l425712a-eu final cut pro x demo guide

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Final Cut Pro X Complete Demo Guide


Final Cut Pro X.It’s not just a different cut. It’s a whole new production.

• Revolutionary video editing rebuilt from the ground up, including Magnetic Timeline, Clip Connections and Auditions for fast, flexible editing.

• Powerful media organization to easily handle more formats and footage than ever, with Content Auto-Analysis, Range-based keywords, and Smart Collections.

• Incredible performance designed to take full advantage of the power of OS X and multicore Mac computers for blazing speed and with superior quality.



Event Library TimelineBackground tasks Audio metersEdit modes

List view/Event view

Enhancements

Event Browser Event Browser duration InspectorRetimeToolsFavorite/RejectKeywords

Viewer

Browsers

Before the Demo:• Note: Final Cut Pro X is pronounced “Final Cut Pro Ten.”

Set Preferences• Playback

- Pre-Roll Duration: 1.5 seconds.

- Playback: Use original or optimized media.

- Playback Quality: High Quality.

• Editing

- Show detailed trimming feedback.

- Apply transitions using Available Media.

Double-click “Audi Project” in the Project Library.

If you have given these demos before:

• Open the Keyword Editor (Command-K) and delete ”Splash.” Close the shortcuts with the disclosure triangle.

• Delete the “Splash” keyword collection and the “Beauty Exterior” Smart Collection from the Event.

Start with a simple layout: - Event Library open.

- Audio meters expanded.

- Set the Event Browser to List View and make sure the Codecs column is displayed. Then switch back to Filmstrip view.

• Set the timing of the Event Browser display to 10 seconds (10s).

• Click on the gear icon at the bottom of the Event Library and choose Arrange Clips by Name.

• Open the disclosure triangle for the People folder in the Event Library.

• Set the Timeline Index to Clips and All.

• Close the Inspector, any Media Browsers and the Timeline Index.

• Under View, choose Show Clip Names and Show Marked Ranges.

• Click the Point of View Shots keyword collection in the Event Library.


1. Final Cut Pro X Overview Do This Say This

• Click on Point of View Shots in the Event Library.

• Skim through media in the Timeline and Event Browser.

Let’s take a look at Final Cut Pro X, Apple’s completely rebuilt, professional video editing application.

Final Cut Pro X is a revolutionary, fast and fluid new way to edit video.

It’s been rebuilt from the ground-up to be an advanced and powerful professional video editing application.

• Move mouse across each of the following parts of the interface:

- Event Browser

- Viewer

- Timeline

We’ll start with a quick tour of the new, dynamic interface.

Here’s the Event Browser, which is where all the source material is stored when it is imported or captured from a camera.

The Viewer is where we can watch the material playback.

And here in the Timeline is where all the editing takes place.



1. Final Cut Pro X Overview (cont’d) Do This Say This

• Click in the Timeline to make it active

• Press Home (or Function-Left Arrow) to jump to the head of the Timeline.

• Press Command-Shift-F to play in full screen.

• Press the space bar after the opening title animation.

Before we get started, let’s take a look at a short piece about the Audi Sportscar Experience, which was put together using Final Cut Pro X.

Let’s jump to the head of the project and play it back full screen.

• Press esc key. This project still needs some work so let’s get started, using some of the key features in Final Cut Pro X.




• Skim over any clip in the Point of View Shots keyword collection.

• Press the space bar to play a short section of any clip.

• Skim to another section, then play again.

Final Cut Pro X is incredibly responsive and fast. This is HD footage that was shot with a wide variety of cameras, including a DSLR and AVCHD which will now play back in real time. These shots are mixed together in the project along with ProRes, Apple’s high-quality, low-bandwidth codec. We call this resolution independence and it supports frame sizes up to 4K.

• Click List View icon.

• Playback a clip.

• Click filmstrip view icon.

• Continue to skim and playback clips, as you explain the new technology.

In List View, we can see all the codecs in their native format and they all play back beautifully.

Final Cut Pro X uses skimming, which is a fast and responsive way to see lots of media and find just what we’re looking for. And the combination of a skimmer and a play head is a more intuitive way to move through lots of material faster than ever.

The 64-bit architecture lets Final Cut Pro X use all the RAM and processors (including the graphics card) in your system, letting you work with larger projects, frame sizes, and deeper multilayered effects.

And media renders at high precision in the background—so work is never interrupted.

• Click on “Audi Sportscar Experience” in the Event Library.

