---
title: WWDC2003 Session 700
framework: wwdc
role: article
path: wwdc/wwdc2003-700
---

# WWDC2003 Session 700

## Transcript

Kind: captions Language: en so hi my name is Joseph and I'm going to be taking you through basically what's new with final cut pro for another quick show of hands let you down but how many people here were at NAB just a few of you excellent okay so for those of you that any be you may have seen me do this presentation on the main theater there but that was of course you're very short about well maybe 12 minutes total of the same demo content that I'm now going to be running in about an hour through this actual demo is about two hours in length so I'm going to be cutting it down in half from what it normally is I'm also going to be kind of moving a bit fast here so if you have any questions throughout it feel free to call out I cannot see you guys at all right now so if you do have questions call out if you raise your hands I'm not going to see you but I don't mind you interrupting me in the middle if you either don't follow something I'm doing or just want to take a quick branch off of it that's fine by me so with that we're just gonna go ahead and get started this is of course final cut pro 4 i'm going to be building the sequence that you see on the bottom there and what i'm going to do to start is just play this through and then i'm going to start with a quick tour of the Final Cut Pro interface jump into some very basic editing tools to set any tips just for those of you who may not be really familiar with final cut yet and then we'll get into the new stuff so off the bat we'll go ahead and play the project that I'm going to be building santa cruz by then for innovation and quality our goal is to deliver the most technologically advanced customizable bike in short period of time I want this products that I'm making to be the best thing there is [Music] alright that's what we're going to be building so first off a very quick tour of the Final Cut Pro interface I'm going to start in the top left corner here this is the browser now the browser is where all my media is stored so any video clips that I've captured or imported any cg any graphics any Photoshop files any audio files etc that I've brought into the application or stored in here now we have various views in here like list views and icon views we can with contextual menus to change the view into icon view or list view open up the windows just like you would in the finder within here I come of course create new folders in Final Cut Pro they're called bin store media inside of those bins and so on over on the next window this is the viewer the viewer is where I make my editing decisions so any clip that I've opened from the browser is going to open into the viewer and from the viewer I choose what portion of that clip I want to use so for example if I shot 20 seconds of video but I only want five seconds of it I would go in here mark what's called an endpoint and an out point to define the start and finish of the clip and then add that to the project on the right hand side here we have the canvas the canvas is the actual final movie that we're creating this is the final project you'll view also the canvases were I do a lot of my motion compositing so any clicking and dragging to resize various video elements reposition them and so on I would do in the canvas finding on the bottom we have a timeline timeline of course is the linear representation of the movie that we're creating and then on the right side there's a tool palette and the audio level meters so at that I'm going to go ahead and open up the start of this project we have one clip already on here with an audio clip just a piece that i started and i'm going to go ahead and open up the first piece of video here mark an endpoint and out point and then add it to the project just you can see some of the basics and this is a lot of people standing there are some seats up in here you guys want to just come in here and squeeze in sit down put this one over there there's a few more up here guys it's going to be an hour so all right so anyway though thing I'm going to mark an in point in and out point on this clip and then add it to the project I can scrub through here and just kind of choose any point at random I've actually cheated I've laid down a marker so I know exactly where I want to put that end point so I put the playhead where I want to create the end point and with final cut pro you'll find that you have usually two three four sometimes even more ways of doing the exact same action the very user-friendly application and that you can find whatever is comfortable for you so for example if you like to use buttons we have on here a button on the interface to mark an end point I simply click on that and if I forget what the button is you'll notice i hover the mouse over it it gives a little tool pop up telling me mark in click on that and it marks the end point and a 10 point is now defined on that clip now I want this piece to be exactly 1 second long one second is 30 frames and video I've already marked my first point so I'm gonna go ahead and type on the keyboard plus 29 and you'll notice in this little window up here it's recorded in plus 29 hit return and that moves forward 29 frames when I hit an out point between the two that means that i have a total of thirty frames or one second of video and you'll see this window here telling me that i have a one-second video clip that i've just created now to add this one second clip of video to my project i can drag and drop this onto the canvas the canvas pops up something called an overlay menu the overlay gives me a few different options of how i want to apply this video to the project so the default is over right i can go over here and choose any of these others but for now I'm just going to do a simple overwrite edit so I just go ahead and let go of the mouse and it overwrites that video clip and if you look down here on the timeline you'll see that that clip has just been added if I undo that and then redo it you'll see the effect that was added that clip has been added onto the project so I play this through we now have the video that was there before with the video that i just added as well a little emotion clicking oil pretty simple ok so now another edit something a little bit more advanced we're going to open up another clip and this one I already had the in and the out points marked so you just see me do those before so I've already set this up what I want to do here is an insert edit the overwrite edit previously if I laid it over I edit any video that was there would get overwritten hence the name overwrite edit insert/edit would push any video that's their out of the way to make room for the incoming footage so what I'm going to do is drag play head back between these two clips with this clip here chosen I'm going to go ahead and drag it onto the viewer and choose insert now when I do you'll notice that it push the video out of the way but also cut the audio and moved it out of the way I don't want to do that I want to keep that audio intact so I'm going to undo that can go ahead and lock my audio tracks in place and then once again choose an insert edit and that inserts the V video pushing that video out of the way leaving the audio and tax because I lock those two tracks there so I can go ahead and unlock those now and I'm back in business so the quick override edit and a quick insert/edit now that I have these pieces on here i'm going to show you the first big new feature in Final Cut Pro for and that is multi item properties now for those of you have worked with final cut pro before you know that you could select a clip and either from the menu choose item properties or hit the keyboard shortcut command 9 to choose item properties it would tell you everything about that clip its compression codec its data rate its side its location on the hard drive everything you would want to know about it if you wanted to compare multiple Clips you had to open one look at it maybe take some notes as to what it was close it repeat the process for another clip and then compare them well now is Final Cut Pro for I can select as many clips as I want i'll hit command 9 to bring up the item properties window it's a nice one in it we're just getting started and that shows me all four of those clips and you'll notice here it has all the information across you notice that some of the text is gray and some of it is black or bold basically what happens if you read this left to right anytime there's a change in the data it becomes bold so I'm looking at this I can see that let's see if i look at composite modal start from the bottom they're all set to normal so the first one is normal and all the rest are normals are all gray but if I go up to let's say the compressor the first one is none then x1 animation so that's different they're forced highlighted black the next one is dvcpro and PSC once again its differences highlighted in black but when after that is the same as one before so it is gray so I can very quickly go through here and see what matches vs what doesn't now cancel out of that and I'll start doing a little bit more editing I'm going to open up another clip on here I'm just going to drag this to the timeline to add it on just simply drag and drop this into place and if I play this through you'll see it's about two seconds long of this video clip and the shores baby and the previous shots were about one second D so this is a little bit on the long side I'm going to turn off audio scrubbing real quick here we go so anyway so it's too long what I want to do is shorten that up close and I believe now you all know that we have a speed