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It was NAB 1998 and I was sitting in one o the demo sessions. As
an Editor and Graphic Designer, Final Cuts blend o editing and
graphics capabilities intrigued me. Shortly ater the preview at
NAB, Apple acquired the sotware rom Macromedia, added Pro
to the name and released version 1 in April 1999. The application
that almost never saw the light o day was about to spend the
next ten years turning the industry on its head.
The timing o the Final Cut Pro launch was certainly auspicious.
With Steve Jobs back in the driving seat, and the groundbreaking
iMac turning heads, Apple was buzzing. DV cameras were making
high quality video aordable and Mac computers were startingto become powerul enough to process eects in real time
without additional hardware. The internet was becoming a part o
daily lie and a vibrant virtual community soon evolved to share
experiences and valuable knowledge.
Ever since that pre-release demo at NAB, I had been keeping a
keen eye on how Final Cut Pro was developing. The landmark
release o version 4 in 2003, showed me that Apple were serious
about proessional video editing sotware. I made the decision to
switch rom Avid and havent looked back since.
One o the reasons I believe Final Cut Pro has become so popular
is its wide appeal, rom the beginner right up to the proessional
editor. Its strength lies in its simplicity but looks can be deceiving.
The application contains a tremendous number o hidden eatures
and thats where this book aims to help.
Final Cut Pro Killer Secrets is a collection o tips, techniques and
reerence material that Ive learnt, discovered or stumbled upon
since 2003. The book is written primarily or Final Cut Pro 6 but
virtually all the tips will work in earlier versions. Whether youve
been working with Final Cut Pro or ve months or ve years,
I hope you nd it both interesting and useul.
My thanks to Nial Brown, Victoria Parks-Murphy, Jonathan Eric
Tyrrell, Toby Undell-Phillips and Byron Wijayawardena or their
help, support and invaluable eedback.
Martin Baker
March 2009
Introduction
INT. MUNDANE BASEMENT MEETING ROOM - LAS VEGAS
Throughout the day, a small group of people file
into the room to see a pre-release version of a newediting application from Macromedia.
DEMONSTRATOR
Welcome. Today Im going to show you a sneak
preview of Final Cut...
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Chapter 4: Basic Editing Page 5
Mouse Jogging
This is a great time-saver when trying to locate to a rame on a source clip
or sequence. Simply move the mouse over the Timeline ruler or the image
area/scrubber bar o the Viewer or Canvas and move the wheel or ball to
jog the playhead.
Adding the Option key gears up and makes jogging even aster.
The One Second Hop
Press Shit-Let Arrow to move the playhead one second earlier.
Press Shit-Right Arrow to move the playhead one second later.
This works in the Viewer, Canvas and Timeline and i you hold the arrow key
down, it will repeat or a shuttling type eect.
Toggling Between Viewer and Canvas
You can quickly toggle between the Viewer and the Canvas by pressing Q.
I the Timeline is currently active, Final Cut Pro is smart and will make the
Viewer active on the rst keypress, then toggle between the Viewer and
Canvas ater that.
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Chapter 4: Basic Editing Page 6
Text Generators Shortcuts
Here are two super quick ways to load the most common text generators
into the Viewer.
Press Control-X to open the standard Text generator.
Press Option-Control-X to open Boris Title 3D.
Quickly Setting Duration in the Viewer or Canvas
Heres a super quick way to set an exact duration rom the current in point
(or rst rame o the source clip or sequence i in point is not set).
Press Tab.
Enter the required duration and press the Return or Enter key.
Play to Out Point
Pressing Shit-\ will play between the marked in and out points on a source
clip or sequence but you can also play rom the current playhead location
to the out point by pressing Shit-P.
Just like Play In to Out, this shortcut works in the Viewer, Canvas and
Timeline and is very useul or long clips where you just want to check the
out point rather than play the entire marked section.
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Chapter 4: Basic Editing Page 7
Locating to Timecode
Its very easy to move the playhead to a specic timecode in the Viewer,
Canvas or Timeline. Theres no need to highlight the current timecode eld
or enter colons between the hours, minutes, seconds and rames, instead
you simply type the digits in.
But it doesnt stop there. Since timecodes always ll in rom the right,any digits that arent entered are assumed to be the same as the current
timecode. In addition, by entering separators in a certain way you can
reduce the number o keystrokes required as Final Cut Pro will ll in the
blanks automatically.
For example, assuming the sequence starts at 01:00:00:00, the playhead is
positioned on the rst rame and no items are selected in the Timeline:
Digits Entered Interpreted as Moves Playhead to
4. 4.00 01:00:04:00
Final Cut Pro will happily accept a period, colon, semi-colon or comma as the
separator so 4. 4: 4; and 4, are all valid and give the same result.
