extreme is something we introduced with Final Cut Pro 4. It gave you a lot more real-time than you're used to seeing. Within Final Cut Pro, you have the ability to scale the quality. You can scale from low, medium to high quality. The lower the quality, the more real-time effects you get.

Also, if you have a RAID hooked up, like an XR RAID, you can feed more streams to the system at once than assuming that the G5 can handle it. Then you can have multiple streams of standard definition or now high definition playing back in real-time. In fact, with the current G5-- and current means the 2.0 actually, because this slide hasn't been updated since we've introduced the 2.5 GHz G5. With the 2.0 GHz we were able to do up to four streams of full quality 720p 24 HD playing back off the RAID. Four streams of real time playback, that's phenomenal. If you drop the quality, you can get actually up to 10 at the preview quality. Pretty neat too. Digital Cinema Desktop, I mentioned that, replacing the very expensive studio monitor with a standard cinema display, very cost effective HD previewing just on a simple HD display. Actually, if you look at the 23 inch HD display, it is 1920 by 1200. Well, 1920 wide is the same format as 1080i, which is 1920 by 1080. So, you're using the entire screen, pixel for pixel, just a little bit of black at the top and bottom and you have a perfect HD preview monitor. You can preview this at various formats, 1:1 raw or scale to fit. So let's say that you're doing 720p editing, which is 720 by 1280, and you've got a 23-inch monitor, you've got a lot more pixels than you need. You can view it with black borders around it or scale it up. It's up to you. And then, of course, you have main screen or second screen display.

The video playback that I played in the beginning here was playing straight off the Final Cut timeline to full screen. You're seeing that image playing on this single screen because I don't have two screens up here. If I had two screens up here, I have the option of sending that video out to the second screen, and of course that's how this HD monitor becomes an HD preview monitor, because you have your working space in front of you and your preview screen off to the side.

Obviously, this is all a huge breakthrough in value. You have a HD editing system that essentially costs less than $5,000. That including the deck and the camera, but we're not talking about shooting. We're talking about editing. So under $5,000, you have everything you need to edit high definition video.

You can even do this on a laptop. As I mentioned, you can capture the footage on your laptop. You can actually edit the projects on your laptop. You'll see the project that I'm going to be demoing. I actually built myself-- and no comments on taste or quality of the product-- but I built the demo myself at my parents' house while on vacation, late at night, on my laptop. And that's pretty cool. And this is full quality, high definition.

The price of this thing, well $9.99 for Final Cut Pro HD, but it is a $3.99 upgrade from the previous versions, but it is a free upgrade for Final Cut Pro 4 users. I had somebody ask me earlier, I just bought 4, now you have 4 HD. It's the same thing, just run software update, it'll download and off you go. Alright, enough of that, let's get into the good stuff. Whew.

Any question-- oh, by the way, question-wise, feel free to shout out questions while we're going here. We have a total of 75 minutes. I've got 45 minutes left in this demo. I can save time at the end for Q&A, which I'm going to at least save like five minutes, but we can save more than that. But I encourage you to shout out questions as they come up. If you're close to the microphone, you can step up to it, great. If not, just shout it out at me and I'll repeat the question so that it can be recorded onto tape. But feel free to ask questions throughout this project. Thanks.

There's the actual reel that we played back in HD. Let's just go ahead and close this out. And here is the project that I'm going to be building. I'm going to go ahead and play this back to see the piece that we're going to be building. Again, as I mentioned in the beginning, this is the same project that I did in the last demo, but I'm going to this time focus on the more advanced features and less on the more basic stuff. So let's just go ahead and take a quick look at the final piece that we're creating here.

So there is the final project that we're going to be building. The music was all done with Soundtrack, and the text was all done with LiveType, both of which are included with Final Cut Pro. Let's take a real quick look at Soundtrack first, and we'll see how that part of the project was created. Is it still open?

Yes, it is. So Soundtrack is a music creation tool that was designed for video editors. It was designed for people who aren't used to making music, who, frankly, aren't musicians. You can create, as a video editor, original music that you can then actually take all the way to completion and put it on tape and output it and do whatever you want because it's all royalty free.

Or the real intention is, at least in a professional environment, that you build some music with this that is what you had in mind as the video editor. Then you hand it off to your sound guy or your musician who's going to create an original piece based off of your ideas. So there's multiple ways you can work with this. You can also bring video into Soundtrack and cut music to video.

In this case, I created the music first, brought that into Final Cut Pro, and cut the video to the music. And of course, I went back and forth several times, making changes on both ends. Let's take a real quick look at what is going on in here. I don't want to spend a whole lot of time in Soundtrack, but just to show you, if you've never seen it before, that would be expose going crazy. If you've never seen it before, a quick tour of the interface. You have your file browser, a little tab interface here, a file browser to access all the files on your drive, a favorites folder, and then the most important search tab in here. The search tab allows you to search through your loops.

Now Soundtrack includes over 4,000 loops, so 4,112 loops that are shipped with Soundtrack. We announced Soundtrack, oh boy, two years ago I believe now, and we have since seen a huge influx of third party loop libraries. There are tens of thousands of loops that are for Soundtrack. Now Soundtrack actually supports all standard loop formats. You could go buy an Acid loop library for example and load it in. But we also have something called Apple Loops, which are the same as everybody else's loops, just with a little bit more metadata applied to it. So people can write specifically for Apple loops if they want to or like I said you can bring in any other looping formats like the Acid loops out there.

So there are thousands and thousands of extra loops out there so if you get tired of these you can go off and get some more or what a lot of people do is simply throw away our library because they know that everybody has it and they'll go build their own from scratch. So the way you search through this massive library is using this fancy little interface here that allows you to search by for example instruments. So if I want to search for drums I can simply click on drums and it shows me all the drums I have access to. It also shows me down here that I have 958 total drums, so that's quite a few. And you're probably not going to want to go and listen to every single one of them, but let's just go ahead and preview some and see what they sound like. All I've got to do is click on it and it immediately starts to play.

And if I want to isolate that search down or narrow the search down a little bit, I can go in here and command click on these various buttons to refine the search. Let's just say drums clean. Let's go for some clean drums. Now I have 568 drums that have been tagged as clean drums. If I want to refine that even more, clean intense drums down to 42. And you see where we're going here.

So that's basically how you go about finding the pieces that you want. So regardless of whether you have an idea in your head of what you want to create or you're just going completely blind at this, you can just go in and start clicking around and just spend all day clicking on different samples, find something you like, and go, ooh, I like that vibe. Let's build off of that, and then start to stack the pieces. Now the way that you add pieces into the project is simply drag and drop. I take this little club beat here and just drag it onto the timeline like that. Or let's go ahead and scroll down on here a little bit.