• Point out the keyword collections in the Event library.

• (Note: Zoom the interface to focus on that section of the screen.)

Keyword Collections and Smart Collections are fantastic for easily organizing lots of footage. Some of these are created automatically when media is imported and some are made manually, based on selected ranges.

Here are Smart Collections made during the import process. After analyzing the clips as part of the Content Auto-Analysis, Final Cut Pro X automatically updates the Smart Collections.

• Click on the One Person Smart Collection.

For this Smart Collection, Final Cut Pro X automatically analyzed all the media and put these shots in the One Person Smart Collection.

• Skim over the interviews. Smart Collections are incredibly useful when sifting through a lot of media, like these interview clips here.




• Click on the Slow Motion keyword collection in the Event Library.

• Skim across PHNTM_001 until the splash begins.

• Click and drag to select a range from the splash to the end of the clip

Creating a new Keyword Collection is incredibly easy.

For example, here’s a shot of a car going through a puddle at 1,000 frames per second. Let’s skim the clip to find the beginning of the splash, then let’s mark the starting point by clicking and selecting the range.

• Click on the keyword icon in the center divider bar to the left.

• Type in “Splash” and press enter.

Now, let’s bring up the Keyword Editor, type “Splash” and press Enter.

A couple of things just happened at once.

• Click on the Keyword Shortcuts disclosure triangle.

• Point out keyword and icon.

First, the keyword is added to the Keyword Shortcuts window. It can be used later by pressing Control + 1 or just by clicking on the Control-1 icon.

Second, a new Keyword Collection is automatically created, with the “Splash” clip range already inside.

Keyword Collections are better than old-fashioned bins because they are dynamic, which means you never have to move or organize your material.

• Click on the “Splash” keyword collection.

• Click on the “Slow Motion” keyword collection.

• Click once on PHNTM_002.

• Skim to the beginning of the splash and press “I.”

• Skim to the end, as the car leaves the puddle, and press “O.”

Let’s select another shot with a splash. Let’s skim to the beginning of the splash again and use the keyboard shortcuts this time to set the in and out points.

• Click and drag the selected range to the “Splash” keyword collection.

• Click on the “Splash” keyword collection.

• Point out the 2 clip ranges inside.

And, instead of using the keyword shortcut, let’s drag and drop this selection into the “Splash” collection which will automatically add the “Splash” keyword to the clip.

• Close the Keyword Shortcut window. Both clips are now in the collection and are ready for editing with the “Splash” keyword applied.




2. Creating Smart Collections Do This Say This

• Click on “Audi Sportscar Experience” in the Event Library.

• Switch from Filmstrip View to List View.

• Press Command-F, or click on the Search icon at the top right of the Event Browser.

• From the “+” menu choose Keywords.

• From the Check pulldown menu, choose Uncheck All.

With lots of material like we have here, it’s important to be able find specific shots quickly.

Let’s use List View to see more metadata.

• Check “Exterior” and “Beauty” keywords.

• Click on the Include Any menu and pick Include All.

Let’s select some keywords. We’ll check both “Exterior” and “Beauty,” and to filter the search to see only clips included in both collections, let’s check “Include All.”

• Click on New Smart Collection.

• Rename the Smart Collection “Beauty Exterior.”

Next we’ll create a new Smart Collection labeled “Beauty Exterior.” Now, any shots imported into this project that have both keywords are automatically included in this collection.



3. Magnetic Timeline Do This Say This

Final Cut Pro X eliminates the restrictions of traditional, track-based timelines with the Magnetic Timeline.

• Click in the Timeline area and press Shift-Z to zoom.

• Click the Timeline Index icon.

• Click on a clip.

• Use the down arrow to step through several the items in the list.

• Click Titles at the bottom of the Timeline Index.

• Click the Chief Instructor title.

• Press the space bar to play.

• Press the space bar again to stop.

First, navigating the Timeline is easy with the Timeline Index. Using the arrow keys, simply step through the clips you want to move through the Timeline.

You can also view video, audio or title elements separately. For example, if you want to double-check spelling, jump right to a title to play it.

• Click Tags icon (at the top of the Timeline Index).

• Click icons for markers, keywords, analysis keywords, and ToDo items along the bottom of the Timeline Index.

• Click icon for completed ToDo.

Or filter by marker, keyword, analysis keywords, ToDo items and a completed ToDo list. Once a ToDo item is checked off, it’s automatically moved to the completed ToDo list.

• Click markers icon.

