… for Apple Final Cut Pro X

Tip #966: Fast Fades & Other Secrets

Larry Jordan – LarryJordan.com

Automatic audio crossfades are only one of many new features in the latest update.

Two adjacent clips with an automatic crossfade applied.

Topic $TipTopic

With the latest update to Final Cut Pro X, we can now quickly apply audio crossfades between two or more selected audio clips. Here’s the process:

  • Select two or more clips that you want to crossfade (the audio equivalent of a dissolve) between. These MUST be touching – any gaps and this won’t work.
  • Choose Modify > Audio Fades > Crossfade – or – Type Option + T.

NOTE: This shortcut mimics the video dissolve shortcut of Cmd + T.

Then, if you want to see what FCP did, select the clips with fades and choose Clip > Expand Audio Components. This allows you to see the overlap between clips. In this example, I highlighted the fade dots of each clip. In normal use, you’d only see one.

Final Cut automatically moves the fade dots and trims the ends of each selected edit point to create a crossfade. You can change any of these manually.

By default, each crossfade is 0.10 seconds. You can adjust this default duration for audio cross-fades, go to Final Cut Pro > Preferences > Editing and enter a new value into Crossfade. (I prefer fades between 1/2 and 1 second.)

EXTRA CREDIT

Here’s a tutorial from my website filled with little-known techniques from the latest FCP X update.


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… for Apple Final Cut Pro X

Tip #967: Final Cut Adds “Smart Conform”

Larry Jordan – LarryJordan.com

Smart Conform is fast and generally makes good decisions, but adjustments require keyframing.

A Smart Conform of a dancer. Drag image to adjust. Click arrows to reveal background.

Topic $TipTopic

One of the new features in the 10.4.9 update to Final Cut is Smart Conform. This takes an existing clip or clips and “crops” them to fit into a different aspect ratio. Typical examples are taking media shot 16:9, then converting it for a trailer on Instagram at 1:1 or an iPhone at 9:16.

A key point about Smart Conform is that it works at the clip level. Here’s how:

  • Create a project with the frame size you need; for example, Vertical.
  • Copy clips from an existing project into the new project – or – edit new clips into the project.
  • Select the clips you want to reframe and choose Modify > Smart Conform.

NOTE: In order to enable Smart Conform, the frame sizes of project and clips should not match.

Final Cut intelligently looks at each clip, applies the appropriate Spatial Conform to each clip, then crops the edges to display what it feels is the key content. (Brighter image in the screen shot.)

To see an overlay of the original clip, click the Transform on-screen controls (left arrow), then click the new “dual boxes” icon at the top right of the Viewer (right arrow) and then drag the center box to change the framing.

THOUGHTS

Based on some very quick tests, Smart Conform works quickly and tends to select appropriate framing. However, for objects moving within the edges of the frame, Smart Conform does not track objects during playback. Instead, you need to set keyframes in Transform > Position to compensate. Also, Smart Conform does not work with titles, generators or compound clips.

EXTRA CREDIT

Here’s a tutorial from my website that describes this in more detail.


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… for Apple Motion

Tip #953: So, What’s the Difference?

Larry Jordan – LarryJordan.com

Project settings determine presets and where they are saved.

The five project choices in the Motion Project Browser.

Topic $TipTopic

When you open the Project Browser to create a new Motion project, you are confronted by five project choices before you can start creating. What’s the difference between them?

All five project presets are identical in terms of what Motion can do. The differences are preset layers when you open a new project and where a project is saved.

  • Motion Project. This has no presets and can be saved anywhere. It can also be converted into a Generator for Final Cut Pro X when you save it.
  • Final Cut Effect. This opens with a drop zone placeholder for the underlying clip when this effect is applied to a clip in the Final Cut timeline. It is always saved into the category of your choice in the Effects browser.
  • Final Cut Generator. There are no presets. It is always saved into the category of your choice in the Generators browser.
  • Final Cut Transition. This opens with two drop zone placeholders; one for the outgoing clip and one for the incoming clip; but no applied transition between them. It is always saved into the category of your choice in the Transitions browser.
  • Final Cut Title. This opens with a drop zone placeholder for the background clip when this effect is applied to a clip in the Final Cut timeline. There is also a default text layer, placed as a lower-third, which can be formatted and moved as necessary. It is always saved into the category of your choice in the Titles browser.

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… for Apple Motion

Tip #955: Shift the Anchor Point

Larry Jordan – LarryJordan.com

Use the Anchor tool to quickly move the anchor point.