And I'm going to hide the master keyframes here and just create a new one. So if I drag this down to a new space on there, it'll automatically add a little icon there that shows me what that instrument is. And I have pan and levels controls in there and so on. And of course I can position this wherever I like on there. More importantly, since it's a loop, I can simply drag that loop out and have it repeat as many times as I want to. Now this little electric drum beat is certainly not going to match the project that I have in here. And I don't really want to spend time in here building a project from scratch. I just wanted to show you some of the basics of how it works in there. So think of it like a loop assembly package. You've got over 4,000 loops or more if you want. You pick the pieces that you want, you throw them around on the timeline, stretch them out, repeat them as many times as you want to. You have more control to go in and trim things down very tightly. You can isolate a single drum hit, for example, out of an entire riff, pull out the pieces that you want and reassemble it or rebuild it, just like building blocks basically.

So quite a bit of control in there. And if I play this project, I'll just play through part of this one, subject it to the whole thing, but you can see what's created here. For example, let me actually open up the keyframes down here as well. Let's see here, let's shrink this down a little bit. So we can see the whole thing. Come here, you, there we go. There's all the pieces and hit play. You can see this first upright bass, it dropped two levels there, dropped like a quarter octave or something like that. I don't know, I'm not a musician. Little tambourines in there.

It's basically just a combination of different tools, the upright bass and so on. You'll also notice down here the tempo on my master keyframes is about to change. Here we go. tempo went up a little bit. I can see my tempo at any time with this readout up here. I'm now running at 120 beats per minute. If I drag this playhead back a little bit, you see it was running at 110 in there. So you have quite a bit of control in here of what you can do. Now once you've created your music, once again if you're doing it as a kind of a comping tool, you can bring out an AIF file, it's a standard stereo mix down pair of all of this mixed down to a single stereo file, bring that into Final Cut and edit and that's what I've done and I'll show you that in a second. Or you could export this out as a a stack so that you can actually give every individual file-- every individual instrument, rather-- as a separate file off to your musician.

Then the musician can reassemble those in Logic or Pro Tools, whatever they're using, and further enhance your work, or throw it all away and start from scratch. So what I've done here is I've chosen Export Mix. That exported out that mix as a single stereo file, which if I go back to Final Cut, I already have in here. And there is that stereo file in there.

So I'm not going to spend a whole lot of time on the basics, but I do want to fly through building some of these pieces. So I'm actually going to move really fast for a couple steps here. I want to build up the basics of this project. Again, being the advanced course, I'm assuming that people understand the basics of marking in and out points and doing stuff like that. So I'm just going to go ahead and fly through it so you can see me building it. And of course, I'll talk through what I'm doing. But feel free, once again, to interrupt me if you want to go, wait, what did you just do? Feel free to interrupt me on there. So I'm going to start with a blank canvas on here.

Blank canvas on there, take this double treble bead on here, and I'm going to find the pitch change that is somewhere in the first measure or second measure. There's the pitch change there, so let's just go ahead and zoom into that on the timeline, and I will mark that pitch change. By tapping the M key, I've just added a marker on there, and I know that that is a pitch change.

And if I play this forward a little bit more, I'll find the second pitch change, which should be right about here. you There we go. So once again, zoom into that to make sure I have it accurate there, add a marker on that place on the timeline, and then take the entire audio track, drag it onto the timeline like so. Now I have this audio on the timeline with the two markers applied at the pitch change so that I know that if I want to edit to those pitch changes, those markers are already in place there. So let's go ahead and get our first piece of media on there. I have this great indigo flower shot in here. I can mark in and outs manually on there by simply tapping the I and the O key on the keyboard to mark my in and outs. or, let's go ahead and clear those out, I can make a final duration by simply typing in a number up here. So in this case I'll say 2 seconds and 4 frames.

And I know I want 2 seconds and 4 frames because if I look down at the timeline here, the first beat is at 4 seconds and 9 frames and I want about half of that. So cut it in half, give or take, call it 2 seconds, 4 frames. There's a 2 second, 4 frame shot that I've now added to the timeline there. This golden wheat shot, I'm going to also mark an in and an out point. This time I'll do it numerically in the sense that I know exactly where the in and the out should someone's told me where they go. This little window up here shows me that readout, so let's just go up here and type in the time that I want, which is 2 hours, 15 minutes, 44 seconds, and 20 frames, hit return, and the playhead jumps to that point, just like that. Now you're thinking, "Why on earth is this clip listed "as 15 hours long," or whatever it was, "or 2 hours and 15 minutes long?" Well, this is a piece off of a tape, and generally when you're shooting in a professional environment, every new tape is gonna have a new hour on it, so that you have no chance of duplicate time code. So every single tape, if you're gonna shoot 100 tapes, the hours 1 through 100. And you will take that hour 1 tape and pop it in and start recording. And then when you are capturing your footage, if you see something that comes from hour 2, 15 minutes, you know that that is on tape, too. There's no question about it. So that's why you have the long time code on there. So let's just go ahead and mark an in point right there. And I'm gonna put my out point at a specific point as well, which let's just rearrange this so I can see my notes in here. This is a nice little function in here, by the way, the ability to resize and readjust your interface by simply dragging on any point between the interface windows in there, which is kind of cool. Let's shrink that down a little bit. When you're on a small working space like this is here, that becomes very, very handy, because otherwise you'll just always be lost. All right, let's go ahead and type in the new time there. 2:15:48:23, hit Return. It brings me to that point on that clip. Mark an out point, and then just drag and drop that directly onto the timeline as well. So now I have these two shots on here. And let's go ahead and take this last shot, the Japanese lanterns, drop that on there as well.

You'll notice this last shot here has a cool focus shift in it. Now I want to take advantage of that focus shift to line it up to an event, in this case an audio pitch change, a musical pitch change. Let's go ahead and open this clip into the viewer here, scrub through it, and I'll look for that focus change.