change command I can select that tool hit the control key and choose the contextual menu and choose the speed command and I'm going to go up to the duration and i'm going to type in one second 196 point six seven percent speed change for a total duration of one second long hit OK and look at that it doesn't have to render it is now a real time effect now for those of you who aren't really familiar with real-time let me quickly explain what we're looking at here you'll notice above the clip here right where the mouse is pointing there is a green bar there that green render bar means that it is a real-time effect real time of course means it doesn't have to render before I can play it back to screen I'll go ahead and play that back and I'm going you see that clip plays back without any rendering required it is dependent on cpu too fast your processor the more you can do in real time and you're going to see me expand on this as we go through the demo and you'll see more and more real-time effects basically here if that was red I would have to render it but again here it is now a real time effect and that's new over version 3 so that's just a real quick example of a real-time capability and before I move on and show you more real time i want to show you other ways that i can go about doing that same effect you saw me do the contextual menu control click on there and choose speed what if you don't remember that you control click or you prefer use keyboard shortcuts for other ways of course there's a keyboard shortcut for this I can just hit that keyboard shortcut command J to bring up the speed command maybe you're not a keyboard shortcut kind of guy maybe you really like buttons a Russian said earlier being able to click on a button on the interface thank you excuse me thank you but you'll notice that there's no button for speed change what if I want to add one well this is another new feature for final cut pro version 4 i'm going to go to the Tools menu and choose button list button list shows me an interface that has all of the menus and I can go through here and look for the speed command and you know I don't really remember where it is okay well there it is but let's just pretend that didn't know where it was scroll through here where is it whereas where is it I have no idea let's just do a quick little search in there for speed there's the speed command now let's go ahead and take that button and drag it onto the interface close that select the clip that I want to challenge click on the button and it opens up the speed command like that huh I'm going to cancel that I want to get rid of that button will just drag it off in a puff of smoke so we'll theme going here huh full OS 10 things working out isn't it so a button from is awesome as you can see I'll bring up that dialogue again see here governor the keyboard shortcut there it is and as you can see once again every command in here has a button you can add to it you notice that i can add buttons not just to here let's just go ahead and add a few just for giggles hero grab a dragger drop a couple on here and notice i can also add them up to this window i can add them to this window i can add it to this window anywhere where there's this empty space in there we looked at the UI and said there's wasted space well can we do with it we can add buttons and we're done they will be saved absolutely they're saved when you quit and you can also save main button bars you can save these out as low files you can take these files with you to another computer load them in load main button bars and load up your customize button interface on someone else's Final Cut Pro for system so basically you know how if you have too many too many projects open at once these tabs get smaller and smaller the tabs continue to shrink basically what happens so it'll force space for those button bars right there okay so there's a another way of customizing your interface for you while i'm talking about that i want to show you another great new customization feature in here adding buttons is great what about keyboard shortcuts what is the keyboard shortcut again for that clip Callie then you're good just select that next tues Apple J what if I don't like apple j APPL J for speed they're gonna hat and where do they come up with that I don't know so maybe I want to make a control option command shift s that makes more sense right well let's go ahead and bring up the brand new keyboard layout customization tool so now have a fully customizable keyboard for Final Cut Pro how many people have used an avid before well there are a number of people out there customizable keyboard pretty common on there right you can map the control key the shift key and the option key and that's kind of it well if you look across the top of this window here you'll notice that I have of course command shift options control shift command command off control command shift option control option control shift I have as you can see a lot of empty space in here to add commands where was that speed command let's go let's go look for that again only to ease and speed there we go and let's say that I want to make that I'm just going to make it to what is this where are we control command aight i'll take this drag and drop it onto control command eight right there it shows my current keyboard shortcut and the new one that i just added let's go ahead and close this window and i will hit ctrl command eight on the keyboard and brings that up it is also still command J that's right well you can go back to the custom keyboard layout and choose reset well we can you remove the Apple J absolutely so let's go here with pineapple J command J is right there let's just get rid of that guy and is now removed from command J so you can totally remap your keyword if you want to use an avid style layout you can if you want to use a media 100 style layout you can if want to save these lips moving to other systems you 10 if you want to save the hassle of having to do this yourself and simply import one that somebody else created and posted on the Internet you can totally customizable keyboard you can save out your layouts and then switch them on the fly as you like that's a good question i don't know Michael can you print the layout you know as a PDF jeff says it's a PDF I don't know the answer that if I'm wrong find him they get screenshot a lot of its kind of that we need it anyway all right moving on enough time for this all day okay let's talk a little bit more about real time I have a few clips on here I'm going to see what I'm going to do I'm going to add a few more clips to the timeline before I do though I want to add another pair of audio tracks you'll notice that i have a1 and a2 here it also noticed that my audio track here this is dialogue to go along with this interview is extending beyond my open video and if i bringing some video tracks here that has audio with it i'm going to end up overriding my audio which I don't want to do so i'm going to go ahead and create two new tracks on here and you notice once again some of this audio or some of this video does have audio to it this is a video i'm about to add so i'm going to go ahead and take my targets here for a one and A two and i'm going to drag those down to plug them into track day three and a four and i'm going to take all five of these video clips and drag and drop them onto the timeline positioning them like so you say i would have overwritten that part right there didn't want to do that so I have these tracks on there now that my videos on there let's start adding a few filters to them we're going to place through a portion of what I just added insurance ad okay you'll notice here five schools kind of left to right right to left left to right again this guy doesn't really match I want to flop that so I'm going to take a flop filter drag and drop that on the green bar means it's real time place back without any rendering it's pretty good I'm going to undo that flop field was pretty easy let's try something a bit more complex like maybe a Gaussian blur filter gosh and blur starts left pretty light let's go ahead and open that I just double-clicked on this clip to open it to the viewer click on the filters tab shows me the Gaussian blur filter that I added let's crank that up to about a 17 pixel blur and notice it's still green still place back in real time that's pretty good we're getting pretty good with a real time here we had that lot filter pretty easy in the garbage and blur it's a bit more complicated let's do a color effect I'll add a safety of filter to this I'll once again it plays back in real time if you're not doing too bad here let me go ahead and take that off and put my flop back and kind of like that one and just on the topic of real time I'm going to take a transition here and add a transition between these two clips and play that back as well so there is a fairly complex transition added to this clip that is now a real time effect so once again I've added all these things that i've had to do know rendering but that's still a pretty basic level of real time so far I've added one filter or one transition to each clip and slide back in real time that's nice but you know kind of big deal right let's take a look at something else called RT extreme I'm going to open up a clip here I'm going to take this clip here which is just a computer-generated graphic and I'm going to insert this into the start of my project so i'm going to go ahead and choose the insert command pushes this other video out of the way frees up space to the clip that i just dropped in and as you can see no rendering so this is a DV codex clip to play that back you see what it looks like I'm going to start by adding