one more really cool feature in final cut. It's called an audition clip. Remember? I said to get the audition at the end. You don't have to adjust. You can just sit there. But you may want to sometimes figure out which version of a shot you want. So we're gonna go back to this sound bite here at the beginning. Answer from Crimea. I remember. I'm a dancer from Crimea. Okay, so but I remember there was another take, so I'm gonna go back to my interview clip on day. That was the opening clip. And so I think this 1st 1 is different. This. So what I want to do is I want to see maybe I want to try both. So, you know, in the old days, maybe put it on top and you then switch it out, turn things on and off. We're not going to do that. First of all, let me see what the length of this is. Oh, yeah, I did. I made the shorter already, So I'm gonna go ahead and fix this split at a just so you can really see what I'm doing. Oh, my gosh. What's happening there? Oh, Yeah, I'm grabbing the wrong side. D...

on't panic. I was just having the wrong side. Look, I opened that up. Now I don't have a split at it. Nothing's out of sync. Life is good. I want to bring these together. I can right click on it, and I could bring them back together, which is collapse audio and video. I just hit Control s again. Okay. So that we have So this is control D. It is 3.5 seconds long. This one, I think I have a longer one. And so we want to take it up with I'm I'm an arrest. So I my dancer from crying me up. And I also play the piano, so I think that's a different one. Let's see if this is I'm an arrest, so I might answer from Crimea. Okay, so that's the same one. Both and I'm a dancer, and I also play the piano. Anna Russell and I'm a dancer and I also play the piano. So it is just I'm just say where she's from. So that's what I want to pick. Hold the option key down. Let's see what the Ford Slash and and I'm a dancer. Okay, so that's an alternative take so I can go down. And another question, we were asked earlier. I think it might have been under It was it was off camera. Replace that. So let's I want to swap this out. If I drag this down and let go, I'll get a dialog box because I wanted. And it says, Oh, yeah, you want to replace that? Well, if I had replaced right now, it will swap out the clips. And because it's a magnetic timeline, it actually throws in the shorter clip and everything just collapses. So if you have different takes, its great you don't have to worry about Oh my gosh, they said, It's slower this time. I have to move everything. No, it just stretches and fits it. So that's really cool. If I needed to keep it the same just to show you and I'm gonna pick a Norbit Charlie long clip. If I drop this in and I choose, replace him. Start. It does a three point at it. It used the beginning of the clip. I drop into the beginning and then uses the end in the timeline so it doesn't get really long. Maybe I just, you know, one replaced another dancing shot, and I don't want it to get longer, Okay? So I could replace it from the start Or if I do replace in the end, that's the same thing is doing. Ah, backed time at it, which I just care about the end of the statement. So those are the big three. But then there's these audition things, so that's kind of like it to the next level. So what I'm gonna do is I'm actually going to go back to the 1st 1 that we liked. It remembers what that is, and I'm going to drag it down harder to drag when you're zoomed in and let's get the pop up pop up. Here we go. I can do replace and add to addition or actors. You're going to replace an ad to addition. I click it and it brought in that other clip. Let's go ahead and even bring this one in, which is even longer. Okay, bring it in. I can do replace and then I'll do add to audition. That's the longer version. So I have all these three, but you know, I want to go back to the 1st 1 or the 2nd 1 They're all inside a really cool container. And if you look closely at the clip at this point, you'll see there's a little spotlight because it's the big show. Okay, if I click on that, I can go between each version of Mike and so I can say, Oh, do I want to try this one? That I want to try that one And then I can go ahead hit the enter key that one's in or else I can swap, Not They're all there, and it will stretch as needed because I put in the take. That's from the beginning to the end so you can try different versions. Different takes. If you use filters, you can try something with a color corrector without a color corrector. It is incredibly useful. You can very easily different cuts of music. Sometimes I'll do different cuts of music as an addition are different dance moves, so it's really great. They're all there. You don't have to go back and forth when you find one to finally be done. You can go ahead and click on that, and, um you can. Actually, you can right click on that and under addition, you could say finalized. And it will just keep the one that you ultimately want, So that's pretty good. And then there's keyboard shortcuts that while you're previewing, you can actually swap out. So play with these keyboard shortcuts of these selections and auditions are one of the great features that I find in Final Cut Pro 10. How do you compensate for the audio when you create a gap? How did you do that? I'm I guess I'm to better understand the question if, while I'm answering, they can type in if that's not the correct answer. Um, if you create a gap, it does split the clip, and the audio will go away in that section. Okay, um, if you want to just create a gap and have the audio not go away, you have to be a little trickier. And the nice thing is, it doesn't allow me to teach a new feature. So let me zoom out and let's say I have her talking. So I want this will just zoom into this minute the Z key, and if I just with dizzy, keep zoom key. I just select that. It zooms right in. So let's say I wanted to Ah, to separate this. So if I do a gap at this point, OK? Option W That's a big long gap for her talking under You saw it cut the clip in half. But if I wanted the audio to continue, and this is a little problematic because, you know, you have to carefully, you don't train for things out of sync. I'm in my selection tool. Make this clip longer because candles. Yeah, well, we'll put a gap in any way right now. These clips are married to each other. It doesn't want to, you know, put this out of sync, but I move the video, I move the audio. If I need to separate them, I can say detach audio. The audio is still there. Let me zoom back in. Is just now a connected clip to its original clip. So it still is in sync. Okay, But I could do something. Maybe I didn't want the, uh the audio anymore at all. One way I could delete that I could turn it off also in the inspector, but I could delete it. But now, because they are separate from each other. If I put a gap clip in okay, it's gonna be a big one, because it's ah, option W The default believes three seconds it put the gap clip in. But because these are detached the connection state on the original one, the problem is there's no audio there. So, you know, if you put a gap in it, naturally wants to separate it. But if you needed to do it independently, you could detach the audio. If you just want an empty space, there's other ways to do it. You could actually grab a selection. So let's say she's talking again and then we'll wrap with this. I'm gonna have a nice long piece in here. Throw it to the end. I don't need to drag it. Option X will just use the upend. There it is. Nice and long. Let's zoom in. So maybe I want to just take out the video of this part and leave a gap. So gonna go ahead, separate this detach audio. Sometimes you look and you do not see Yes, my finger was on it. No wonder I couldn't see it so I'm gonna select a range here. I kind of want a gap there. Right. This kind of work around, I kind of like this question because it's like, Oh, how can I do this? So now I have this range, and what I want to do is I want a lift this from my storyline. So I'd have to go up here, see if we let me to the section L I f Lift from storyline. That doesn't let me do that. So this was working without a net is okay. I'm gonna have to bladed Beaky Boom, boom. Now that it is its own clip, I can go lift from storyline. It brings it up there. I have my gap or grab that clip. Delete it now and now I've been able to create the space. Not sure why I would want to do that. I guess there might be a reason cause you may want to leave that space as like a reminder. But there it is, possible to dio. And then if I visually want these together, I could go ahead and say collapsed. The reattach the audio to the video