It's right about there. Now the focus change obviously happens over time, and the musical beat is happening on an instant. So we're going to have a little bit of slop in here, but let's just go ahead and put that marker, let's say, right about there, just partway into that change, and I'll add a marker on the timeline there. And if I want to edit that marker by simply tapping the M key a second time, I open up my edit marker and I can add in here text, for example, focus shift, and now I know that that's where my focus shift occurs. Going back to the timeline here, you'll notice that I have on here my clip with that marker that I applied, and then this marker on the audio track showing me where that pitch shift was. I want to line up those two instances, so to do that I will use the slip tool, which I simply grab from here, click on that marker, and drag the two markers to line up. Now the slip tool very briefly allows me to essentially reach in through a window of time. If I've got a five second long clip and I've marked one second of that, I'm reaching into that one second and changing the content of that one second without changing the duration. By doing that I'm effectively changing the in point and the out point simultaneously, but all I'm seeing is the final output, the final in and out, and I don't have to deal with the stuff in the background. So if I look at this now playing back, it should line up on the beach somewhat.

There we go. All right, so now I have those clips in there. I think that works out pretty well. Let's go ahead and move on to the next piece. Next thing I want to do is talk about transitions. Obviously, transitions, you've all seen them in Final Cut Pro. You have your basic default crosses all transition in here that I can add, or I can go into my effects tab, open up my transitions folder, and get through any of these other transitions. And notice in here, I actually have quite a few third-party ones. I think Joe is in the audience this time. Sorry, Joe, I don't have yours installed on this one, but there's a lot of third-party filters out there, third-party plugins for Final Cut Pro, which is just great. Absolutely great. So, and actually some of my favorite ones are from third parties. So let's just quickly take a look at how these work. I can go ahead and change any of these out. If I want to, for example, try a diamond diorite, just drag and drop that on and play that back. If I want to try a--let's do a channel map on here. Let's see what that looks like. Drop that on.

Not terribly exciting, but anyway, you can see here there's lots of different effects in here that we can work with. Now, the beauty of this and the reason I'm going through these seemingly simple things is to highlight the fact that I'm playing all these back in real time in high definition. Remember, this is all HD. If you look up at the top of the canvas here, you'll notice you're only seeing 49% of the image there. That's at half size, basically. So running here at HD, full 720p, 1280 by 720, image size, but high definition, real time. So it really means that you can work just like you're used to working in DV, but in true high def.

This is a G5 2.0, right? These aren't 2.5s, right? It's 2.0? 2.0, yeah. This is a 2.0. All running off the internal hard drive. I threatened to bring my RAID up here, but frankly, my back couldn't take it. So I decided not to. I'm doing this entire demonstration off of a single internal drive. Not even a stripe drive, just one internal drive.

Stripe drives would give me the ability to play back, for example, the 10 streams of real time at lower quality. Can't do that off the internal. All right, so there's basic transitions in there. Let's go ahead and take a look quickly at some basic compositing. The shots that I'm going to work with are this shot here of the Golden Gate Bridge and that one. I'm going to go ahead and take this first one and add it onto the timeline. And of course if I play this through it's just playing back normally.

What I want to do is composite this shot on top of it. Now if I take this shot and I just drag it on top of the timeline like that, you'll see that it's actually bigger than the shot underneath. So I can trim this back manually, but that's a multiple step way to do it. So instead of doing that, I'll go back up here with the playhead above the clip that I'm working with, take this shot, drag it on, and choose superimpose. That automatically trims the shot to match the one underneath it. So now I have the top shot exactly the same size as the bottom one. And if I want to go in here and change the end point, I can simply click and drag like that, and find a position to put that. Let's just go ahead and line it up with this next bead in here. I think that's where I want it.

So what we've just done here is effectively like any other edit. It doesn't look like there's any good reason to have multiple clips on here, but this is where we're going to get into the compositing side of things. What I want to do is have both of these images on screen at the same time. So to do this, I need to get into some basic compositing, cropping, repositioning, and so on. Now if I crop and reposition this bottom clip here, it's going to affect the entire clip. I don't want the entire clip affected. I want the first part of the shot to be normal, so I need to use my razor blade tool. Tap B on the keyboard to bring up my razor blade. simply add a little slice right there and I now have this shot behaving as a separate piece. So if I go in here and I start editing these I can edit them separately from the first part. So let's go ahead and take this top shot on here and I'm going to go into wireframe plus image mode by tapping the W key on the keyboard. That means I can see both my image and the wireframe simultaneously. If I wanted to go in here and reposition this I could do that. I can scale it however I like on here. If I want to go in here and grab for example the distortion tool I can do that and distort that image. And this is all going to play back in real time. Let's just go ahead and take a quick look. Let's get that in there, store it like so, and I can play all this back in real time. So that's pretty good. Now, Motion allows you to actually make those kind of changes while it's playing back. Motion's unbelievable. But obviously, Motion is all about motion graphics.

So this is a video editor, so we don't quite go into that realm in here, but you're going to see that I actually have a considerable amount of motion graphics and compositing tools built right into Final Cut Pro. So let's just go ahead and reset these two because I've kind messed them up there. And a way to reset your functions in here, instead of having to go into the motion tab and reset, reset, reset, I can simply take a clip, control click on it and choose, oh where is it, another keyboard shortcut, here it is, remove attributes. Remove attributes brings up a dialogue that says remove x, y and z. And in this case I can remove basic motion and distortion. I don't have filters or speed effects or anything else applied to it, so you can see that they're grayed out. Let's just go ahead and say remove Remove basic motion and distortion and it will set that back to normal. And I'm also going to do the same thing to the clip underneath, hit the keyboard shortcut to remove basic motion on there. All right, so both these shots are back to normal. Let's go ahead and take that shot, bring up my crop tool by tapping the C key and I'm just going to crop that image in like so. Now I can of course do this manually as I'm doing here. I can go in here and just adjust these like that. Or if I want to get a little bit more control over it, over here in the viewer if I click on the motion tab you'll see that I have access to my cropping, basic motion controls and so on. I like to work with solid numbers when I'm doing this sort of thing because it makes it easier if I'm going to calculate changes later for me to do the math in my head. So I'm just going to go in here and punch in some solid numbers. I'm going to go ahead and crop the left side just down to 3 and I'll bring the right side up to N52 and then I'm going to crop the top and bottom both down 3. So there you can see I've got exactly the right crop, it's exactly cropped on the top and bottom the same amount. I know exactly where I'm headed here. Let's go ahead and take the shot underneath and do the same thing. I can once again go in here and do these numerically, or I can just drag them, just go ahead and grab that crop tool again, drag these shots. Now you can see here that I'm going to need to reposition this shot, so let's go ahead and crop in this side, reposition that shot over like that, crop it in about like so, and bring that down and this one up to match. And once again, I do actually want the tops and bottoms to match on here, so let's just go ahead and open that up into the viewer, into the motion tab, and under the crop controls On the top and bottom, I'll put in exactly three and three. So now I have exactly the right numbers in there. So that looks pretty good. It's fairly well centered in here. And if I play this back now, you'll see that we're obviously going from the one shot to the two up in a basic composite.