• Click the “001 Magnetic Timeline” marker.

• Press the Z key.

• Drag the cursor to draw a box around the Timeline marker.

Let’s go back to markers and zoom in to get a closer look at this part of the project.

• Scrub the playhead to two clips before the Timeline marker.

• Press the space bar.

• Pause playback after the sound bite, “The R8 is special.”

• Press the A key to change the cursor to the Select Tool.

We’ll listen to this short segment.

That last sound bite where he says, “The R8 is special,” seems out of place. Let’s put it at the beginning of the section.

• Click the clip named “Paul 007” and drag it slowly through the Timeline.

• Wait for the Timeline to open up, and release the clip before the beginning of Paul’s interview, “You know right away…”

As we move this clip, you’ll notice that the voice, the sound effect, and the B-roll all move together, keeping everything perfectly in sync.

The Magnetic Timeline automatically closes the gap where the clip used to be and opens up space where it will go.



3. Magnetic Timeline (cont’d) Do This Say This

• Play back Paul segment starting with Paul 006, “The R8 is special.”

• Select the 6 clips above the interview section.

Let’s play that through again.

Now the segment flows better and makes more sense.

Let’s take these B-roll shots and turn them into their own Secondary Storyline.

• Press Command-G.

• Deselect the individual clips by clicking once in the gray area of the Timeline.

• Click once on the gray bar that now connects all the connected clips.

• Drag the group up slightly.

• Release it so that it falls back into the same place.

Select them all, and then just press Command-G to turn them into a unit.

Now they can be easily moved as a group.

• Select clip AVCHD Engine Cam and move it to the right so that it swaps position with ALXA_007.

And we still have complete control over the order of clips and can rearrange them just by dragging.

4. Clip Collisions Do This Say This

• Select Marker “002 Clip Collisions.”

• Select the right edge of the audio clip “Cars driving into distance” and drag it to the right.

• Pause when it almost touches audio clip SFX 3.4.

• Continue dragging to the right until SFX 3.4 moves out of the way.

Let’s extend this sound effect under the next shot.

There’s already a sound effect clip there that goes with the B-Roll.

In a track-based system that would cause what is known as a clip collision.

Normally, the clip would have to be moved out of the way to make that really simple change, but as you add or extend clips in Final Cut Pro X, the other clips move out of the way automatically.



5. Compound Clip Do This Say This

• In the Timeline Index, click the marker “003 Compound Clip.”

• Play over the range of sound effects (SFX A1-A10).

• Drag a box around the video, sound effects, and title to select them.

Here’s a pretty complicated mix with video, a lot of overlapping sound effects, and a montage. Let’s reduce the complexity of this timeline by creating a Compound Clip.

Compound Clips consolidate many clips into one unit which makes it easier to move, adjust, or re-use the whole group.

• Press Option-G to create a Compound Clip.

• Drag audio level upwards (until yellow peaks are visible).

• Drag audio level down (so no yellow is showing).

Simply press Option-G to turn them into a Compound Clip.

Now these clips can move as a single unit. Or we can adjust the volume, or add an effect to the whole group.

• Double-click on the Compound Clip.

• Press the left-facing triangle (upper left of the Timeline) or press Command-[.

• Click the Compound Clip to select it.

• Press shift Command-G.

• Press Command-Z to put all the clips back into the Compound Clip.

To step back inside and make changes just double-click, or expand it out to the original timeline.

6. Inline Precision Editor Do This Say This

The Inline Precision Editor makes it really easy to fine-tune edits.

• Click marker “004 Precision Editor.”

• Play through the beginning of the sound bite of clip “Rob_001.”

Let’s go to the beginning of this interview and play it back.

There is a little bit of hesitation on the part of the speaker. Let’s remove that.

• Double-click on the edit point at the beginning of this clip.

• Skim over the outgoing clip to show the extra material.

• Move the cursor over the car clip.

• Playback for a moment.

• Repeat for the interview clip.

• Press Shift-S to turn on Audio Skimming.

• (Note: If Snapping is on, turn it off by pressing N).

Just double-click the edit point to open the Inline Precision Editor.

Skim the extra footage available before and after the edit point.

Or play each side separately to pick just the right timing.



6. Inline Precision Editor (cont’d) Do This Say This

• Press the Command-+ keys once or twice to zoom the Timeline in to see the waveforms clearly.

• Skim over the Rob_001 interview material.

• Click at the beginning of “The first time you press on the gas pedal...” (right between the two times he says “the”).

