Mastering Final Cut Pro X Mastering Final Cut Pro X Overview Now that you know your way around Final Cut Pro X, lets take a look the other available features. In this training module, we will be covering some advanced techniques such as: Multicam Editing

Color Correction Using keyframes Retiming Clips Multicam Editing Overview You can use Final Cut Pro to edit footage from multicamera shoots or other synchronized footage in real time. For example, if you shot a live concert or a wedding with four different cameras, you can synchronize the footage from each camera angle into a single multicam clip and cut between the angles in real time. The angles in a multicam clip are synchronized by a common sync point, a frame that you can recognize (visibly or audibly) in each of the angles you are synchronizing. When you add a multicam clip to the Timeline, the angle that appears in the Viewer when you play your project is called the active angle. While the active angle plays in the Viewer, you can also view all angles playing simultaneously in the Angle Viewer and easily cut and switch between them Working with multicam clips in Final Cut Pro is a flexible and fluid process. At any time, you can add angles to or remove angles from a multicam clip, and easily adjust the synchronization between angles. You can also group unrelated footage together for real-time montage editing (such as for music videos). For example, if youre editing a music video, you could add several angles of abstract visuals and cut to those angles at specific places in the music. You can even use photos (from a still camera) in a multicam clip. If the date and time (Content Created) information matches the contents of the other angles, the photos are automatically adjusted in duration to fill in the angle. !"#$%# '()%*+$' +)*,- *. %/# 01#.% 2"34-#" Creating multicam clips is similar to creating auditions and compound clips in the Event Browser. Multicam clips can be made up of diverse media sources (different formats, frame rates, and so on). You can have multiple clips in any given angle of a multicam clip. You can have Final Cut Pro create multicam clips for you automatically, or you can create the clips manually. If you know what kind of metadata your multicam media has, you can create multicam clips using manual methods faster than with the automatic methods. The automatic methods use sophisticated automatic audio sync technology to ensure synchronization accuracy (but at the expense of processing time). Its best to turn off the Use audio for synchronization feature when its not needed. For example, if youve recorded accurate timecode in every clip, Final Cut Pro can create your multicam clip automatically without the audio sync feature. Creating a Multicam Clip 1 In the Event Browser, select the clips: Camera 1, Camera 2, Camera 3, and Camera 4 2 Do one of the following: Choose File > New Multicam Clip. Control-click the selection and choose New Multicam Clip from the shortcut menu. 3 In the window that appears, type a name for the multicam clip in the Name field. Lets name it Hockey 4 If the multicam automatic settings are not shown, click Use Automatic Settings. 5 To sync angles automatically using audio waveform data, select Use audio for synchronization. This option makes precision sync adjustments using audio waveforms in each angle. This is the same audio sync technology that you can use to automatically sync clips together into a compound clip. Note: Some audio recordings are not suited for use with this feature. Selecting this option may result in long processing times during which Final Cut Pro is not available for editing. 6 After you create your multicam clip, it should now be visible in the Event Folder that your clips were imported to. To view the camera angles: Window > Viewer Display > Show Angles Clicking on the Hockey clip will produce something like this: 7 Double clicking the clip will expand everything. Here you will see how the individual clips that compose our multicam clip. Individual edits such as color correction, transform, and other effects can be done normally. 8 You will only need the audio from Camera 1. Mute all other audio tracks (only Camera 2 should have audio) by turning off the audio on each individual clip. 9 To edit the multicam clip, drag it to the Timeline. 