So now on to the next step. I really like the effect that I've got on here. What if I want to replicate that effect? I want to have it go to those two squares, and I want to have it go to four squares, or eight squares, or 16 squares, and just keep on repeating down. And I want to have that happen on the beat. Well, this is a fairly complex amount of compositing that we're about to do here. But as you'll see, it's really quite easy to do inside of Final Cut. I'm not going to affect my first stack here. I really like the way those are playing, so I'm going to leave them alone. But I'm going to copy, just hit Command-C to copy, and then Command-V to paste. And what I've just done here is put a duplicate copy of that. So now I'm seeing the same thing playing back twice. I'll then take this new stack of clips, and I'm going to nest them. Nesting them allows me to take any number of clips, no matter how complex it is, and flatten it down to a single file. Now when I say flatten, it's only flattened in the visual sense.

Because you can double click on that new nest on your timeline, and it will open up into a new project and show you the entire sequence that you had built before. No matter how complex it was, it's all there. which means you can go back in and edit that at any time. Now, there's other solutions out there that do a similar effect where they collapse everything, but once you've collapsed it, you're toast. There's no going back and making changes.

So what we've done is allowed you to simply take a stack. Now, obviously, this is very simple, just two clips, but I'll take that, and I'll say nest items, and I'm going to call that just Golden Gate Nest, and I hit OK, and it adds that nest to the timeline. So now there's a single clip on the timeline, and if I double-click on it, there is the nest that I just created. There's those two clips. If I want to make a change to it, I can. Let's go ahead and close the nest, go back to the main shot on here. There we go. And once again, it's a duplicate. Nothing's changed visually in here. I simply have one shot on here. But the reason that I did this is because now that it's a nest, I can apply a filter to an entire nest, to an entire series of images at once. So let's just take a look at this from a really simple perspective for a second here. Let's just say I'm doing color correction. I've got a huge stack of images that haven't been color corrected. There are composites and there's all kinds of text effects, just all kinds of stuff going on. And the client looks at it and says, "That's really great, but I want the whole thing to be bluer." Thanks. Right? So that means you've got 1,000 clips in here. You have to go individually color correct each one. Well, with the nesting function, I can take all those clips, nest them into a single clip, and apply a color correction to the nest itself.

And then any change that I make will be applied to that nest. So that's basically what I'm going to do here, but I'm not going to do color correction. I'm going to use a replicate filter. So let's go ahead and find the replicate filter. I've got it saved off here as a favorite. Here it is, my replicate filter. And by the way, all your effects are stored over here, of course, in the effects tab, and they're stored somewhere in here in video filters. And if I couldn't find the one that I'm looking for, I'd say, oh, I know there's a replicate filter somewhere, but I don't know where it is. The find function inside Final Cut Pro will also find filters and effects. So I can go in here and type in replicate, hit return, and it shows me that I have a replicate in my CGM effects, and I have another one in my stylized effects. So I've got two replicate filters in here to choose from. Kind of nice. All right, so let's go back over here. I've already saved out the replicate filter. I'm just going to drag this onto the nest itself.

And as you can see, it's immediately applied its default setting and it's replicated that. Now this is a little tip in here. If you're used to doing filters and effects in Final Cut, you're used to adding an effect to a clip and then you can double click that clip into the viewer and access the filters and effects tabs, right? Well, if I double click on the CG nest in here, it's simply going to open the nest. Well, where's my filter? If I open these up, you'll see the filter's not applied here because it hasn't applied it individually, so what happened to it? Well, let's go back to the timeline and what you need to do is actually open this object into the viewer itself. Now I can do that multiple ways. I can simply drag this up into the viewer and it opens it into the viewer and now I have access to the filter that I just added. Or I can control click on here and say open in viewer. Or the keyboard shortcut for that is to simply hit option return and it will--that's the wrong one, maybe it's command return.

You know, you think you know everything. Command, return, option, option, double-click. That was it. I knew it was something like that. Option, double-click. We'll open that up. But this is a perfect segue. I meant to do that. This is a perfect segue into one of the great new functions of Final Cut Pro, and that's the mappable keyboard. I obviously don't remember what the keyboard shortcut is for that, and maybe there isn't one. Let's find out. I'll hit option H, because I do remember that keyboard shortcut, to bring up my mappable keyboard. This was introduced in Final Cut Pro 4.0.

This allows me to remap any keyboard function. Basically, anything that's in the menus, I can change the keyboard shortcut or apply a new one or put one where there didn't used to be one. And I want to find open in viewer, so I'll just type in open in viewer, and apparently there is no keyboard shortcut available for that. Sweet. So that's why you have to control-click on it. We knew that. There we go. So anyway, in here, if you wanted to change the keyboard shortcut for anything else, since I'm in here, let's say you wanted to change the keyboard shortcut for something as simple as open. You see on here it's listed as Command-O. That's your standard default keyboard shortcut. And if I look over here at my modifying tabs, there's the Command, there's O, there's the Open command. Well, let's say that I want to change that. I want to make it Command-Option F9. I don't know why, but you do. So I can take this Open command. Let's unlock the keyboard here. Take that Open command, drag that onto here, and now you see Command-O and Command-Option F9 are available as keyboard shortcuts.

And if you change your mind, you can simply take that and drag it off, and off it goes. You've changed the keyboard shortcut again. You can save keyboard shortcut layouts if you want to, which means if you're working with multiple editors, you can have different layouts for different editors. Also, this means that if you are coming from an alternate editing system, for example, you're coming from Premiere or you're coming from the Avid, and you want to use the same keyboard shortcuts that you've been using for the last ten years, you don't have to learn everything anew. You can reprogram this, or actually, if you look around on the net a little bit, you'll find pre-built custom keyboard layouts that people have created and shared on the net, can just download those, load one in, and then off you go. So let's go ahead back onto the edit here.

So we're back to having this nest open in the viewer by simply saying Open in Viewer. There she is. And here's the Filters tab. So the filter by default, this replicate filter, had applied a two by two replication. So you can see I've got two instances horizontal and two instances vertical. What I want to have happen is, roughly on the beat, I want to have it go from two replications to three replications. So this is key framing of filter effects. Down here in my timeline inside of the viewer, because you always have a miniature timeline in the viewer, I can scrub the playhead. And you'll notice as I do this, it's scrubbing on both the canvas and the timeline as well. So I always know exactly where I'm looking. And I'm just going to split this roughly down the middle here, say right about there. And I'm going to add a key frame.