a color correction it's already been set up so I drag and drop this on it switches to green that color correction has already been done and it plays back of course in real time I'll take a flop filter and add that on still place back in real time now I didn't undo the previous one so I have a color correction filter and the flop filter lets out a mirror filter on there still plays back in real time I'll add an invert filter on there and I notice the render bar just went orange and why did that go orange you've seen green render bars you've seen red render bars you've never seen orange render bars unless you saw this done before and that's cheating an orange render bar means that you are now in the world of RT extreme what is RT extreme real-time extreme RT extreme is the next generation of real-time support you have over here an option a new menu to choose between safe RT and unlimited RT safe RT is essentially what you had with final cut pro version 3 if it can't play back at full quality every single frame it will not play back at all by switching to unlimited our team mode we're telling a software that we're willing to sacrifice quality and frames to get real-time playback what we're asking the software to do is pump as much information as possible to the screen to maintain real-time playback and with that said as I play this back you can see it's playing back exactly as it was before this may be an orange effect but you can't even tell it's still playing back just fine in fact I'm going to take this title 3d piece that I have I'm going to add it on top of here you notice if I just drag and drop it on it's too long you can see the shadow on there it's a bit too long to just drop on top of this piece so I'm going to go ahead and choose the superimposed command which is going to automatically trim that to fit over the background and once again it is still playing back in real time so I have a color corrector a flop filter a mirror a color invert and a title 3d all layered on top of each other all playing back in real time not bad it what's up this is a duel 1 4g 4g for dual 142 so the require minimal requirements for real time as the same as well as a final cut pro 3 and AG for 500 or better chloe with the faster machine the dual processors you get more and more so if you were to take the same project open it up on say dual 800 you would get a lot i'm guessing here but let's just say maybe you can get to the mirror to the invert before it would go from orange to red so there will be a threshold where you will eventually hit a non real-time you know effect it will you will exceed the capability to that processor put it on a faster machine and you're back to real time the order of effects not that I'm aware of but hey I'm in marketing so I don't know okay alright so that's a title and that is clearly a Hollywood award-winning title right there wednesday alright so this is a chance for me to talk about another new application an entirely new app that ships with final cut pro 4 and that is called livetype live type is nothing short of unbelievable so I'm going to give you a very quick tour of live type because we just don't have enough time to do everything this is life type quick tour of the interface looks a little bit familiar on the left side you have a canvas canvas is of course you're working space we have the inspector here which is kind of an info palette gone wild we have all the different information about all of our pieces that we're going to add that we can control in here a media browser and we come right back to that and then down on the bottom the timeline itself so let's start with the media browser I'm going to start by looking at my fonts as you can see we have access to all of our fonts in the system so this is cool every font that we have we can just take anything from here and type in something so let's just say live type go through here and choose a font find something kind of nice looking in here let's see here I know I have a good one there we go I'll choose apply and it applies that font to that text right there a little hard to read let's go over here to absolute really quick and change the color of that a little better of course I can go through here and choose any other font hit apply and apply that font to it conducts all right those are just standard system fonts we have something else in here called live fonts live fonts are 32-bit animated fonts with alpha channel that are completely pre-built all you have to do is choose the one you want type in the characters that you want and you get this effect how many people use After Effects yep that's some questions I can't see people you guys alright cool so you'll see that with tools like this you can save quite a bit of time for those of you that don't use After Effects you're going to find that you can do a lot more with type now than you could be for now that's cool live fonts are great but as you can see there's not an infinite number of these are fairly you know robust amount here but not thousands and thousands them so what about really customizable effects taking text and doing things completely and totally original well for that we have effects tab the effects tab and go to the top on here gives you all these amazing text effects so you can simply double-click to apply to any block of text all the animation work has been done for you all you need to do is take one of these and add it on you see we have lots of different categories in here some pretty cool one let's find some really fun ones in here some very Scrolls you can do title crawls lower third crawls zooms here's one of my favorites here behind camera right there I really like that effect so I want to apply that to my live type text on here so I'll simply click on apply you notice it adds a new track to my timeline here I'm going to shorten up my render space on here you'll notice this little instant preview window appears showing me what's going to happen to my type I click on play and it's going to very quickly cash that to ram and then play it back looping in real time the effect that I just add it that's it that's all there is to it this effect is now done I can render this out is a 32-bit animation file with alpha channel drop us back into Final Cut Pro put it over whatever video I like I can also import video from Final Cut Pro or from any other source use that as a background and export out an entire final rendered compa type so prefer this is a pretty basic look at it let me open up something that's a bit more complex that's already been done so here I have a lower third sample in here go play this as you can see it's a combination of background effects two different layers of text on their of there's multiple effects applied and if I actually go to this Santa Cruz title here you'll see this top layer here the piece of sis Santa Cruz has one two three four five different effects applied to it to give it this look to give it disappearance it's a simple case of choosing the effect you like double clicking to add it on you can reposition that you can see the effects or spread out on here i have this rush hour and behind camera combined then the texas sits there for a bit and then this glow of happens in the texas there for a bit and then the zoom and the vertical blur happen as the text goes off screen so full screen effects like that or lower thirds like this one here and as you can see text is taking a whole new space right now you can do some pretty amazing things very little time and very little effort to bring back into Final Cut Pro big track limitation I believe it's 99 just like Final Cut Pro is but don't quote me on that how do you get the background in just import play spec and just bring in any QuickTime movie this is format and resolution independent you can do this its standard definition you can do this at high definition whatever you like pretty good all right back to final cut pro so I have a title that I've already done in here let's see here where is that guy there it is there's the one that's already been rendered so I'm just going to go ahead and bring that back into final cut pro to replace these lovely pieces that I did earlier that just aren't going to win any awards so I'm going to select those two I couldn't delete them and drop this other video back in but instead i'm just going to hit ctrl d to hide them i want to leave them in place because i may want to come back to those later so that's why i just might and i'm going to add this piece on here and i might for wondering why is that giving me a red render bar very good reason for that this is an animation codec is totally uncompressed this means that i can do further compositing within Final Cut Pro and then render it out in the native codec in this case DV without having multiple renders without having multiple compression if I rendered this out of live type as a DV file broader than into final cut pro and then decided to do a color correction to it composite it with something else I have to rerender it for the final output and that means it would have rendered twice in the quality would go down so what we've done is we've allowed you to bring it in at full uncompressed unrendered quality pop that into place put whatever you want on it and render your final output so for this final piece in here i'm going to go ahead and add one more little segment i have a little white flash because the transition here from that title of that titles a little bit harsh so i'm going to take a simple little white slug drag that on top of there let's go ahead and zoom into this to do an effect to make a change to it and assume into it i want to show you a keyboard shortcut that's really handy you may remember the keyboard