10 Since we only want to edit the video for this multicam, select the video-only switch mode. 11 Select the Blade Tool (Shortcut: B) to do real time cuts. As you play the multicam clip, you will be able to select which camera angle will be used. Active angles will be highlighted in green.When you have selected all the camera angles you need to fit the audio track, you can go back to the Timeline to refine your rough cuts. 12 Finalize your edits and export your multicam video. Color correction overview In any post-production workflow, color correction is generally one of the last steps in finishing an edited program. There are a number of reasons to color correct your footage: Make sure that key elements in your program, such as flesh tones, look the way they should Balance all the shots in a scene to match Correct errors in color balance and exposure Achieve a look, such as making the scenes warmer or cooler Create contrast or special effects by manipulating the colors and exposure Final Cut Pro color correction tools give you precise control over the look of every clip in your project, including still images, by letting you adjust each clips color balance, shadow levels, midtone levels, and highlight levels. Final Cut Pro also includes several automatic tools you can use to quickly balance and match the color in clips. In Final Cut Pro, you can: Automatically balance colors: With one click, neutralize any color casts and maximize image contrast. Automatically match a clips color and look. With two clicks, make one or more clips match the color look of any clip that you choose. Manually adjust color, saturation, and exposure: Manually correct a clips overall color, or use color or shape masks to limit a correction to a particular color range or area in the image. You can even add multiple manual color corrections to one clip. Save color correction settings and apply them to other clips: Save a clips color correction settings and apply them to other clips in the project or in other projects. Although these features are independent of one anotheryou can turn any of the features off and on to see its effectthe order in which you use them matters. In general, you should use these features in the order of Balance Color, Match Color, and (if necessary) manual color correction. Final Cut Pro also includes several video scopes you can use when manually color correcting your video. The scopes make it possible to precisely monitor the luma and chroma levels of your video clips Analyze and balance color automatically Color balance overview Final Cut Pro includes an automatic color-balancing feature. When you use the color-balancing feature, Final Cut Pro samples the darkest and lightest areas of the images luma channel and adjusts the shadows and highlights in the image to neutralize any color casts. In addition, Final Cut Pro adjusts the image to maximize image contrast, so that the shot occupies the widest available luma range. The video frame used as the reference frame depends on whether the clip has already been color analyzed: If the clip has been color analyzed, either during import or while in the Event Browser: The analysis process extracts color balance information for the entire clip. Whether you add a portion of the clip or the entire clip to a project, the color-balancing feature chooses the frame within the project clip that is closest to being correctly balanced. This means that if you add multiple partial clips from the same Event Browser clip to the project, each clip is balanced based on analysis information for its own section of media. If the clip has not been color analyzed and you balance its color: You can determine the reference frame for a clip selected in the Timeline by moving the playhead to that frame in the clip. If the playhead is on a different clip or youve selected a clip in the Event Browser, the clips middle frame is used. Analyze a clip for color balance To automatically balance a clips color, Final Cut Pro uses a single frame from the clip as a reference and calculates a correction for it that is then applied to the entire clip. Analyzing a clip for color balance allows Final Cut Pro to choose a representative frame as the clips color balance reference frame. You can have a clips color balance analyzed when you import it, whether importing from a camera, importing a file, or dragging a clip directly to the Timeline from a Finder window. You can also analyze a clips color balance at any time in the Event Browser. Analyzing a clip for color balance can take from a few seconds for shorter clips to a minute or more for longer clips. The analysis process takes longer if you also analyze for people and stabilization issues. After a clip has been analyzed for color balance, you can turn the color balance correction on or off at any time. By default, color balance correction is off for clips in the Event Browser and on for clips in the Timeline, if they have been analyzed. Turn a clips color balance correction on and off 1 Select one or more clips in the Timeline or the Event Browser. 2 Do one of the following: Choose Modify > Balance Color (or press Command-Option-B). Choose Balance Color from the Enhancements pop-up menu in the toolbar. In the Color section of the Video inspector, select or deselect the Balance checkbox.