Simply click on these little nubs there to add key frames to it. Now initially, nothing happens. The default setting was 2 and 2. And I've locked a key frame in there at 2 and 2. But if I advance forward one frame, so with the keyboard, just the arrow key, advance forward one frame, I'm then going to go ahead and punch in three and three. I'll just use little arrows there to punch that up a little bit. And I've now gone from two to two to three by three. Now this could be anything, and this could be any number. And most of these filter effects you can gradually do over time. Now the replicate filter, there's nothing between two and three replication, so it's going to jump immediately from two to three, which is why I went ahead and just did that second keyframe one frame forward. But if, for example, you're doing a Gaussian blur from one pixel blur to a 10 pixel blur, if you put that out with 100 frames in between, it's going to stretch that blur effect out over 100 frames. If you put in one frame after the other, it's going to effectively go instantly from that low blur to the high blur. So there I have that low blur-- I'm sorry, the 2 by 2 replicate followed by the 3 by 3. Let's go ahead and play that back and see what it looks like now.

Okay, that didn't work. What happened? Do-do-do-do. Did it work or just didn't play? I think I may be exceeding my real-time capabilities of playing off the internal drive, so I'm just gonna drop the quality here from high to medium just to play this back. Let's see what happens. There we go. Did it do that the first time and I just missed it? Yeah. Yes, I'm a pro. Can you tell? All right, so there we go, back to high quality. That's much better. OK, so there's your basic-- sorry?

Okay, good question. He asked about the timeline. Why did it just turn orange up there? This color bar up here is representative of your real-time status in here. Real-time in earlier versions of Final Cut Pro, from version 2 and version 3, you either had a green bar, which meant it was real-time, or a red bar, which meant it had to be rendered, or a dark blue bar that said it was already rendered. Okay, so those are your three choices. Then we went into real-time extreme, RT Extreme with Final Cut Pro 4. RT Extreme, as I mentioned earlier, allows you to change the quality of your image playback and gain or lose real-time capabilities. So green bar still means it's a real-time effect.

If you have a dark green bar, that means it's a guaranteed full-quality real-time effect. Full quality meaning that it doesn't even have to render before it goes out to tape. Now, there's not a whole lot you get there on today's machines. The next generation of machines will give you more and so on and so on. But for example, now I can do things on a G5, like take high-definition footage, apply color correction to two clips, and it crosses all between them, and never have to render, not even before it goes back to tape. So this isn't real-time preview. This is full-quality real-time. Once it goes to that bright green bar, that means it's real-time, but does require rendering before output to tape. The orange bar means that you're in RT extreme land. This is saying, whoa, ain't promising nothing here. You may drop a frame. Your quality may be a little bit shoddy, but we're going to do our darndest to play back in real-time.

So the software is simply telling you that. It's going to do what it can to play back in real-time. And if I go back to this effect here, you'll notice that it went orange in there. It is saying that it's going to do its best to play back in real time. And in this case, it's no problem. It's doing it fine.

It may have actually skipped a frame in there. Who knows? Doesn't matter. We're seeing it play back. It's keeping up to date the whole time in there. And I know because it's an orange bar. Now, I could keep applying effects to this. That bar will effectively never change colors as long as I'm adding real-time effects to it. I could add 30 filters on here, and it'll still try to play back. Now, clearly, you're going to hit a threshold where it's no longer going to be able to play back. It's going to stutter really bad. but it's going to keep on trying. And again, the faster your machine, the more you're able to do. So that's the significance of the colored render bars up there.

Does nesting affect performance? I'm not quite sure how you mean. If you take a nest and you render that, you can then apply filters and effects to that rendered nest. And so let's say that I take 50 effects and I apply them to a nest. That ain't going to put it back in real time. But I collapse the nest, render it, and then apply color correction to the nest. I can do real time color correction on that nest. So by using nests, you can improve performance of things that have just gotten so complex it's bogging the system down. Is that what you meant? You can nest nests, yes. You can do multiple nests. There's unlimited nesting. Just go to your heart's content.

All right, so there's that effect applied on there. Let's see what's next in the list. All right, time remap. I did this one in the last demo, but since obviously some of you haven't been here, we'll do this one again. This is a fun effect in here. You may have remembered from the beginning when I first played back the shot, you saw the pool break hit twice, right? Twice on the beat. Here's the original shot in here. It's playing along, pool ball breaks, and off it goes. And what I want to do is apply this time remapping effect in here. So first thing I need to do is figure out where to put that break on the timeline. Let's have a listen to the music here.

where I want it, right there on that beat. So let's go ahead and back up on the timeline. Is that really only eight and a half minutes left for my first part? Oh, goodness. Time flies when you're having fun. All right. Back over here. - Sure. Okay, there we go. So let's just go ahead and put a marker on the audio clip right there, and then take this shot, drag it onto the timeline. Now I can put this wherever I want, obviously I want to line up those two markers like so, so now when I play it back... We're seeing that. Now I said that I want to have that beat-- the break happened twice, again on the second beat. So let's listen for the next round of that beat in there.

That's where I want it right there. So let's zoom in a little bit closer to that on the timeline here, make sure that I'm marking it appropriately. So it'll be right about-- let's call it right about there. And that's where I'm going to mark that second beat in the second break. So how do I go about moving the break around? I need to stretch the time on this piece using something called the Time Remapping Tool. The Time Remapping Tool allows me effectively to take any point of video and place it at any point in time. And you can actually cross things around. So you're going backwards in time, effectively, on your clip.

When you start off, you've got frame 1 at frame 1 and frame 10 at frame 10. I can then take frame 1 and put it at frame 5 and take frame 10 and put it at frame 3. And I can just do this to my heart's content, and the video is going to morph in between-- or not morph, but scrub back and forth in between them. So it seems like a really complex thing, and how on earth do you control it? Well, a lot of people have been trying to come up with a good way to do this for years. This is not a new effect. This type of thing has been done for a long time. But doing it easily has always been a challenge. And we think that we've come up with a really good, easy way way to do this. And this is something that we introduced with Final Cut Pro version 4. Let's go ahead and take a look. This is the shot that I'm working with and I'm going to down here on the bottom of my timeline open something called the clip keyframe view. This allows me to see keyframes, the same keyframes that I would see in the viewer, but to see them directly on the timeline. Now the tool that I'm going to use is my time remap tool right here. And if I go in here and lay down my first keyframe right there, I'll just click once to add a keyframe, you see this lights up, and if I turn on my Timer Map graph, you'll see the graph appearing on here. Now I've just added a keyframe, I haven't repositioned anything. By adding a keyframe, I have locked that frame of video to that point on the timeline. You see here this line, it's just a constant slope, which means I'm working in standard normal time. Nothing has changed here. If you look at that slope, the steeper that slope is, the faster the clip's going to move, the more close to flat it is, the slower it's going to move. If that line goes totally horizontal, the clip's not moving at all. You are looking frame of video over and over again.