The anchor point was moved to the lower left corner of this rectangle.

Topic $TipTopic

The Anchor Point is that part of an element that determines where it will scale or rotate. By default it is at the dead-center of an element. Here’s how to move it.

  • In the Layers panel, select the element with the anchor point you want to change.
  • In the Tools panel, select the Anchor Point tool (second from the top).
  • Drag the white circle (see screen shot) from the center of the selected element to a new location.

Test the results by rotating the element using the Rotation settings in Inspector > Properties.

NOTE: In this example, I dragged it outside the rounded rectangle, which is perfectly legal though not normal, in order to make the contents of the anchor point more visible.

EXTRA CREDIT

You can also set the anchor point by typing specific number values in Inspector > Properties. However, the Anchor Point tool is much faster, though less precise.


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… for Apple Motion

Tip #956: Well… THAT was Obvious

Larry Jordan – LarryJordan.com

The Drop Shadow tool is a fast way to access Inspector settings.

A drop shadow applied to a shape using the Drop Shadow tool.

Topic $TipTopic

Sometimes you overlook something REALLY obvious. I sure did and here’s what it does.

The drop shadow settings in Inspector > Properties can be applied to any selected element. I use them all the time.

However, as I was writing Tip #955 about the Anchor Point tool, I discovered – immediately below it in the Tools palette – the Drop Shadow tool. Wow! Who knew?

This tool applies a 75% opacity drop shadow to whatever object you have selected, then allows you to adjust its position and feathering.

To use it:

  • Select a layer in the Layers panel.
  • Select the Drop Shadow tool. This automatically puts a bounding box around whatever element is selected.
  • Drag the middle of the bounding box to move the shadow to a new location.
  • Drag one of the four corner dots to increase feathering.

NOTE: The four modifier keys have no impact on this setting.

EXTRA CREDIT

  • The color and opacity of the drop shadow can only be changed using the Inspector controls.
  • To modify an existing drop shadow, reselect the layer and the Drop Shadow tool.
  • To remove a drop shadow, go to Inspector > Properties and reset the Drop Shadow parameter settings. (Click the small downward-pointing arrow to the right of the Drop Shadow title.)

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… for Visual Effects

Tip #959: Draw & Annotate Live Videos

Larry Jordan – LarryJordan.com

Free tools, plus a camera, equals real-time, on-screen illustration.

(Image courtesy “Adam Savage’s Tested.”)

Topic $TipTopic

This article, written by Jack Roberts, first appeared in PremiumBeat.com. This is an excerpt.

This article provides a ten-minute video tutorial on how to use an iPad to create real-time on-screen graphics. (Think John Madden and his Telestrator.)

This video comes from Norm Chan from the Adam Savage’s Tested crew. It’s a simple and ingenious way to live draw on your screen, using tools you likely already have.

Tools Required:

  • Mac or PC
  • Webcam or DSLR/mirrorless camera connected to your computer
  • iPad or tablet with USB cable
  • OBS Studio (Free)
  • ApowerMirror (Free Trial)
  • Adobe Fresco (Free)

The steps are too detailed for a tip, but the video tutorial is quick and the results are amazing. The accompanying article also provides more details.


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… for Visual Effects

Tip #960: Motion Array: A Filmmaker’s Platform

Larry Jordan – LarryJordan.com

Motion Array is an all-in-one professional filmmaker’s platform.

The Motion Array logo.

Topic $TipTopic

I’ve quoted a lot of articles from Motion Array, but this time, I want to talk about Motion Array itself.

Motion Array is an all-in-one professional filmmaker’s platform, with unlimited asset downloads, exclusive Premiere Pro plug-ins, real-time video collaboration and approvals, and a video website builder all included in Motion Array memberships.

It provides an unlimited marketplace, where you can download every asset you need for a project from video templates and stock footage to photos, royalty-free music and sound effects.

It has plug-ins and templates for Adobe Premiere Pro, Apple Final Cut Pro X and DaVinci Resolve.

What I like most about it, though, are their tutorials. These cover:

  • Adobe After Effects
  • Adobe Premiere Pro
  • DaVinci Resolve
  • Apple Final Cut Pro X
  • MotionArray’s tools
  • Filmmaking
  • Motion Design
  • Post Production
  • The Business of Filmmaking
  • Video Effects
  • Royalty-Free Music

EXTRA CREDIT


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… for Visual Effects

Tip #961: An Overview of Mocha Pro

Larry Jordan – LarryJordan.com

With over 200 tutorials to choose from, learning Mocha is easy.