Match color between clips1 Select one or more clips in the Timeline that you want to adjust.2 Do one of the following: Choose Modify > Match Color (or press Command-Option-M). Choose Match Color from the Enhancements pop-up menu in the toolbar. In the Color section of the Video inspector, click the Choose button next to Match Color. The Viewer changes to display the Timeline playheads frame on the right and the frame the pointer is over on the left. 3 Skim any clip in the Timeline or the Event Browser to find a frame with the color look you want to match, and click to preview that look applied to the selected clip. You can click a variety of clips until you find the look you want. Tip: You may want to import a still image that has the look you want, even if its not related to your project, so that you can match its color look. 4 To accept the current look, click Apply Match in the Match Color window.The Viewer returns to its normal configuration, and the selected Timeline clips change to the new look. Turn match color corrections on or offYou can turn off the color match corrections that have been applied to a clip. This is useful for viewing the difference between the original clip and the corrected clip. 1 In the Timeline, select a clip with match color corrections applied. 2 Click the Color Match checkbox in the Color section of the Video inspector. Exercise 1 Create a new event, Color Correction and drag the two clips, Jump 1 and Jump 2 into the Timeline. 2 Jump 1 is a bit cooler than Jump 2. Try using the Balance analysis to automatically adjust the colors. 3 Jump 2 is still a bit too warm and orange. Use the Match Color tool to match the two clips. 4 Export your video as Color Correction Adjust video effects using keyframes You place keyframes at specific points in a clip to change parameter values at those points. For example, if you want a clip in your project to fade to black, you set two opacity keyframes at two different times: one with the value of 100 (fully visible) and a second with the value of 0 (fully transparent). Final Cut Pro interpolates the values between 100 and 0, creating a smooth fade to black. You can set keyframes in the Timeline or in the Video inspector. To see keyframes in the Timeline, you need to display the Video Animation Editor for the clip. Add keyframes1 Do one of the following: Select a clip in the Timeline, and choose Clip > Show Video Animation (or press Control-V). Control-click a clip in the Timeline, and choose Show Video Animation from the shortcut menu. Each effect in the Video Animation Editor has a separate area for adding keyframes Some effects have more than one parameter and allow you to add keyframes to individual parameters separately. They appear in the Video Animation Editor with a triangle next to the effects name or in the Video inspector as additional parameter controls. In the Video inspector: Position the playhead in the Timeline at the point where you want to add a keyframe, and click the Keyframe button (or press Option-K). Once you add a keyframe, the Keyframe button changes to yellow, indicating that the playhead currently sits on this keyframe. When you move the playhead in the Timeline, arrows appear next to the Keyframe button in the Video inspector to indicate which side of the playhead has keyframes. To go to the previous keyframe, click the left arrow or press Option-Semicolon (;). To go to the next keyframe, click the right arrow or press Option-Apostrophe (). Adjust keyframes in the Video Animation Editor You can move keyframes left or right in the Video Animation Editor. If an effect appears with a disclosure button, you can expand the effect view and move keyframes up or down to change the parameter value. 1 Select a keyframe. 2 To change its position in the Video Animation Editor, drag a keyframe left or right. As you drag, the timecode value appears. Exercise 1 Select your Color Correction video. We will be manually creating a transition by using keyframes. 2 Under compositing opacity, creating a fade-to-black transition by using the opacity tool to set the necessary keyframes. 3 You should now have a Color Correction clip with both the color correction edits as well asthe keyframe edits. Retiming clips overview You can adjust a clips speed settings to create fast-motion or slow-motion effects. You can also reverse a clip, rewind a segment of a clip, apply variable speed effects (also called speed ramping) to a clip selection, and create instant replays. By default, Final Cut Pro maintains the audio pitch of any speed adjustment, but you can turn this feature off to accentuate the speed effect. You cant apply speed changes to still images, generators, titles, and themes in Final Cut Pro Change clip speed In Final Cut Pro you can make both constant and variable speed changes to your clips while preserving the audios pitch.Note: Speed settings are applied to the specific instance of the selected clip only. They are not applied to that clips source media file on disk. To