If the slope starts to go downhill, you're moving backwards in time. So let's go ahead and make some changes to this. That frame is locked in there. That next beat that I want to line up to... is right there. I already put a marker there, so I know that's where I'm going to make a change. Now before I actually start changing that time, I want to make sure that after this break here, that it plays out to, let's just say right about there. I want it to continue to play out before it starts to suck backwards in time here. So I'm going to add one more keyframe in there, and then back to this position where that break is, add another keyframe, and this time drag the mouse to the left, and you can see how that line is moving.

You see in the viewer how I'm actually changing the frame. You see which frame I'm choosing. So I'm going to choose that frame right there. And if I let go of the mouse, you'll see how this time graph is changed here. It's going up at a constant slope, and then it goes backwards in time, and then it goes up at a steeper slope, which means, of course, that it's going faster. So let's go ahead and play that real quick.

So off to a good start, I've got the break happening twice on the beat, but the ball, the cue ball is not going back to the stick between those shots, and I really want that to happen, so we're going to add one more key frame in here in between these two, so I've got the key frame there saying I want to make sure my balls go out that far, and then the key frame here saying that's the second break, let's go ahead and put one in between, click and drag, and I will carefully drag that back to just about where the ball hits the cue, let's go right about there, perfect. Now once again you can see it's going down steeper, it's going forward now but not quite at full speed and let's just see what it looks like.

Cool, huh? Question? Interpolation types. Interpolation types. So you can do, what do you call it? What do you call that kind of interpolation? I forget. Time remapping tool. Frame blending. Yeah, you have frame blending that you can turn on or off, and an effect like this is absolutely critical. You have it on, it will look like rubbish. Certain effects you'll find that you want to turn it off. It just depends on what you're doing and the speed of the speed change, whether you want frame blending on or off. The type of interpolation it uses, I have no idea. I'm not an engineer. When you do, I see it.

Oh, OK. So the question is, can I go ease in, ease out on here? Yes, I can. I can simply go down here and Control-click and choose Smooth, and there it will ease in, ease out. Let's go ahead and smooth both of those points in there. And now as I play that back, it'll be a little-- And if I wanted to zoom in on that a bit more and tweak it a bit more, of course, I could do that as well. All right. So there is a cool little timer map thing. Once again, real time, high definition real time, and you'll notice that the render bar up there is dark green, meaning this will go straight out the tape, never having to render. Yes?

The question is, is the time change adjusting being applied to all tracks? No, this is clip specific. So if I wanted to apply an effect like this to multiple clips, I would nest the clips and then apply the time change and the time remap to the nest itself.

All right, let's move on here. I wanted to spend a little bit of time on-- let's see here. Do I want to do-- let's see here. Since we're-- how are we doing on time? We've got 20 minutes total. As I said in the beginning, I love to have the questions come flying at me throughout. Is there a number-- can I see a show of hands how many people were holding questions off to the end?

Just a couple so far. Okay, so we're doing all right. I'm going to go ahead and keep pushing this up until maybe 5 to 10 minutes before the end of my time slot, if that's all right with you guys. Sound good? Cool. All right, so let's go ahead and spend a little bit of time in graphics effects. I went through this very, very quickly before, so I want to spend a little bit more time, go through it a little bit more slowly this time to explain better what I'm actually doing in here. I have this shot on here of this cappuccino cup, and I'm going to do some work with this shot here. So I need to get this thing on the timeline, of course, to start. Let's go ahead and put this on the timeline. I believe it's supposed to line up with the next beat.

right about there, so let's go ahead and zoom into that portion of the timeline here. Keyboard shortcuts, by the way, that I'm using here, in case you're wondering, Command-Plus and Minus zooms in and out of the keyboard, or just zooms in and out of the timeline. Shift-Z is zoom to fit, so it will take everything and zoom it into the window. One of the newer keyboard shortcuts that a lot of people miss is zoom to selection. So let's just say I want to focus on these shots right there. Option-Shift-Z will zoom into just that selection. Shift-Z will zoom it back out again. If I click away so that nothing is selected, Command-Plus and Minus will zoom into the play head, if something is selected, Command plus and minus will zoom into whatever's selected in there. So by using a combination of those shortcuts, you can very quickly navigate your way around the keyboard. And then of course, by tapping the H key, it brings up the hand and you can quickly scrub through the timeline like so. And two more things on here that you've got. Let me expand these so they're really, really big on here. Using a three button mouse with a scroll wheel, I can use the scroll wheel to scrub up and down either the audio or the video tracks, depending on what I'm hovering over. And more importantly, let's zoom into that a little bit, I can hold down the shift key and scrub along the timeline. That also works over the canvas, over the viewer. You don't even have to click, it's just hover sensitive, it knows where I'm hovering over. So if you don't have one of these, get one.

Alright, so back to this, where were we? I wanted to apply something on this beat there. Let's make sure we get the beat lined up. So right about there. I'm going to go ahead and take this shot and I'll just do an overwrite edit applying that on the beat like so.

So as you can see there, that shot, it's the duration I like. I've preset the duration so I don't want to mess with that. But you'll see that I'm missing the whole part where he puts the cup back down again. He's holding the cup, he's having a drink, yada yada. We don't want to look at all that, we want to cut that out. So let's go ahead and scrub using the keyboard, just the arrow keys. I'm going to scrub to the first frame where you can't see the cup. Tap the B key to get the razor blade tool. Cut that so that I've now trimmed that shot. Using the slip tool, tap the S key to bring up the slip tool. I will click on this and drag backwards and backwards and backwards until I see the in point, the in frame, which is that top left inside the canvas.

Once I see the cup on there, I'll know that I'm at the right spot. So let's keep dragging, dragging, dragging. There it is. Whoa, too fast. Crap, come back here. Let's see here. And there we go. Right about there. I want it just before that cup comes back in the picture. I let go of the mouse and once again with the slip tool I have changed the in point and the out point simultaneously without affecting the overall duration. And now I've just created a jump cut.