shortcut shift Z shifts d is zoom to fit zooms the entire timeline or viewer canvas in to fit the new keyboard shortcut is to select anything and hit shift option Z and that is zoom selection or zoom to selection a good one in it Barrett was just a little things isn't it so very quickly allows you to zoom into exactly what you're working on I'll take my pen tool just do a quick overlay change on here so I'm changing the opacity from 0 to 100 and then back down to zero again and if I open up the next clip week see what that's going to look like and I'll ring to that or play that out Santa Cruz but game and we have a very nice subtle effect in there alright moving on multichannel audio assignment this is another huge new feature in final cut pro version for previously you had two channels of audio you could set out to your left speaker into your right speaker and that was it that didn't help out much if you were on a professional deck like a did you betta deck and you wanted to lay down four different tracks of audio or if you had a set up in a studio where you wanted to let stay put all your dialogue to a pair of speakers or even to a single center channel speaker put your music on other speakers put your effects on other speakers of all kinds of different reasons you may want to have multi-channel audio and what we have in here is a great way to go about assigning that I'm going to open up the project properties and go to audio options you'll notice that I have one here two tracks of audio well how many tracks of audio could we add or channels of audio can we add up to 24 channels of audio that means that if i plug in a hardware device with multi-channel audio out say a motu device or an e magic Emmy you can go ahead and get 6 8 10 12 whatever your device will handle channels of audio output on here now i'm going to go ahead and for this example just choose for what I'm going to set up is a is an example of having all of your audio your music your background sounds and so on going to two speakers and then having your dialogue go to one speaker let's say that's my center channel and in my studio I have my dialogue speaker and then my sounds and effects speakers over here so I go ahead and I choose four channels but I only have three so I'm going to go ahead and switch that from stereo to mono click OK I'm going to ignore speaker for and then I go over here and I simply choose audio outputs one and two for one and one and two again for track to continue to move through here and I can choose track three and track for for the other so let's just say actually right here I've got dialogue up here so I'll set that to three and that's a three and then my dialogue is going to be mixed down to mono and sent out the same single speaker in this case channel three these other two tracks are going to continue to come out channels 1 and 2 or in this case my left and right speakers unfortunately I just have a mono mix down out here so I can't play this back and have it come out properly out these speakers but in a proper studio environment with the proper audio interface audio hardware you can do that and again up to 24 channels along you out right where we going 1648 an engineer help me is it 16 okay yes thank you okay Michael on audio I actually don't know I actually don't know I'm sorry um what's the session were supposed to drug people towards one of the questions that i don't know i'm not a big audio guy fortunately Oh what are you sorry all right moving on what do we got here let's take a looks more real-time affect how we doing on time none of these have clocks on home time I can't see this thing since I have 58 minutes left that right cash to lunch all right cool all right onward real-time effects again let's go look at chroma keying chroma keying in real time this is kind of cool trying to open up another sequence here and it's just need to consume to fit here's a video clip but I've already added as you can see this guy was shot against a green screen making it really easy to chroma key that piece out what I'm going to do is take this track this video track and I'm going to drag it up a layer just wreck it up one track a video and I'm going to take this same yellow background and I'm going to drag it behind there so that once i drop out the green background we're going to see the yellow piece behind it so let's go ahead and do this i'm going to take my chroma keyer and drag it on there open up that clip and start doing this effect very simple here's my chroma keyer take the eyedropper click on the green background most of it drops away it's not great yet so what I'm going to do is expand out my green there a little bit spread out my saturation and my loom own they're definitely getting better on there let's expand this out just a little bit more I think I'll take my edge spinning tank that down a little actually gonna take that up a little bit encroach on that edge a little soften that a little bit and without too much effort we now have I want the products that are making the be the best thing there is not a half-bad key huh pretty good come on that was pretty good I was like two seconds of work thank you milk the audience come on so I actually have one on here that I spent a little bit more time on go ahead and add that one on and you can see this is even cleaner I want this product and it's all playing back in real time this is once again a real time effect new for final cut pro for lots real timing here so give me an idea of how much stuff is in real time I'm going to quickly go to the effects tab how do you know that a filter or transition is real-time bowl right well let's take a look I'll go to my transitions and looks they're all bold well they're all bold they're all bold wow just about everything is bold in here not everything don't want to give you the wrong idea not everything is real time but the vast majority of effects and transitions are now in real time let's say that this wasn't good enough for you let's say that you wanted to go the level of Hollywood you wanted to buy shake to do your compositing shake is a fantastic compositing tool I have any out how many of you out here saw Lord of the Rings I hope everybody raised their hand like goodness gotta feel ordinary Lord of the Rings is composited with shake compositing just real quick anybody is going what the heck is he talking about compositing the action of taking multiple layers of video and graphics EG and so on layering them together and then making them look like they weren't layered together so for example you look at a scene in Lord of the Rings you look at and it's these guys walking across and marsh with some mountains in the background and you think okay they shot that with these guys you know in wild if these guys walking across the marsh with the mountains in the background and then you look at the composite place and you realize that the mountains were shot in one country the planes were shot in another the characters were shot against the green screen golem was of course computer-generated there's layers of fogs there's layers of light there's about 15 to 20 different layers of video and CG animation all composite together to give you the final output that look for all intents and purposes one hundred percent realistic and believable so that's what shake does but that's pretty high on used to shake you can use shake as well to do things much more simply i can basically do exactly what it did here but with shape using a in three standard hollywood level hollywood great tool to get out my shake composite so here i have the same composite done with shake so it's going to be just a little bit cleaner in here and this was once again rendered out of shake with the animation codec where no compression at all meaning that once I've got it back in the Final Cut Pro I can do more compositing for example I can go in here and add a lower third on top of this and I'll have my lower third composite it on top of this composite they came out of shake I'm going to have to render this before I can play it back but as you can see the quality on here is absolutely pristine so what I'll do is go ahead and open up the next sequence where this is already rendered and you can see what that would look like this products and amazing disease event sitting there in not bad huh so before I move on I want to talk about the rendering really quick I just mentioned that we brought these pieces in unrendered we're now going to have to render them this is a DV sequence so we're talking about a pretty low you know 411 color space it's a 8-bit it's not going to be the greatest color space in the world but let's just say we're working a standard definition on compressed or even high definition uncompressed well 8-bit color space or 8-bit rendering used to be the limit of final cut pro version 3 with final cut pro for to open up my sequence settings in here and notice that we now have eight bit if this is a high def sequence or a standard def on compressed I could set it to 10 bit more importantly we have this all y UV material render in high precision which means it is a 32-bit floating point render this gives you the absolute best quality possible-- for your renders its going to render it in a 32-bit floating point space and then on the final output bring it down to whatever level your actual project is going to be whether it be 8-bit 10-bit 16-bit or whatever you have so this gives you the absolute best possible render quality you take a render hit time on this you turn this on it's going to take a little bit longer to render but you know that your quality is going to be absolutely pristine is it affect any previews in the timeline for the render a question what you mean is what you're