create a media file with the applied speed effects, export the clip as a QuickTime movie.Apply a constant speed change Applying a constant speed change to a range selection or a whole clip alters the entire selections playback speed by the same percentage. For example, applying a speed setting of 25 percent to the selection makes the entire selection play in slow motion. Constant speed changes also alter the duration of a clip. If a constant speed change causes the duration of a clip in your project to become longer or shorter, all clips coming after it ripple forward or backward. If you change the speed to 50 percent, your clip is twice as long; if you change the speed to 200 percent, the clip is half as long. For example, if you set a 5-second clip to play back at 50 percent speed, Final Cut Pro adds frames to the clip so that the clip becomes 10 seconds long and plays back more slowly. If you increase the clips speed to 200 percent, Final Cut Pro removes frames and makes the clip 5 seconds long, and it plays back considerably faster. 1 In the Timeline, select a range, a whole clip, or a group of clips whose speed you want to change.2 Do one of the following: To apply a preset speed setting: Choose Slow or Fast from the Retime pop-up menu in the toolbar (shown below), and choose a speed from the submenu. To apply a custom speed setting: Choose Show Retime Editor from the Retime pop-up menu (or press Command-R) to display the Retime Editor above the selection in the Timeline, and drag the retiming handle. If you drag the retiming handle to the right, the speed of the selection decreases, the duration of the selection increases, and the bar above the Timeline selection turns orange. If you drag the retiming handle to the left, the speed of the selection increases, the duration of the selection decreases, and the bar above the Timeline selection turns blue. Apply a variable speed changeTo alter the speed of a clip over time, in forward or reverse motion, you can apply a variable speed change (also called speed ramping). Variable speed changes create sophisticated effects in which subjects appear to smoothly shift across a variety of different speeds, with gradual or abrupt transitions between each speed segment. These types of effects can be seen in many music videos and broadcast commercials, and the effects can be created directly in the Timeline. To apply variable speed effects, you divide a clip into speed segments that are set to specific speed percentages. 1 In the Timeline, select either a range within a clip or a whole clip to which you want to apply a speed ramp effect. 2 Do one of the following: To ramp the speed down: Choose Speed Ramp > to 0% from the Retime pop-up menu in the toolbar. To ramp the speed up: Choose Speed Ramp > from 0% from the Retime pop-up menu in the toolbar. The selection is segmented into four parts with different speed percentages, creating the ramp effect. If more precision is required, you can manually drag any one of the four retiming handles to set the speed you want. Preserve audio pitch in retimed clipsBy default, Final Cut Pro is set to preserve the audio pitch of a clip that has been retimed. However, if you want to accentuate the retiming adjustments effect by allowing the pitch to change in accordance with the retiming adjustment, you can turn this feature off. 1 In the Timeline, select a range, a whole clip, or a group of clips whose speed you plan to change.2 Choose Preserve Pitch from the Retime pop-up menu in the toolbar. A checkmark to the left of the command name indicates that Preserve Pitch is turned on. Choose Preserve Pitch again to turn it off. Change the end frame of a speed segmentYou can change the end frame of a speed segment in the Timeline.When you drag the retiming handle of a speed segment, youre adjusting the speed of the segment, not trimming it. The Change End Source Frame command allows you to trim the end point (end frame) of a segment. 1 In the Timeline, select a clip that has speed segments.2 To display the Retime Editor above the clip in the Timeline, choose Show Retime Editor from the Retime pop-up menu in the toolbar (or press Command-R). 3 Click the triangle next to the speed percentage for a speed segment, and choose Change End Source Frame from the pop-up menu. A filmstrip icon appears over the end frame of the speed segment. 4 To change the end frame, drag the filmstrip icon left or right. As you drag, the Viewer displays the current end frame. Conform a clips speed to match the projects speedIf youve applied speed effects using your camera, the native speed of the source media may not match the native speed of the source media for the rest of the clips in your project in the Timeline. However, you can change the clip with the differing native speed to match the rest of the clips in the Timeline. 