The Mocha logo.

Topic $TipTopic

Mocha Pro is is the world’s most powerful planar tracking tool for VFX and post-production. Featuring GPU-accelerated tracking and object removal, advanced masking with edge-snapping, stabilization, lens calibration, 3D camera solver, stereo 360/VR support, and more.

It does a lot, but figuring out how to use it can be a challenge.

That’s where these Mocha Pro tutorials, from BorisFX, can help. Whether you are running Mocha in Nuke, After Effects, Flame, or experimenting with the free trial, these tutorials will improve your skills.

There are almost 200 to choose from – all free.

MOCHA PRO


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… for Adobe Premiere Pro CC

Tip #947: When to Use the Work Area Bar

Larry Jordan – LarryJordan.com

The Work Area Bar controls which section of the Premiere timeline will render.

The three control areas for the work area bar: Start, Position and End.

Topic $TipTopic

The work area bar is a hold-over from the days of slower computers, but, even today, it can save you time. Here’s how to use it.

The work area bar determines what will render, when a rendering option is selected.

To enable it:

  • Click the fly-out menu next to the project name in the top left corner of the timeline and select Work Area Bar.
  • A bar (see screen shot) appears at the top of the timeline.
  • Click the small lines in the center (center arrow) and drag left or right to change its position in the timeline.
  • Drag the left or right blue edges (left and right arrows) to change its duration.

The Sequence menu has three options specific to the Work Area Bar:

  • Render Effects in Work Area. This only renders effects contained within the Work Area.
  • Render Entire Work Area. This renders everything that needs rendering within the Work Area.
  • Delete Work Area Render Files. This provides a controlled way to delete render files for a portion of the timeline without deleting all render files.

The benefit to using the work area is that you can control what you render and when. If you have a complex project, or a slow computer, rendering in small sections allows you to see the finished result for just the section you are working on quickly, without wasting time with a length render of your entire project.


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… for Random Weirdness

Tip #937: Tips to Great Interviews

Larry Jordan – LarryJordan.com

Interviews are directed conversations to get useful content.

The heart of a good interview is a good story. (Image courtesy pexels.com.)

Topic $TipTopic

Technology is important, but the reason people are watching your video is the content, not the tech.

A while ago, I wrote an article on interviews and asking the right questions. An interview is not a conversation; it is a directed conversation to get useful content.

Here are some ideas to consider:

  • Plan. Planning is not as sexy as production, but it is just as essential. When time is limited, you can’t afford to wander around trying to discover your subject during an interview. You need to have a goal in mind.
  • Guests. Before the guest enters the set, I’ve worked out camera angles, framing, lighting, and mic issues with the crew. Once the guest enters, direct your full attention to them. As the interviewer, you need to build a relationship, a rapport, with the guest from the moment they walk in.
  • Get Started. Asking questions is part art and part science. The art is really listening to what your guest is saying. Actors call this being “in the moment;” focusing intently on your guest and what they are saying. The science is in how you construct your questions.

    For a fifteen minute interview, I try to create about 18 questions. My general assumption is that it takes about a minute for a guest to answer one question. For live shows I use all of each answer. For taped shows, I select the best parts.

  • Ask Questions. For me, an interview has an emotional arc, the same as a drama. I start with easy questions – “Tell me about your company” – then move into the WHAT, WHERE, and HOW questions. These set up a problem and what was done to solve it. Finally, I wrap up with WHY questions. These always elicit emotional responses.

    The secret code between my camera operator and me is that What/Where/How questions are shot on a medium close-up. But with Why questions the camera needs to zoom into a close-up, because Why questions bring emotions near the surface, where the camera can see them. Close-ups amplify emotions.

  • Questions I Try Not To Ask. Anything that can be answered with a Yes or No.
  • When the Interview is over. Just before calling “Cut!,” but when all my questions are done, I always ask the guest: “Is there a question I should have asked that I did not?” This gives them a chance to reflect to see if they want to add, or modify anything. About a quarter of the time, the guest will suggest a great question that I hadn’t thought of.

    When the interview is over, the very first words should be to the guest. Even if they were a train-wreck, congratulate them on doing a great job.

    While there is a fine line between flattery and down-right lying, telling a guest they were terrible won’t improve your interview. So, you might as well make them feel good as they leave the set.

EXTRA CREDIT

Here’s the link to the full article.


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