going to see it's going to look better on the preview screening out to your ntsc yes um I don't think she'll believe it doesn't let's just find that out I'm going on and it does oh no no it doesn't it the real time it's still real time it just threw away the render files for the pieces were already rendered because they have to be rear ender now but the real time kick believes are all the same ok onward let's see here right not completely there is not a background rendering in the sense of why you're still working it goes on and renders but there is a feature that I didn't talk about it's a new feature in here wrong preference pane and that is auto render all to render means that after a set amount of time whatever you like if you walk away from the machine you can have all open sequences current only or everything except the current sequence automatically start to render for you so those times when you go off to get a coffee and end up going out for lunch come back an hour later and think just lost an hour of rendering time I could have had all those things rendering while I was gone well this will automatically kick that in and start rendering for you you can also choose whether you want to have the real time sequences rendered real time segments rendered or not while you're away so it's not true background rendering it's not what you're asking about but this does save you quite a bit of time for those moments and you walk away and if not coming back quite quickly he thought you would ok the stick let us look at another real time effect and another new feature in Final Cut Pro for now you saw the time a time speed change where I took the clip and it was almost two seconds then I shrunk it down to one second pretty quick and easy play that back in real time how about something a little bit more exciting I'm going to take these two clips here shift option Z to zoom to fit to zoom into those I'm going to change the track heights now you may recall this capability from within Final Cut Pro three you can adjust the track heights by clicking on this little buttons here we have a new capability and that is the ability to adjust individual track heights on here so you can set any single hat track to any height that you like this is great as well for taking say your audio down really small and keeping your video nice and big it's a lot of different options in here alright so i have this clip on here i'm gonna play this through and you'll notice that we have in here the bicep was jumping hitting the ground and going down the hill a bit I want to make a change for this clip I want to have this clip so that the guy jumps in the air lands and that's the end of the clip at that point I wanted to transition to the next clip however I don't want to change the timing of this clip so I can't just trim it I don't want to change the timing because I have a lot of my Clips cut exact one second increments and I did that so that it would be really easy to do my music later so I don't want to change this I don't want to change the timing but somehow or another I need to change the timing such that he lands right at the last frame so that's the first part of the problem second part of the problem is I don't want to alter the part where he jumps up in the air I like that just the way it is I've decided that I'm willing to make a change from that point forward meaning i'm willing to make a speed change from the point where he's crested that jump down to the ground to make it fit into this one second space in here so for this we use the time remapping tool to access that tool I'd go to my tool palette and I choose the time remap er you go over here and the first thing I'm going to do is click just once click and let go and what I've done is I've added a keyframe to that point on the timeline I said that that point of video is now locked to that frame or that point on the timeline itself back to segment of time code I'm now going to go to the end of this clip and I'm going to click and drag to reposition the final frame of video now i'm going to reposition it so that it's just as he lands you'll notice some little pop-up window there if you can read that it says it's a speed to the left of the cursor is 61 percent the speed to the right of fifteen hundred percent well the speed of the right is off-screen so I don't care what's happening there the speed to the left is 61 percent no I didn't have to calculate that I didn't have to figure okay from when he crests the one he lands as this and I do the math and i get sixty one percent don't have to deal with that I simply click and drag visually assign the frame to be the frame that he lands on let go of the mouse and now I can play this back in real time to get that effect that's pretty good let's take a little bit of a closer look at what we're actually seeing here I'm going to open up another view here and turn on my time remap graph which shows me the graph that I've just created here's the graph that I've created here now if you bear with me for a second this graph here is showing me the time and the clip if this point was all way down at the bottom and then this point ms always at the top I would see the entire duration of that clip ramping in real time at normal standard time as I take that clip when I make it steeper the clip is going to move faster as i make it flatter it's going to move slower so this point right here you'll see it's moving at normal time and then gets a little bit faster or gets a little bit slower play that three again let's make that more dramatic I'll take this point bring it forward here I've just sped up this portion of dramatically and actually slowed down this portion so I play that back and if I want to smooth that out a little bit just make it a little bit more subtle I can go on here control click and choose smooth smooth out that ramp a little bit and let's play that back again I actually kind of like it with a sharpener on there so I'm going to take that cornerback and I'm going to go over here take the pen tool at another point on here and drag this down now what's going to happen if this time ramp starts to go downhill backwards it's going to reverse right I play this back pretty cool huh I love this tool this is a great tool this is like the total matrix time remap tool I'm kicking cables down here Jeff how am i doing on time so I know this thing isn't right I what's fine quarter to I got 15 minutes of demo left is all right we can go long I like it alright so there is some time remapping let's see here what I'm going to do is now fix the audio for this because you may have noticed sorry cuz I wasn't a question alright so this open up the one bit was actually kind of finished so let me go ahead and zoom into this portion here let's open up that time I map there's the final quote unquote final time remap that I did it's really nice and smooth I really like that effect but you'll notice here if you listen closely the sound of em landing doesn't line up with and actually landing that's a bit of a problem right you need to fix that can I get some more water please so what I'm going to do because it's hide these layers here I'm going to open up my audio here and I'm going to locate the sound of him hitting the ground so let's see here there's my audio and there is that landing sound right there so I'm going ahead and place a marker on there and now I'm going to look at the video itself and I'm going to drag through and find right working lands which would be right about there I now need to move the video without affecting the audio and you slip this video into place so that that marker lines up with that play head so what I'm going to do is make sure that my video and audio is on length which it currently is take my slip tool here and we'll just slide this over a little bit and get that marker to line up I should have linked these two audio tracks as a stereo pair was made that just saved me a step there but there we go split both of those into place you see what's happened I've moved that landing sound that landing peak to run into that frame video and now it should play back and sound actually correct just like that now but was snapping turned on it'll it'll snap it as you drag it but there's no keyboard shortcut for that okay so now that that's done thank you now that's that's done if I back up a little bit and I play through the previous clip in the next one you'll notice that there's a bit of a harsh cutting the sound hear the audio transition isn't very clean so what I want to do is add an audio transition between these two pieces so I'll simply click on these and choose add transition crossfade do that on both of them I'll extend the duration of that cross fade out just click and drag to extend the duration makes that really easy to do and now when I play this back it should transition much more smoothly perfect now we're done pretty easy huh okay next I'm going to go back and play a piece of the final project again I don't have time to go through this entire build up because this build up on its own can take about half an hour but as you can see this final pieces that will play is for streams of video playing back with some compositing going on and color correction filters let's just look at this [Music] quite a bit going on in there so how do we get about there i'm going to show you very quickly a quick overview of how we did it and then we're going to move on to the next step on here take more water another is throwing it at me thank you yeah alright so i have on here a clip without any of that video added i have three different Clips in here I'm going to open up the first clip I'm kind of cheating in here so I have markers telling me where to mark my in and