Class Materials

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Keyboard Shortcuts

Project Files - Dancer Media - Part 1 of 2 (Large Download 2.13 GB)

Project Files - Dancer Media - Part 2 of 2 (Large Download 1.88 GB)

Project Files - Green Screen

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Abba Shapiro

Abba Shapiro is an Adobe master trainer, certifying university and training center instructors to teach Adobe Premiere Pro. He is also a master trainer in several non-Adobe video production tools and has helped editors migrate to the Adobe platform

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topics covered in this class

Videography Final Cut Pro X Video Editing

Ratings and Reviews

a Creativelive Student

Wonderful. This is the first time I've seen any of Abba's classes, and he's a great teacher. I've been watching the live sessions for the past few days and have picked up a ton of great tips that will indeed speed up my workflow in FCPX. He's a great teacher, and does a wonderful job of setting people at ease, ie. where he says things like, 'there's no trick questions', and times where he will click on something wrong, then he'll go back and show his mistake (pointing out his minor mistakes are actually a beneficial lesson). In all, wonderful wonderful wonderful. Thank you!

Lara

Fantastic teacher. I enjoyed every video, super worth it. I've been reluctant to jump into FCP X since it got upgraded from FCP. Now I feel confident to work with it again. Seems pretty self explanatory, but I am glad I watched the course. Abba covers pretty much everything you need to know. I also loved his personality, made me want to learn more each day.

Alan Pole

Absolutely brilliant. Abba gets to the point, is clear, organized and articulate, and lays it all out in a manner that quickly brings your confidence level from zero to hero. Highly recommend this to any photographer who wants to blog, build ads, or include video in their offering. I feel like an amazing new world has been provided to me. Thank you!

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Refining Your Edit: Auditions

Refining Your Edit: Auditions

Lesson Info

10. Refining Your Edit: Auditions

Lessons

Class Introduction

Exploring Final Cut Pro X: Navigating the Interface

Exploring Final Cut Pro X: Project Timeline

Exploring Final Cut Pro X: Basic Editing

Refining Your Edit Introduction

Refining Your Edit: Trimming

Refining Your Edit: J and L Cuts

Refining Your Edit: Roll and Overwrite Edits

Refining Your Edit: Slip and Slide Edits