Let’s skim slowly over the beginning of this sound bite to listen for just the right moment, then we’ll click to make the new trim.

• Skim the mouse over the gray bar in the center of the Precision Editor.

• Position the cursor just before the edit.

• Press the space bar to play through the new cut point.

To review, just press the space bar to play it back.

Perfect. That is a much cleaner start to the interview.

• Press the esc key to close the Precision Editor.

• Press Shift-S to turn off audio skimming.

Now we’ll just press Escape to close the Inline Precision Editor.

7. Creating Split Edits Do This Say This

• Click on marker “005 Split Edit.”

• Double-click the waveform of clip Rob_001.

The interview sounds better now, but unfortunately, the subject isn’t looking at the camera.

Let’s cut away to some B-roll until he looks up at the camera, all while still hearing his sound bite.

We’ll do this with a split edit, which is really easy to do in Final Cut Pro X.

Just double-click on the waveforms of the audio track to open it to adjust it separately from the video.

• Press T to bring up the Trim tool.

• Position the Trim tool exactly in the middle of the edit between ALXA_006 and Rob_001, then click.

• Make sure both sides of the edit are highlighted in yellow before you drag to the right.

Next, press T to enable the Trim tool and click in the center of the edit point.

Simply drag the edit point for a rolling trim.



7. Creating Split Edits (cont’d) Do This Say This

• Drag until the subject looks up (Marker 005).

• Skim back to the beginning the sound bite.

• Press the space bar to play through the new trim point.

Because the Magnetic Timeline keeps audio and video together, simply extending the video clip means it’s kept in sync automatically with the audio.

• Click on the right edge of SFX B1.

• Drag to the right until it lines up with the extended video clip.

• Hold down the N key to snap it.

When it’s needed, the viewer shows two images that are displaying both sides of the trim. When you hold down the N key it’s really easy to find the precise edit point.

• Drag the edge of SFX B1 past the edit point, then drag the audio clip’s fade handle to the left.

Now, let’s extend the sound effect underneath the video.

• Double-click on the audio waveform of Rob_001 to close it.

For really professional results, let’s feather this audio transition. We can do that easily using the built-in fade handle that is on every audio clip.

Finally, double-click on the audio track again to close it up.

Let’s play that back to see how well it works.

8. Retiming Do This Say This

• Click on marker “006 Retiming.”

• Press A to bring up the Select Tool.

• Click on “Sunset Cross Over” clip.

With Final Cut Pro X, it’s really easy to control speed changes directly in the Timeline.

This shot works fine, but it’s too slow.

Let’s select the whole clip with a single click and then click on the Retiming icon.

• Click on Retiming icon and select Faster > 4X.

• Play the clip back in the Timeline.

• Press R to select Range tool.

• Click and drag range from when the lead car crosses over to the end of the clip.

• Hold the N key to snap.

We’ll set the clip to 4 times normal speed and play it back.

Now it’s too fast. This time, let’s change the speed of just part of the clip. We’ll press R to bring up the Range tool, and make the selection.

• Click on Retiming icon and select Normal Speed.

• Click on retiming handle; drag until about 80%.

• Then grab the edge and trim it to the left to make it slightly shorter.

• Press A to deselect the Range Tool.

• Click and drag on end of Chicane 1 to snap to the beginning of the next sound bite.

• Play back the retimed clip.

Now, back in the retiming menu, let’s choose Normal speed.

Finally, just to show how easy it is to create a custom speed, let’s drag the retime to about 80% normal speed.

Finally, let’s extend this Chicane 1 shot to cover the gap to the next sound bite, holding the N key to snap it to the next clip.



9. Match Color Do This Say This

• Press marker “007 Match Color.” These two shots look great next to each other but they were shot at different times, with different cameras.

• Press the space bar to play two shots Sunset Cross Over and Chicane 1.

• (Chicane 1 is the shot that needs to be adjusted).

Without Final Cut Pro X and Match Color, matching these two shots would take a lot of time and expertise.

Match Color saves you hours of work by instantly aligning the look of footage.

• Select shot Chicane 1 and go to the Enhancement menu.

• Click Match Color.

• Click on a Rob interview shot, then the in-car sunset shot MVI_0011.

• Skim to Sunset Cross Over (the shot right before) and click at the end of the shot.

Just select the shot to change, and from the Enhancement menu, choose Match Color.

Then match it to any shot in the Timeline or browser, such as this interview shot.

Let’s match it to the sunset shot.