out points so I'm very quickly using the keyboard I'm going to mark it in that's the i key mark it out drag and drop that on to the timeline like so I'm going to open the second clip and do the same thing marking in mark it out drag that on the third clip and the notice is the third and final clip has actually four sets on here of our four markers so two steps and markers now I can scrub through here and find these markers and as you can see it's telling me but the b3 in and the v4 out there and so on but a little-known feature in here is means is that I can control click on the time code window and show all of my markers right here so I can go ahead and say let's go to be three in and it pops the playhead right there I'll mark the end point let's go to v3 out mark the out point now I'm drag and drop that piece on and then I'll do that one more time for v4 now why did I just just go through all this instead of just showing you the final piece well it's a good reason for that if I drag and drop this final piece on you'll notice something else happens on the interface let's go ahead and do them into those pieces there we have these little red lines show up these little red lines are showing me duplicate frame it is a duplicate frame warning tool now why would you want to know about that duplicate frames bad when and film right and film it's very expensive to reproduce frames a film if you have an original frame you're going to put that in your final cut if you have to duplicate that there's a cost involved you want to know if you've accidentally used the same shot more than what so this is exactly what that's telling me here if I actually go in here and control click on that it's going to show me goop frames it says I have 54 duplicate frames and it tells me exactly where that it's duplicated if I select that it's going to bring the playhead to the start of that clip that is duplicated so I know exactly where it is you have a two-hour-long feature film on here and you've got at the very end a duplicate frame thing and you're going where is the ctrl-click and it takes you all the way back to minute one ish to LFA is the same piece in the intro and there you go you know you have to look for a different shot or pay the cost of replication ok so how do we go about doing this compositing effect i'm going to set up just one of them and then you can extrapolate and you know imagine doing the rest of them to get the same effect where the video goes into all four corners so this is just some basic compositing I'm going to start with this top layer of video here right now if I play this through we're only seeing the top layer video right actually I go down to the timeline that would be better and play that you're only seeing the top layer video you can't see any of the layers underneath because they're basically being obscured so what I'm going to do is I'm going to take playhead here on this clip I'm going to go to my motion tab effects and I'm going to lay down a couple key frames I go lay down a keyframe for scaling and from our center point and I'm also going to expand this viewer a bit because this window or this monitor is just entirely too small there's ever a need for cinema HD display it's the final cut pro you tell your boss is that when you go do I gotta have one okay so I've just laid down a keyframe scaled 100 sent centered right there I'm now going to up here in the motion tab just type plus 20 and hit return that moves the playhead forward 20 frames I'm going to take my scale except that to twenty-five percent actually fifty percent and I'm then going to go over here to the canvas itself and with wireframe mode enabled I'm going to manually reposition this into the top corner there instead of having to figure out what the numbers are just click and drag it wherever you like in the Lotus in here that there's a motion path telling me that I've created a motion paths when I play this back that object is actually going to move so if I play that back can you see the effector we just create just like that now if I want to clean that up a little bit and go over here and I look at that point you'll notice that it's well it since I did it by hand it's minus 180 1 point 0 7 well I can kind of guess that actually minus 180 is the exact number there and minus 120 to the exact number there and now I have it perfectly positioned into the corner there I could replicate that from the next four clips and end up with a piece where it goes into all four corners the next step on top of that is to add the real-time color correction so go ahead and reposition my window layout here you'll notice by the way that I just hit one of these buttons here these are the buttons that I pretty viously added to the timeline window instead of having to go up to window and choose a range and choose the window layout I simply click on there to show that so that is now in place and I can go ahead and start adding the color correction so if i open up let's see here where's my color christian piece i believe this has all for these scaled out yep here we go so here's all for them scaled i would then add a color corrector to each clip animate the color corrector the exact same way that you just saw me animate the scaling and the final piece looks like this so that's compositing or animating video clips what about animating still well works exactly the same way you can bring in multiple Photoshop files multiple tips whatever you like and composite them and animate them within Final Cut Pro for you can do that with final cut pro 3 as well something else you can do is bring in a multi layered Photoshop file let me open up this Photoshop file here right here you're looking at an actual Photoshop file you'll notice that it has four tracks of video well in Photoshop this is four different layers I can open up each one of these layers and you'll see that i have go back to video here to santa cruz bicycles piece i'm going to have these various little faded segments of colored stills that have been added in there this is a simple Photoshop file bringing that Photoshop file into final cut pro 4 allows you to then individually animate those layers to create some movement to create a little bit of motion in there so I'm going to go back over here and I want to add that entire Photoshop composite to this timeline now final cut pro 3 that would mean going over here opening a video track going back to your composite adding it in and then repeating that process for the other four layers or you could go in here and just select all and copy and then trim them down paste them and individually trim them and yeah it's kind of a lengthy process so we have a new capability in here we've always supported nested to the nested sequences which meant that I could take this sequence here and simply drag and drop it onto the timeline like that and I now have all four of those layers but to edit those layers I have to open them up and do the editing in a separate window the new feature will delete that is to take this composite this sequence here and drag it onto the timeline and by holding down the command key I can choose to expand that nest on the fly so how down the command key let go and it expands that nest and now all four of those video layers are dropped in their expanded ready to go little thing well no this is a you've now basically expanded that sequence right so if I was to since this sequence essentially doesn't exist on the timeline I've taken the contents of that sequence and drop them in here so no changes made to this will not affect this file here and then from here the animation effect that you saw at the end is essentially the same thing that I just did where I took a piece keyframe bit move the playhead board keyframe in a different position and it slowly animates the pieces around and you end up with something that looks like this okay now all of that said and done just for the sake of argument here since we only have half a time for this demo ilysm really needed we're going to say that all the video is done here's my final video project you can see that it's got everything in here it's got my titles it's got my interview sequence and cual so all these other effects in here plus my google got this interview products gonna make got my speed change I've got this wrong sequence go there we go I've got this compositing and after that finally the photoshop for pausing so what's missing from this piece there you go the music that you just exactly so I need to add the music to this now how do you go about getting music into your video projects what are your options you can go to CD rip the song off the CD or buy a song off the album music store and put that in there and that's great if it's just for you when you're doing family home movies and you're never going to show them outside of your home because if you did then that of course would be illegal wouldn't it you can't steal the music like that so what are your options for creating original music well if you happen to know a musician awesome good for you you can have a musician composed piece for you and just create that for you and you're great but not everybody knows musicians especially once will work for cheaper free so what about licensing music well you can license music that's certainly a really good option there's lots of ways to licensed music the problem with licensing it though is that you have to find something that really fits the mood or the feel of your piece that is the exact duration that you want and fits all of your beats and fits all of your cuts and if you have a cut of video that doesn't quite match the music what are you going to do call up the story about the music from and ask them to change it forget