Alright, the next thing I want to do is add some motion graphics effects to the end of this shot here. I'm going to add a few stills you may remember from the final playback. Let's actually just take a quick look at it so you can see ahead of time what I'm going to be building. I'm going to build this.

That's what I'm going to build in there. If I go back into this piece, I need to create my stills on there. Let's go ahead and double click on that video clip. I'm going to create three different stills. I need three different positions of the cup. I'll grab that one as my first position. Then I want to create a still frame to use in this graphic effect. The keyboard shortcut for still frames is Shift N or I can simply go up here and say Modify, Make Freeze Frame. It looks like nothing happened up here, but if I scrub back and forth, you'll see, in fact, there's nothing happening because we're now looking at a single still frame. By default that frame duration is pretty long. I can just go ahead and drag this onto the timeline like that, but as you can see it's just way too long in there. So let's go ahead and shorten that up a little bit.

So let's just go ahead and shorten that up to about like so. So now I have that clip, that duration. So there's my first frame of the still in there of that cup. Let's go ahead and zoom back into these shots here. I'm going to open this up. I'm going to grab my second frame. Let's go about halfway down on the cup. Shift N, again, makes the still frame. And this time I'm going to choose superimpose, which will superimpose that shot, the new one, on top of the original one. If I hide that using Control B, you can see the difference between the two. Obviously, I can just delete that and undo it to do the same thing. Control B, by the way, is a very, very handy shortcut to very quickly hide any group or any number of things on the timeline. Someone asked me in the last demo if you can hide an entire track at once. Yes, that's what this little button right here does. It hides that entire track. So if I want to hide all of track two, I can do that. And if I option click on it, let's scale this down so you can see the whole thing at once. There we go. If I option click on one of these, it hides everything but that track. So there's lots of little keyboard shortcuts like that nested away in here.

Alright, so I have that second one, I now need my third shot. Once again, open this up, let's grab a shot just as the cup's about to hit the plate there. Shift-N to make the keyframe on there, and let's target that, superimpose, and now I have that third shot on top of there. Good stuff. Alright, so, now I have these three shots, I want to change their timing a little bit.

Let's just shorten them up, right about like so. I'm actually looking, while I'm doing this, I'm looking down the timeline to the audio and I'm lining up to these beats in here, the visual beats that I can see, so let's just go ahead and line it up like so. And if I play that back-- There we go, there's my little stepping stone. Now that's the first part of it.

As you saw before, I need to crop these, so I'm seeing all three of them at once, and apply a color effect to it. So you saw me do cropping before. There's really nothing different in here. I can go in here, open up this shot, or just position the playhead over it on the timeline, and using the cropping tool, I can go in here and crop this and position it however I like. Now let's just say that you're doing this sort of thing, but you're doing it over and over again for the same type of work. Basically, I'm going to create the same effect multiple times with a similar shot, and I really don't want to have to do the same cropping and repositioning and color effects over and over and over and over again. So what I want to do is save the crops and save the motion effects as a preset. Well, you can do that in something called a motion favorite. So if I select this clip here, let's just say I want to save the settings that I've got right there. I can go up here and say effects, make favorite effect. And that's going to save all the effects associated with that clip into a little file. In fact, let's just do that. And if I go back to my effects tab in here, up to the top, favorites, I've few in here, but where's the one I just created? I don't know which one it is.

Oh, one cappuccino should be. Oh, that's favorite effects. That's the wrong one. Where do we keep those? There's somewhere in here. I don't remember where they save them. That's hysterical. I have no idea where that saves it to. Oh, well, anyway, they save them somewhere in there. You'll find them. So once they've been saved, you can reposition them or put them wherever you like. And I've done that already. If I look under here, under my graphics effects, you'll see I have my motion favorites that I've already saved off. So there's three different motion favorites that I've created for these three stills. If I drag this onto here, it's going to overwrite the effects that are on there and reposition it exactly as I had set up before. So since I don't want to go through repositioning all these over again, I'll simply take still two and drag it onto still two on there. So there's the second one applied. And let's go ahead and put the third one on there as well, like so. So now I'm seeing all three of these like that.

Did that make sense? Besides the fact that I couldn't find what I had created? Just ignore that part. Pay no attention to the man behind the curtain. All right, so there's the three effects that I've got on there. Now, as you saw before, I need to color correct these or do a little tinting to them.

Tinting, again, is like any effect, is one of those things that can get very repetitive, but there's ways of making it a little bit less so. Let's go ahead and start with the first shot on here. I'll take my tint filter and drag it onto there, open it up into the viewer. By default, it's simply desaturated it. It's just basically applied a black color tint to it. Let's go ahead and open the color picker on here and pick a, let's pick kind of like a reddish color, about like so. Now that's really intense. I don't really like the look of that, so I'll scale back the amount. Excuse me. Scale back the amount on there. I can open this up and manually adjust things like the saturation, the brightness, and so on. So let's say I spend a lot of time tweaking this, and I've got this effect. It looks great. Now I want to apply the same effect to the other clips, but in different colors. Now if I'm going to do the same effect, that means I have to remember my opacity settings, my saturation, my brightness, and only alter the hue. So instead of having to recreate those over and over again, I'm simply going to select these other clips that I want to apply the effect to, take the tint that I've just created, and drag and drop that onto these clips simultaneously. So now all of these clips have that same effect applied to them. Now that's not quite enough, because I do want to change the color for these, so let's go ahead and open up the first one, or the second shot, rather, and this time I'll adjust the hue only, so you see that all my other settings are still intact, and I'll do the third one, open that up, and adjust the hue for it as well. Let's make it kind of a purple-blue or something. There we go. So now I have that tint effect applied to all three shots. Thank you.

So there you go. So there's a quick little apply of those. If I want to change the duration of these shots, I've got about three different shots here, and you notice they're just a little bit too short on there. I really want those to hang out a little bit longer. Let's just say I want it to hang out to, I'll just do it right about to there. If I wanted to, of course I could go in and manually drag these out one at a time, but that's going to take time, especially if I have a whole bunch of these. So let me show you another great shortcut in here. The grouping tool lives right here.

That's the grouping tool. I can also get to it by tapping the G key. If I go down here and I select drag, I can select drag multiple edits at once. Then I can put my playhead wherever I want it and tap the E key to do an extend edit.