I you add a number ater the last period, youre entering the rames:
Digits Entered Interpreted as Moves Playhead to
4.6 4.06 01:00:04:06
2.2.2 2.02.02 01:02:02:02
2... 2.00.00.00 02:00:00:00
Its also possible to enter relative timecodes. This can be useul i you want
to select a clip or edit and move the selection by a relative amount:
Digits Entered Interpreted as Moves Playhead or Selection
+4. +4.00 4 seconds later
-4. -4.00 4 seconds earlier
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Chapter 4: Basic Editing Page 8
Missing Thumbnails
I you open a project and any media les arent available (and you dont
reconnect them) then the red Media Ofine thumbnail gets shown on the
timeline clip.
A problem occurs i the media les are available again the next time you
open the project the red thumbnails are not updated and still showthose clips as being ofine.
The solution is to orce Final Cut Pro to rebuild the thumbnails which is
usually a airly quick process.
Use Spotlight to search or a older named Thumbnail Cache Files
and move it to the Trash.
The next time you open the project, Final Cut Pro will rebuild the
thumbnails or all the source clips.
Deault Number o Tracks
By deault, Final Cut Pro creates new sequences with one video and our
audio tracks. I you nd yoursel requently adding new video and audio
tracks you can change the deault settings in the Timeline Options tab o
User Preerences.
Locking Video and Audio TracksLock individual video track: Press F4 then the track number
Lock all video tracks: Press Shit-F4
Lock individual audio track: Press F5 then the track number
Lock all audio tracks: Press Shit-F5
Its also possible to Option-click on a tracks lock icon and all other tracks o
the same type will be locked.
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Chapter 4: Basic Editing Page 9
Changing the Height o Timeline Tracks
Change the height o a single track: Drag the divider
Change the height o all video
and audio tracks:
Shit-Drag any track divider
Change the height o all tracks
o the same type:
Option-drag any audio or video
track divider
Cycle through our preset track
heights while resetting all tracks
to the same height:
Press one o the our impossibly
small buttons at the bottom o
the Timeline
Cycle through our preset track
heights while keeping the relative
sizes o each track:
Press Shit-T or Option-click on
one o the our impossibly small
buttons at the bottom o
the Timeline
The Fast Way to Delete Empty Tracks
I youre tidying up a sequence and have many empty tracks, then deleting
each track individually may take a while. Fortunately theres a handy way to
delete multiple tracks built right into Final Cut Pro.
Choose Sequence > Delete Tracks.
Enable deletion o empty video and/or audio tracks as required and
press OK.
Choosing the All Empty Tracks option will delete all tracks that are empty,
regardless o where they are in the stack.
The All Empty Tracks at End o Sequence option is a little conusingly
named. It will only delete empty tracks i they are at the outside o the track
stack, so any empty tracks that lie between used tracks are unaected.
The impossibly small buttons get their revenge
1
2
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Chapter 4: Basic Editing Page 10
Track Patching
As well as the regular way o patching video tracks by dragging the source
track up or down, a super quick way to patch the V1 source track is by
simply clicking on the desired video destination track. As a bonus, i the
V1 source track was previously disconnected, it will automatically become
connected at the same time.
Track patching can also be set rom the keyboard:
Patch v1 source track: Press F6 then the destination track number
Patch a1 source track: Press F7 then the destination track number
Patch a2 source track: Press F8 then the destination track number
Its possible to disconnect tracks by using these shortcuts:
Disconnect v1: Press Shit-F6 or F6 then 0
Disconnect a1: Press Shit-F7 or F7 then 0
Disconnect a2: Press Shit-F8 or F8 then 0
Track patching can be reset to the deault v1-V1, a1-A1 and a2-A2 state by
right-clicking on any Auto Select or Lock button and choosing Reset Panel
rom the shortcut menu.
Finally, i a multitrack source clip or sequence is loaded in the Viewer, thentracks on the source are only displayed i there are enough tracks in the
destination. So what can you do i youve got a source clip with 8 tracks o
audio but only a 6 track sequence and need to patch a8 on the source to
A6 on the destination?
Simple. Right-click on the A6 destination track and youll see a shortcut
menu with all the available source tracks or the current clip in the Viewer.
Choose A8 and the track will be patched.
Beore Ater clicking V1
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Chapter 4: Basic Editing Page 11
Instant Play Rate
Many editors love using the JKL keys or navigating through a clip or
sequence at dierent speeds but arent aware that its also possible to
access the ast playback speeds directly rom other keys on the keyboard.
I you open the keyboard layout window (Tools > Keyboard Layout >
Customize) and search or rate youll see a list o 12 playback rates rom -6
to +6. These rates match the speeds available with JKL, so a play rate o 1 is
normal, 2 is 2x speed, 3 is 4x speed and so on, up to a top speed o 32x.