it you have to change your video and that's not the way to go so what about creating your own music you as a video editor what if you can create your own music in an interface and workflow that you as a video editor familiar with and that is what soundtrack is all about soundtrack is an application that ships with final cut pro 4 so I have my video here I go to the file menu and I choose export for soundtrack the export for soundtrack dialog allows me to choose whether I want to export the audio and video or video or audio only in this case I've exported the video on its own because I don't want to have the dialogue interfering with my music creation process I'm going to go ahead and switch over to soundtrack and I already have this piece of video imported and I already have a couple of tracks at it and I'm going to start to build up this music now soundtrack is essentially a loop assembly program what I'm doing in here is choosing from thousands and thousands of loops audio loops music loops we are literally shipping over 4,000 loops with soundtrack when you buy Final Cut Pro for it comes on for DVD over 4,000 audio loops how do you go about finding which audio loops you want well for this we have something called the browser the browser is awesome I can go through here and search by simple categories now we're actually looking at a very limited library right now for the sake of this demo I'm going to go to my setup tab right here and I'm going to turn off my demo library and turn on the actual shipping library you see 4112 tracks that's what it actually ships with and I go in here and i click on things like percussions are since or horns and world music and as you can see there's a lot in here if you look at the bottom it's actually showing me 1 250 up 721 that's just underworld it's a lot of stuff in here so how do you narrow this down well I'm actually going to turn my demo library back on so I can find what I'm looking for we go back to guitars and i'm going to type in strung I just want strumming guitars that brings me down too much more manageable size list so now I can start playing these different sound tracks and listening to them and seeing how they're going to mix in with my music with my video now I already have two pieces laid down here I have a drum kit in a synthesizer those have been added already let's go ahead and play this and see what it looks like it sounds like okay so it's a loop over and over again now I want to start auditioning other soundtracks you'll notice up here this is currently running at 120 beats per minute so notice over here the tempo of these tracks is all over the map here's one 9121 1085 92 and 80 all over the place if you take music that is a varying template and you put them together what happens it sounds horrible if you take music and bearing tempos and you scale them to force the tempo to match what happens you get a pitch shift right your guitar starts to sound like Chipmunks awful things happen so what we've done in here is we've built into soundtrack the ability automatically for your clips and your tracks to scale to tempo scale time scale without any shifting whatsoever listen to this matches perfectly matches perfectly I kind of like this one so I'm going to take this and I'm going to add it to my timeline I'll send that loop out it's not a bass guitar in here send that out and I not have four instruments stacked on top of each other all looping all playing in perfect synchronicity in other words maybe I want this to be a little bit slower a little bit too high beat for me ballistics take that down a bit maybe I want to speed it up no pitch shifting whatsoever that all right this is a phenomenal application and it's free with final cut pro 4 unbelievable ok so right now I've got four loops repeating over and over and over again it's going to take about two more minutes for you to get a headache so what are going to do is we're going to build this into an actual saw something that resembles real music so for that I'm going to take my drums and I'm going to have them start about halfway through this piece I'll take the bass guitar all have that start about halfway through and the sense I'm going to have it started about a quarter the way in the levels on the fit since since since have been dropped to minus 12 with water what I'm going to do is I'm going to play this is the since comes in I'm going to raise the levels up on here i can actually keyframe all of this sneak preview their leather key from all this stuff we're not going to get into that so I'm going to an int play [Music] raise the levels [Music] off to a pretty good start now it's pretty simple still so let's open up a project that has a little bit more work done to it I'm gonna hide the browser there and if you look at this timeline you can see that we have guitar tambourine another guitar keyboards and drums and other it looks like a bass guitar and leather lead guitarist assemble some organs some keyboards there's a lot of stuff one on here let's see what this sounds like [Music] pretty good so far huh now you may have noticed that there's something a little bit strange that happen back here going to play this again there was an audio event an audio beat or change that didn't really match up with the video event or the video change it's right here as we transition from there we go this clip to this clip it's so obvious really big change in the video we're back up there we go between these two it's an obvious big change in the video but if you listen to the music there's a change in the music that seems like it should match up with that beat but doesn't it's a little bit later so what are we going to do about that well first of all how did this happen this is an exact 120 beats per minute either said earlier that I cut this video with 1 second clip so that I would easily be able to match it up to my music 120 beats per minute one second per video clips do the math it's pretty easy to see that this should line up perfectly so what's happened here well what happened here is what happens in the real world all right you do a video project you show it to the client the client says do this is great but I want you to cut this and split that in turn this and put this over here not over there and the next thing you know you're very carefully selected one second cut or no longer there you have this piece it is a little bit of an anomaly it's off so what do you do about that well you can't change the video because it's been approved by the client you don't want to totally recut your audio because that's going to be a drag so what if you can just do a little bit of a shift to make that audio and video match up perfectly you can watch this I have over here you'll notice the playhead is right on that video cut to follow the playhead down right follow the playhead down here's the cymbal crash that we're looking at it doesn't quite match up well it turns out that this marker right here is exactly on the point in time of the the new videos transition the new video cut that is a marker that it created in Final Cut Pro that was exported out of Final Cut Pro as a new type of marker color scoring marker and that marker I can now take and simply drag the lines up with a cymbal crash what I've done is I've just asked soundtracks very very slightly alter the tempo of the music before that marker so that they line up let's hear it you do that again okay undo all you get her just drag it okay so here we are it's running at 120 beats per minute I'll give you a little bit more insight into what's happening here 120 beats per minute I play it through it misses the beat music right so I'm going to take this piece this is the marker this is the cymbal crash I'm lining up to down here I'm going to take this marker and just drag it over so it lines up the cymbal crash you notice it's gone orange to show me that I've distorted something you'll notice now that I cannot control the beats per minute anymore this is now since I've altered it soundtrack has taken over that I can no longer also that beat per minute the playhead over here shows me that I'm running at 120 beats per minute I put the play it back here it's running it at 125 beats per minute it is ever so slightly altered the temple of that I can go through here and continue to alter this let's say i take this marker and i'll move that over a tiny bit let's move it that way so that's 125 meets per minute for the piece before it is 150 s that's that's pretty dramatic because it was so close to the beginning so that probably would not really work out very well it's not a fix-all for everything you can't take something that's 30 seconds off and fix it like this you're gonna have to do a little work there this is really designed for those ever-so-slight you know half second quarter second pieces that are just off the beat and you can get away with doing that ever so slight pitch shift and so here or ever so slight temple shift and so here we go again playing it through not mad at all huh all right from here you can export out your soundtrack file you can choose to export out a stereo mix which you can then bring back in the Final Cut Pro or put it on your iPod or whoever you want to do you can choose to export out single tracks every single one of these tracks will export is its individual own stereo pair you can then bring that back into final cut pro if you like and populate the timeline with all the individual audio tracks or more importantly you can bring it into an application like logic within logic you can do things like mix it to further mixing add other effects to it add virtual instruments mix it in with real instruments do all the wonderful things you can do with logic and then bring