• Click Apply Match or press Return to close the Match Color function.

One-click. Done.

• Press the space bar to play the two shots back to back.

Notice that Final Cut Pro X renders in the background, so we can play it back in real time immediately to see how well it works.



10. Color Board Do This Say This

• Press marker “008_Color Board.”

• Select the shot “ALXA_030.”

This shot looks washed out and it would look great if it were more dramatic.

The Color Board in Final Cut Pro X makes it fast to make common color corrections.

• Click Enhancement menu and choose the Balance Color.

First, let’s start with a basic color adjustment. From the Enhancement menu we’ll choose Balance Color. This increases the contrast range—the blacks get darker and the whites get brighter and the greenish-blue color cast from the sky is also removed from the road.

That’s a good start since it makes colors look more natural.

• Click Show Color Board.

• Click on the Exposure icon at the top of the Color Board.

Now, let’s really bring the colors to life using the Color Board.

In the Color Board we have controls for color, saturation, and exposure.

• Drag the Shadows puck (the black circle icon in Color Board) down about 10%.

• Drag the Midtones puck (the gray circle in the Color Board) and pull up about 7%.

Let’s increase the contrast by lowering the Exposure level of the Shadows, and by raising the Midtones.

• Click on the Saturation icon at the top of the Color Board.

• Drag Global slider (the large puck on left side of the Color Board) up about 15%.

Let’s increase the color saturation and notice how green the grass becomes.

• Press the left-facing arrow (at top of Color Board).

• Click on the multi-colored “+” button to create Correction 2.

• Select the Color Mask (the eyedropper icon next to Correction 2).

• Drag across the sky to create mask.

Let’s also make the color in the sky really pop.

We’ll add another color correction and this time we’ll use a Color Mask to select the sky.



10. Color Board (cont’d) Do This Say This

• Click Shape Mask Icon. Finally, let’s use a Shape Mask as well, to isolate the area to adjust.

• Drag gray dot on inner circle to create a rectangle.

• Drag green dot to stretch shape.

• Drag rotation handle (in center) to rotate.

• Drag the outer edge of shape inward to adjust the fall off.

• (Mask should be aligned to edge of horizon.)

Using the on-screen controls, let’s adjust the size of the Shape Mask, turn it into a rectangle, and rotate it.

Let’s change the softness of the edge too so there is just a little fall off at the horizon.

• Click on the right facing arrow next to Correction 2 to return to the Color Board.

• Click Color icon; drag the Global puck to blue area.

• Press the left-facing arrow (at top of Color Board) to return to the Inspector.

• Click on the Color Correction 2 Shape Mask 1 icon to turn off the onscreen controls.

Now, in the Color Board, let’s adjust the Color control and make it a deep blue. Only the area inside the mask changes.

• Click on the blue square next to Color in the Inspector to enable and disable the color grading just completed.

• Click Inspector icon to close the Inspector.

Let’s compare the before and after to see the huge improvement we’ve made to this shot.



11. Adding Titles and Transition Do This Say This

• Click on the ToDo icon in the Timeline Index.

• Click on the “Finish Lower Third” ToDo to jump to this section of the Timeline.

• On the right-hand side, click on various icons in Effects Browser: effects, generators, and then titles.

Next we want to take a look at how easy it is to add and modify stunning graphics to your project. In the Timeline Index, we’ve created a ToDo, which is a special marker that identifies the tasks that need to be completed. This ToDo item indicates there are some motion graphics that need work, so let’s get started.

• Skim some of the title options. Final Cut Pro X comes pre-loaded with a large variety of effects, transitions, generators, and titles.

• Click on the Compound Clip created earlier and press shift Command-G.

In this case, though, we wanted to build something more custom for our project. Since all these graphics are Motion projects, it’s really easy to build a custom graphic as a Smart Motion Template in Motion 5 and publish it just by saving the file.

Inside this Compound Clip, we’ve got a good example of this: the Audi Open title.

• Click on the Sonoma California title bar.

There are a couple of parameters in this project—Style and Color Scheme. When we make a selection from this menu, a number of objects in our project can be changed all at once, which means that even the most complex Smart Motion Template can be made approachable to any editor.

• Skim the title.

• From the Style Menu, select “Single Arrow”.

• Select “Stylized Arrows”.

• Skim over the opening title to show the differences in the styles.

• From the Color Scheme menu, select “Blue” and then “Gray.”

• Reset parameters back to Double Arrows and Red.

• Click on the Themes button on the right-hand side in the Effects Browser.