By deault, all but one o these commands are mapped to the Control-F2
to F12 keys but bewaresome o these key combinations are assigned by
Mac OS X and it always takes priority over Final Cut Pro. With this in mind,
you may want to remap these commands to use the Option key instead as
shown here.
Timeline Scrolling with the Mouse
Move the mouse into the Timeline and move the ball let or right to scroll
the timeline area. Just like mouse jogging, you can hold down the Option
key to gear up and scroll aster.
Timeline Scrolling rom the Keyboard
This is the same as paging through the Timeline by clicking to the let or
right o the horizontal scroll bar...but much aster. It also works during
playback which can be useul.
Press Shit-Page Up to scroll the timeline to the let.
Press Shit-Page Down to scroll the timeline to the right.
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Chapter 4: Basic Editing Page 12
The Finer Points o Timeline Zooming
Press Shit-Z to show all clips in the sequence.
Press Shit-Option-Z to zoom to selected clips.
With the Zoom In Tool selected, you can temporarily swap to the
Zoom Out Tool by pressing the Option key.
Get a close up view o the Timeline by mapping the Zoom 800%
command to a key.
This shortcut also works or zooming to 800% in the Viewer and Canvas
window so be careul that the Timeline is active!
Press Option-Minus or Option-Plus to zoom the Timeline even with
the Viewer or Canvas windows active. This can be very timesaving but
be aware that just like the Command-Minus/Plus shortcut, i there is
a clip or edit selected, then the playhead position will be ignored andthe Timeline will zoom to the selected item.
Another very welcome zoom command that was introduced with
Final Cut Pro 6.0.2 is Zoom In/Out on Playhead in Timeline. This has
the advantage that it always zooms around the playhead position
even i a clip or edit is selected. It isnt mapped to the keyboard by
deault, so you may want to remap it to the Option-Minus/Plus keys.
The Mysterious Case o the Lost Playhead
I youve ever scrolled the Timeline and wondered how to move it back to
the current playhead location, then press the Let or Right arrow buttons
and the playhead will scroll into view.
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Chapter 4: Basic Editing Page 13
Clip Enable
Many editors are amiliar with enabling and disabling tracks using the
green buttons, but one o the most useul editing eatures in Final Cut Pro
is the ability to enable or disable individual video and audio clips.
Select the clip or clips you want to disable.
Press Control-B
The disabled clips will be shown in a darker colour on the timeline. Pressing
Control-B again will enable the selected clips again.
A disabled video or audio clip remains in the same place but is not played
back, rendered or exported. This eature is particularly useul or trying out
dierent cutaways or music in a sequence by stacking them up on separate
tracks and enabling clips as required.
Another use or Clip Enable is or breaking links to render les i results
arent what they should be. Select the clip(s) then press Control-B twice todisable then enable the clip. The links to any render les on the selected
clips will now be broken so you can try rendering again.
Edit Jumping
The Up and Down keys move the Playhead to the previous/next edit acrossall tracks as well as the sequence in and out points i they are set. So what i
youre adding a series o transitions and want the playhead to only jump to
edits on a certain track? Heres a workaround.
Select an edit on the desired track.
With an edit selected, the Up and Down keys now select the previous
or next edit on that track alone and take the Playhead along or
the ride.
1
2
Disabled clip
1
2
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Chapter 4: Basic Editing Page 14
Making, Managing and Moving Markers
There are two types o markers in Final Cut Pro clip markers and
sequence markers.
Clip markers are locked to a particular rame in a source clip and can be
added either in the Viewer or to a clip in a sequence. When dealing with
clip markers in a sequence there are a ew things to bear in mind.
To add, edit or delete a clip marker you must have the clip selected.
Note that the master clip in the Browser will not update when you
add a clip marker in a sequence.
When using the Shit-Up/Down arrows or Option-M/Shit-M keyboard
shortcuts to move the playhead to the previous/next marker, the
playhead will only stop at clip markers on selected clips. I you want
the playhead to stop at any clip marker then press Command-A to
select all clips beore using the keyboard shortcuts.
I you right-click on a sequence clip then a list o its clip markers will
be shown at the bottom o the shortcut menu. Select one and the
playhead will move to it.
Bear in mind that this is a list o all the clip markers, not just those visible
in the currently used portion o the clip, so the playhead may shoot of to
some seemingly random timecode i you select a marker that isnt visible.
Sequence markers are locked to a particular rame in a sequence.
I you right-click on the current timecode eld in the Canvas or
Timeline or anywhere on the Timelines timecode ruler, a list o
sequence markers will be shown at the bottom o the shortcut menu.
Select one and the Playhead will move to it.
