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