• Click on the Audi Experience Theme to show the Audi Open, Audi Lower Third, and Audi Transition elements.

Next, let’s look at how easy it is to apply and configure a Lower Third—a very common titling task.

A custom theme can group all your project graphics together—in this case, Audi Experience. Here I have an Opening Title, a Lower Third, and a transition.



11. Adding Titles and Transition Do This Say This

• Drag Audi Lower Third Title over the top of the interview clip.

• Drop it near the beginning of the clip Paul_001.

• Click on the end of the title bar, and drag it to the left slightly.

• Position the playhead towards the middle of the Lower Third.

Let’s drag and drop the Lower Third to apply it and then adjust the timing by trimming the ends of the title.

• Double-click on “NAME” in Lower Third.

• With Caps Lock on, type in “Paul Gerrard.”

• Double-click on “TITLE”and type “Director of Training, Audi Sportscar Experience.”

• Press Return.

• Turn off Caps Lock.

• Click off title and skim to show animation.

Now let’s type in the information on the title. Everything can be done on-screen to instantly show how it will look when finished.

• Drag Audi Transition onto the edit point between the two clips.

• Wait for the background render to complete.

Since this is the title sequence for our project, we’ll add visual interest to this sequence by applying this custom transition built in Motion 5.

Just drag and drop the transition to apply.

• Playback the whole sequence with the Audi Open, Audi Transition, and the Audi Lower Third.

Now, let’s play back the whole sequence with the opening title, the transition, and the Lower Third.

• Double-click on red box of the ToDo in the Timeline Index.

• Click on Completed ToDo list icon to show the completed ToDo.

With the title added, click on the ToDo to mark it done—the checkbox turns green and it appears in the Completed ToDo list.



12. Auditions Do This Say This

• Click on marker “009_Auditions.”

• Note: Ensure Audition window is selected or else the playback will not loop. Do not click on the clip in the Timeline once you have opened the Audition window.

Let’s turn to the most difficult thing an editor has to do all day: Make decisions. How to choose one shot over the other? Which take is the best performance? Auditions makes the editor’s most difficult job easier.

With Auditions in Final Cut Pro X, it’s easy to try out different shots with just a click.

Collect multiple clips within one Audition clip, then play them back in context to see the best performance, effect, or cut, while the Magnetic Timeline automatically adjusts to reflect the clip length, keeping everything in sync.

• Click on the Audition badge on clip MVI_0015.

• Press the right arrow on the keyboard to step through different clips.

• Press arrow key to return to first clip.

• Press the space bar to play through once.

• As it loops back to play again, use the right arrow key to jump to the next shot.

There are several clips that might work well in this section and they’ve all been combined into this single Audition clip.

Let’s click on the Audition icon to see all the clips that are there, and press the space bar to play through with it automatically looping through again.

• Let it play, then repeat to the third shot.

• Click on the third shot and click on Duplicate in the Audition window.

We can use the arrow key to audition the next clip. And then the last one, which looks good.

Perhaps an effect would make this shot work better. Let’s select it, click duplicate in the Audition window.



12. Auditions (cont’d) Do This Say This

• Open the Effects Browser.

• Click Basic.

• Skim over the thumbnail for Threshold in the Effects Browser.

• Skim over Hard Light thumbnail.

We’ll open the Effects Browser and try out some effects just by skimming them.

Let’s try for something different, like Hard Light.

• Double-click on Hard Light to choose it.

• Click on the Audition window again to make it active (not on the clip within the window).

• Press the space bar to play through with the effect applied.

• Click Done to close the Audition.

• Press Shift-Command-F to play through the finished project.

Let’s apply it and play it back.

The effect works great.

Let’s close the Audition window.

Even though this clip came from a DSLR, the effect played back in real time and rendered in the background very quickly.

The Audition clip is closed but the shots are still there and can be accessed anytime, even weeks later.

Let’s play through the whole thing now and see all of our changes.

L425712A-EU Apple Sales Training © 2011 Apple Inc. For internal training purposes only. Not for display in stores. Apple Confidential information. Any reproduction or distribution of this material is strictly prohibited.


12. Auditions (cont’d) Do This Say This

• Press the esc key to exit full screen mode and show the full Final Cut Pro X interface.

That was just a quick overview of the revolutionary Final Cut Pro X.

These are only a few of the many new features designed to speed up your creative work and take advantage of all of the power of your Mac.

l425712a-eu final cut pro x demo guide

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