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Chapter 4: Basic Editing Page 15
For both clip and sequence markers, the ollowing shortcuts can be useul.
Press Command-` (grave key) to delete the clip or sequence marker at
the current playhead location.
Press Control-` to delete all markers on the current clip or sequence.
Press Shit-` to move the nearest marker on the let hand side o the
playhead to the current playhead location.
Press Option-Command-M to edit the nearest marker on the let hand
side o the playhead.
This last shortcut only works with sequence markers and does strange things i
clips are selected.
I youre using markers to quickly identiy interesting sections on a source
clip but want to avoid the complications o subclips, then see Fast Copying
of Timecode Fields on Page 15. This allows you to use the marker list in the
Browser as a reerence, then locate the master clip to a markers timecodeby Option-dragging it rom the Browsers In point column to the current
timecode eld in the Viewer.
Closing All Sequences
Got too many sequences open and want to clear the decks a bit? Theresno need to close each sequence individually, just close the Canvas window
and all the open sequences will be closed.
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Closing Tabs rom the Keyboard Useul Folders Time Machine or a Cli
Importing Image Sequences DPI and Video Mouse-Free Browsing Sel
Ready to Edit Importing Files or Folders Directly into a Bin Dabbling with D
Mixing Aspect Ratios Exporting Multiple Still Images Custom Video
Zip It Up Moving Items to the Top Level o a Bin or Project Fast Copying
The Complete Guide to Delete, Cut, Copy and Paste Exporting a Single Still Ima
Going Large Quickly Changing Properties or Multiple Clips Super Quic
Adding Audio Keyrames rom the Keyboard Real-Time Audio Syncing
Normalize This Quick Filters Editing Moving Clips to Start at a Speci
Counting Clips Demystiying the RT Popup Menu Adding Transitio
Previewing Non-RT Eects Scale Attribute Times Jumping to K
Comparing QuickTime Export Choices Reerence vs Sel-Contained
Nudging a Clip in the Canvas Exporting a Movie with Multiple A
Waveorms Gone AWOL? Super Fast Importing Viewing Alpha T
No Nesting Viewing Both Fields in the Canvas Interactive Point
Using Replace Edit to Sync and Overwrite Finding Timeline Clip
Super Fast Eects Editing with Playhead Sync Pasting Clips to Diere
Quickly Trimming the Previous Edit Selection Tool vs Roll Tool Trim
Recording Multiple Takes with the Voiceover Tool Mute and Solo Au
Scaling a Clip to Fit the Sequence Saving Custom Eects Fadin
Become a Blade All Ninja Slipping a Clip in the Trim Edit Window T
Alpha Types Gimme More Gain Adjusting Audio Levels During Playba
MORE TIPSIN THE COMPLETE BOOK
150GET OVER
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Final Cut Pro Killer Secrets (Sample Chapter)
Written and designed by Martin Baker
Supermeet Edition Published 21st April 2009
Publisher: Digital Heaven Ltd
www.digital-heaven.co.uk
Company registered in England and Wales:
Digital Heaven Ltd
55 Lynwood Drive
Worcester ParkSurrey
KT4 7AE
United Kingdom
To report errors please email [email protected]
Final Cut Pro is a trademark o Apple Inc.
2009 Digital Heaven Ltd
All rights reserved. No part o this publication may be reproduced
or transmitted in any orm or by any means, electronic or
mechanical, including photocopy, recording or any inormationstorage and retrieval system, without prior permission in writing
rom the publisher.
Martin Baker
Martin is the Founder and Managing Director
o Digital Heaven, one o the leading third party
developers or Final Cut Pro and Motion.
Ater starting his editing career at the BBC, he worked
as a reelancer through the nineties on music concerts,
promos and graphics intensive short orm projects
using a wide variety o systems - rom tape editing to Lightworks and
Avid Media Composer.
In 2000, he set up Digital Heaven as a post production acility and
designed, specied and supervised the installation o the companys
inrastructure and edit suites in West London. As the companys Senior
Editor, Martin worked on projects or the BBC and other broadcastersusing Avid Symphony and DS. He gained extensive multicamera editing
experience through music perormances or T4 and major projects such
as The Fast Show Farewell Tour.
In 2003, he made industry headlines by switching the company rom Avid
to Final Cut Pro. Martin was responsible or post production on the iconic
weekly BBC music show, Top o the Pops or the next two years.
In the same year, he moved into sotware development and launched
a range o Final Cut Pro plug-ins. These were ollowed by a number o
highly innovative and unique Mac OS X applications including the rst
multicamera editing solution or Final Cut Pro.
Recent years have seen Martin involved in website design and
development with the launch oavid2cp.com in 2007 and a new
community site or editors due or launch in Spring 2009.
Martin has been an Apple Certied Trainer or Final Cut Pro since 2006.
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