1 In the Timeline, select the clip whose speed you want to change to match the rest of the clips in your project.2 Choose Conform Speed from the Retime pop-up menu in the toolbar. Smooth out a slow-motion clip with video quality presetsTo smooth out the apparent motion of a clip playing back in slow motion, you can apply frame blending or optical flow analysis to the retimed clip. 1 In the Timeline, select a range, a whole clip, or a group of clips whose video quality you want to change.2 Choose a Video Quality setting from the Retime pop-up menu in the toolbar. The green bar with arrows pointing to the left above the selection in the Timeline indicates that the clip is reversed. 3 If you want to adjust the speed of the reversed clip, drag the retiming handle to the left to increase the speed or to the right to decrease it. 4 To see the reverse effect, play back the reversed clip or selection. Rewind a range selection or clip1 In the Timeline, select a range, a whole clip, or a group of clips whose contents you want to rewind.2 Choose Rewind from the Retime pop-up menu in the toolbar (shown below), and choose a speed from the submenu. The selection is duplicated, added to the end of the original selection, and then reversed according to the speed choice. An additional duplicate of the Timeline selection follows the reversed section and plays back in forward motion at the selections original speed. 3 If you want to adjust the speed of the rewound section or the sections that precede and follow the rewound section, drag the sections retiming handle to the left to increase the speed or to the right to decrease it. 4 Play the clip back to review the rewind effect. Create instant replaysYou can apply an instant replay to a range selection within a clip or a whole clip. Final Cut Pro duplicates the range or clip, appending the duplicated frames to the end of the selection as a new segment. You can then modify the speed of the new segment to achieve the instant replay effect youre looking for. Create an instant replay1 In the Timeline, select a range or a whole clip whose contents you want to use to create an instant replay.2 Choose Instant Replay from the Retime pop-up menu in the toolbar. A duplicate of the range or clip is appended to the end of the selection and plays back in forward motion at the selections original speed. (By default, the instant replay is set to play back at 100 percent speed.) 3 If you want to adjust the speed of the instant replay segment, drag the retiming handle to the left to increase the speed or to the right to decrease it. 4 To see the instant replay effect, play back the original selection and the instant replay segment. Create a hold segmentIn Final Cut Pro, you can hold on a particular frame to create a still image, temporarily stopping the action onscreen. By default, Final Cut Pro adds a 2-second still frame, called a hold segment, at the location of the skimmer or playhead, but you can change the duration of the hold segment at any time. Alternatively, you can create separate freeze-frame clips in Final Cut Pro. One key difference between freeze frames and hold segments is that hold segments remain part of the original clip and their duration can be adjusted within the clip. Important: Adding a hold segment to a clip increases its duration. Create a still-image hold segment1 In the Timeline, do one of the following: Select the clip with the frame you want to hold, and move the skimmer or playhead to that frame. Select a range within a clip in the Timeline. 2 Choose Hold from the Retime pop-up menu in the toolbar (or press Shift-H). If you selected a clip, a 2-second hold segment is added to the clip at the position of the skimmer or the playhead. If you selected a range, a hold segment is created for the duration of the range. The frame used as the still frame is the first (leftmost) frame in the range. 3 If you want to adjust the duration of the hold segment, drag the segments retiming handle to the right to increase the duration, or to the left to decrease it. 4 To see the effect of the hold segment, play back the clip in the Timeline. Reset retimed clips to play at normal speedsYou can reset a range selection or a clip to play back at normal (100 percent) speed at any time. Resetting the speed removes any directional effects and Holds applied to the selection at the same time. Reset a range or a clip to play forward at 100 percent1 In the Timeline, select a range, a whole clip, or a group of clips that you want to reset to their original speed.2 Choose Normal 100% from the Retime pop-up menu in the toolbar (or press Shift-N). Exercise 1. In this exercise, you will be applying the methods you have just learned to our clip Color Correction video. At this point, you should have created a transition using keyframes for the video. 2. We will now apply the following: a. Constant Speed Change b. Variable Speed Change c. Rewind Effect d. Creating an instant Replay e. Creating a 2-second hold segment 3. In the end, you should have a video that displays all these effects. Try and see if you can make these changes to be as smooth as possible. Export your final video as Color Correction Final