E for extend edit is a really, really useful tool. You'll find yourself using that a lot. I can select multiple clips, multiple ins and outs all over the place, tap the E key and bring them all to one position at once. For example, let's just say that I wanted to select this one and this one and I wanted to put both of those here. Tap the E key and it will extend them both out to there just like that. It's a very, very quick way to work in there. That's another advanced tip in there for you. All right, let's see here. The next thing I wanted to do-- where am I? 10 minutes. We've got five more minutes on here. Let's get into color correction. I want to spend some more time in color correction than I did in the last demo. I'm going to skip ahead a little bit and add a couple of shots on here. I have this great windsurfer shot that's a little bit on the muddy side. It looked like a pretty smoggy day when they shot this. So let's go ahead and get this shot onto the project.

just drag that right onto the timeline like so, and I want to add a color corrector to it. Now I went through this very quickly before, but I want to spend a little bit more time on color correction. If I go into Video Filters, Color Correction, Color Corrector 3-Way, that applies that 3-Way color corrector to this clip, and here we have my full color corrector.

This gives me access to color values for the blacks, the mids, and the whites, and also the levels to the black, mids, and whites. I'll explain a little bit about the difference in here. Let's say that you have something that's supposed to be white. A white shirt, a white wedding dress, whatever. It looks a little bit dingy and dark and also looks a little bit yellow. Well that's two different things that you need to correct for. You need to get rid of the yellow and you need to brighten it up. So two separate controls handled by two separate controls. You have over here your color adjuster and then underneath that the levels. So in this case you can see the white is very yellowish dingy and the blacks are a little bit kind of funny as well. So let's go ahead and work on changing this. The easiest way to do it is to use the eyedropper here. Now, I can go in and change these by hand if I want to. I can simply drag this around and look for the right color space, or let's just reset that by using the eyedropper here. I can say, you know, these white waves there should be white. Let's just click on that and reset it to white. And if you notice up here, what's done, what has just happened is the little color dot has pushed towards blue. We have added blue, which, of course, is the same as taking away yellow.

So by doing that, I have just fixed my whites. I need to fix my blacks as well. Let's go ahead and grab the eyedropper, and I'll click on something that should be black. Let's say that shadow right there. And it warms the image up a little bit. It was looking a little bit cool, and I know that to be true because of my black levels. Now that they're accurate, my black is actually black, I can see that my image is a little bit too cool, and I'm now back to a more normal-looking shot. Now, if I want to adjust the levels on here as well to make the white to actually white and the black to actually black, this requires a little bit more technical know-how to do it right. Now, I can go in here and just drag these, right? and I can do that and go, oh, isn't that a pretty white?

But that white is definitely blown out, and I know that it's blown out if I go up here to my view and I turn on range checking. Let's take a look at excess loma. I can see these little red lines on there showing me that I'm definitely blowing out this image. It's way too bright. So if I bring down the sliders a little bit, let's bring it down, you can see those changing from red to green, red to green. Let's get rid of all the red, and you'll also notice that little yellow exclamation point telling me that I'm definitely blown out. So if I bring this down, keep bringing it down, that turns into a green check mark. The green check mark tells me that I'm okay. The green check mark with the little up arrow, it tells me that I'm within the top 10% of white, which is actually where you want to be for your pure whites. You want to make sure they're within that top 10%, and you'll be set. So there I have perfect whites in there.

Now I need to do the same thing for my blacks. Now if I do my blacks, we're not going to see any kind of a warning on there, because the blacks will just crush the black, and that's how they're going to broadcast. But I do want to make sure that I'm not losing any data in here. This is where the scopes come in handy.

Let's go ahead and rearrange my window layout here. to my color correction layout. And here I have my video scopes. I have four different things I can view at once-- a vector scope, a histogram, waveform monitor, and an RGB parade, which is effectively a waveform monitor split out individually for the red, green, and blue channels. Now actually, all I'm going to concentrate on here is the waveform monitor. So let's just go ahead and view just the waveforms. It's a bit more visible. And if I look at this, I can see right here that I'm crushing my blacks. Look at all that data that has been slammed down to the bottom, and you can see a whole bunch of junk down there, a bunch of pixels that have been pushed down to the bottom. And if I take my black levels up a little bit, I can spread those back out and restore all those blacks.

And if I go too far, you can see that I'm now nowhere near black. My blacks are going to be gray. So what I want to do is make sure that this is set so that, and I can do this by clicking the little arrow tool to go really accurately in there. I want to make sure that my blacks are just touching the black levels on there. Same thing with the whites. As you saw before, I can blow it out and see the warning up here. If I bring the whites up in here, it'll go beyond that space and shows me here that I'm blowing out. Now it doesn't crush the whites like blacks crush, they just get blown out, so you see a little bit of different feedback in there. Let's go ahead and bring that down. So now not only here am I seeing that I'm safe, I'm also seeing that right there. So that's how you do your, use your video scopes in a nutshell. There's clearly a lot more you can do with them, but that's a real quick overview of them. The frame viewer here allows me to do a before and after side by side of the shot. So there's your original and the color corrected one, and as you can see it's quite a dramatic difference there. Let's open that up a bit. Quite a dramatic difference there of the before and after. This right here, by the way, is a really good example of why you definitely need a 30 inch display.

Actually, I'll tell you what I told the last guys. What you really need is a 30-inch and then two 23s. I'm going to tell you why. So you've got your main workspace on your 30-inch. Your 30-inch display is wide enough that you can see two 720p images, 720p HD images at 100% side-by-side. Well, actually 99%, because the UI gets in the way just a smidgen. Technically, there's enough for 100%. I'm talking to the engineers about that. I'm going to see if we can get that changed a little bit. But you can see, effectively, the entire HD images, two of them side-by-side. you have a massive amount of space for your timeline. Your second HD monitor is where you put all your browsers.

Because no matter how much space you have on your main screen, you are always going to want the widest timeline possible. So this screen could be a mile wide, and I'm still not going to want to keep my browsers on here because I'm going to want this timeline to be really, really wide. So I take my browser, shove that off onto the second monitor. And if it's as big as a 23-inch monitor, you've got a lot of space to have multiple browser windows open, and you can view it in icon view and list view, and you can stretch them out so you can see all the metadata and so on. And then the third monitor is for your video out. You saw what I talked about in the beginning with the slides, the HD preview of the video out, and that works, of course, with DV as well. You can do video out to your DVI monitor. And in this case, I had it playing full screen on this primary screen, but if you have a second screen, it plays out to there. So there's your 30-inch with all your workspace on it, your palettes over here, your video out over here. Doesn't that sound like a good way to go? We all need one. Thank you.