that back into Final Cut Pro the options are really endless you can take this into logic and make a surround sound mix out of it whatever you want to do I've already exported out a stereo pair so I'm going to go ahead back to final cut pro they're not time stamped with the time code that came out of the video but what they are is they're all exactly one length they're all exactly the same length so if you have a clip that starts later like this you'll just get blank space in here so you bring them in and you slap them all the time zero or to the start of the play head or the start of the video that you exported so if you only export it a small chunk of video bring them all in line them up the start of that video and the blank spaces there and you can trim the blank space off if you want to but of course you don't have to know as the beauty of this these are totally royalty-free you can do anything you want with this music that you create hey see you know I have not tried that yet yeah I don't see why it wouldn't but I don't know how it would handle the whole you have permission or converted to an AIF is what you want to do is going to mp3 would be you lose quality so you want to but of course you shouldn't be doing that anyway because of some licensed music and I'll loud to view that your licensing it for personal use only so you could not turn around and rebroadcast that or resell it or anything so that's personally you send there are ways around it you can do the AIF you can do the mp3 you can hack it but you know still allowed to say that I just did it was on camera no you shouldn't do that I mean obviously you're not supposed to assume yes the looping format is a industry standard we've added a few things to it we've added a few extra tags and so when you install this whole bundle the full suite of applications there is an extra utility called the soundtrack utility or something like that it's in your utilities folder let's see if I can farm that really quick don't care what is it do there we go soundtrack loop utility this will allow you to import other loop formats add the extra tags we want on there and cue them up and you put the category to do with all the categories in here so they line up with with the categories in soundtrack oh ok so to repeat all the questions for the translator sorry guys ok yes nah-uh he said is it true that soundtrack of support logic plugins yes Fresno that's right isn't it Michael [Music] right just to filter partners not the virtual instruments that's Michael Wong he's our resident export on the East Coast on this app and he works a lot more with the audio stuff an idea could see the musician on the other hand hip not ah you can actually change that let's go over here I'll show you up to oh and here on where you can train me like the track heights and oh oh do you get sample resolution on there you know that's really the question I don't know let's say down to beats well we're he asked the audio guy all right old I've like 15 minutes left till Q&A and that's a lot more than I thought because I've I've five minutes cueing okay that's better good now we're now we're back on track okay so back over here this is the video that I had exported here is my soundtrack music that I have exported out as a stereo pair and I can simply take this piece drag it onto the timeline in here and i've added that back in and as you can see it's exactly the right length it because i cut it out you know cut it to the video so it is coming in at exactly the right length in there and going to play San forensic isn't falling as those who live in looks like a lot asleep and possible by choice we define including that beat matching right there so all is lined up perfectly I'm bringing it back in so now that this is in place I need to do a little bit more work to this track before it's totally completed you'll notice that as I play this through the music is the same level all the way through it's the same loudness all the way through that's fine except when the interviews come in and the dialogue comes in when the dialogue comes into a little too hard to hear the guys talking can exploit information is flowing so what I need to do is lower the levels of the audio on there now I could go in here with a pen tool and add a couple points in here to lower the levels but there is a better and easier way to do that now with final cut pro 4 then choose a new window layout here excuse my audio mixing layout to reveal the brand new audio mixer this is a 99 track audio mixer you can have every single track of audio on your timeline represented in this mixture in here you'll notice what I have currently six tracks of audio therefore I have six tracks on my mixer in here and I large your screen of course you be able to see all those at once I also have the ability to hide and show individual tracks on here so if i do have 99 here but i'm really only concerned with a couple of them I can hide and just show the ones that I want and I can even save different views so for example here's view one with all of them to go to view to and I'm going to hide three and four and we'll just say five and six and I go back to one back to to the back to one back to two so you can say about these customized views very quickly just click on the number and do it you don't even have to save it out as a separate file so then we go back to having all of them visible I'm actually going to hide three and four because I'm not concerned with those three and four right now are my on my background audio the existing audio that came from the video tracks one and two are my music tracks five and six are my dialogue what I want to do is lower the levels of the music when the dialogue is on so keyframe reporting is already turned on I'm just going to go ahead and now it's fun I'm going to go ahead and hit play and start adjusting these levels santa cruz by stands for innovation and quality our goals deliver the most technologically advanced plus the modules like in short we decide back up again and down I want just products that I'm making to be the best thing there is and you notice that the timeline has been altered my levels have all been added in there just like that all there is to it if I want to make changes to this I can go ahead and scored the zoom into this a little bit i'll zoom into that i can go in here take the pen tool i can rearrange this however i like if i want to totally redo it i can just hit undo or choose to remove attributes command remove levels hit OK and start that over again now you'll notice when I did that that it didn't lay down a thousand keyframes you may have seen tools similar to this before it where it lays down for every frame of video it lays down a new keyframe which means that when you go back to change that later it's just about impossible because for one second video you have 30 key points to move or you have to go in and remove a whole bunch of them by hand so clearly it's a tedious process but what if you actually do want those keyframes in there for whatever reason let's say you're doing some really fine tuning to it and you want to really find tune into your levels and you want to make sure that every single nuance has been recorded well I'm going to go ahead and bring up my button search here and i'm going to type in key key graham now keyframe and here's my key frame recording button i'm going to go ahead and drag this on to my tool bench and notice here that i have three different choices i have record all keyframes record reduced keyframes which is what you saw or record peaks only repeats only is an extremely minimal amount of keyframes but we laid down possibly a bit too minimal if you have any type of subtle adjustments to it the default is the center one reduced but let's go ahead and just set it to the all and see what happens i'm going to go back down here play this through and make these changes again santa cruz by stands for innovative inequality i'll bring it down blues in this one will go and sort of get the idea and now as you can see I've been a few key frames at it yes let's just zoom into that a bit it's going to make this track is really nice and big and as you can see there are far too many frames and here to want to edit so you can make that choice if you want to so every little nuance is recorded or simply go to reduce and have that much cleaner and much more manageable zooming on to play it here yes I just doomed it on the playhead oh yes did i zoom in on the playhead yeah if I just basically okay shifts need to zoom back out nothing is selected so when I do command plus and minus the zoom is it on the playhead if I have anything selected no matter regardless where the playhead is is i zoom in and now just going to zoom in and out on the selection so zooming where it zooms is just depending on either whether there's a selection or if there's no selection just to play head itself it's time to go to Q&A okay I'm going to wrap this up with one quick thing that I do want to talk about here and then we're going to hit Q&A export options you have under here a whole suite of export options export out the quicktime movie export out to your audio to omf a new capability that is just been released here at WWDC is the beta for XML exporting XML the SDK for this is also being released here at WWDC so for anybody who is interested in XML exporting this is all new and there's an entire session dedicated to that so that's a big announcement for us going out to xml and that's something if you're interested in this at all you're definitely going to want to check out that session so okay I think it's time for me to hit some questions so jess you want to come on up and let's see if we can answer any of the tough ones