Mark Spencer from ProVideo Coalition and Sam Mestman from Lumaforge share a great tip for adding effects to audio in Final Cut Pro 10.3, on this episode of MacBreak Studio.
Advanced Audio Mixing with Roles
When it comes to applying effects to your audio, sometimes you want to apply one to a single component of a single clip, or all components of a clip; sometimes to all the audio within a specific subrole, and sometimes to all the audio in a overall role group. Final Cut Pro lets you do each of these, and lets you easily move back and forth between each of these levels to make additional tweaks at the clip/component level, the subrole level, and the role level.
In this course, Certified Trainer Ben Balser shares pro-tips to help you master multicam editing in FCP X. Ben gives you an overview of Multicam Clips, with some tips to improve playback performance, and how to sync clips automatically using audio.
It is easy to get caught up in all the amazing technology contained inside Final Cut Pro X. But, sometimes, it’s worth taking a step back to look at how to accomplish those simple tasks that we know are there – somewhere – if only we knew where to look.
That’s what this session is about. Simple tricks and pithy tips that can help you edit faster, and add some fun to your life. Areas we will look at include:
Editing and Trimming
Organizing and Replacing clips
Fixing audio problems
Simple color correction
Plus lots more as we get closer to the session. Registration is always free – sign up today.
This is an intermediate session for Final Cut Pro X editors, some experience with the software will help understand what is being covered. All you need to view this session is a web browser.
Sam Mestman, Patrick Southern and Gergana Angelova walked LACPUG members through a brand new narrative workflow built around the new FCPX 10.3 update and a Lumaforge Jelly Fish. They demonstrated automated syncing, organization, and renaming, as well as automated Pro Tools input and Wide color gamut management for DCP render and delivery.
Sam Mestman, Patrick Southern and Gergana Angelova walked us through a brand new narrative workflow built around the new FCPX 10.3 update and a Lumaforge Jelly Fish. They demonstrated automated syncing, organization, and renaming. They also showed us automated Pro Tools input and Wide color gamut management for DCP render and delivery.
Director and editor Brian King talks about his experience working on a music video for the song Mercy by Citizen Four. He covers deadlines, color grading changes, workflow, logging, back trimming, and more. He shares some excellent workflow tips for FCPX. Even if you’re not interested in reading about his experience while working on the video, read the article for the tips!
I admit that I’m not familiar with the group, but they are talented. This is a very catchy song, and the video, of course, looks fabulous.
About Lucid Potato
Lucid Potato was founded by King and Sean O’Brien in Los Angeles, CA, in 2008. They have done a multitude of production work in tv and commercial, working on anything from branded content, full campaigns, documentaries, and more. They have a fun name, as well!
Here are a few suggestions on products that can help greatly with workflow, especially when under quick turnaround times.
Intelligent Assistance Finisher for Final Cut Pro
Take your a-roll edit (a.k.a. “radio” cut) and send it to Finisher to add b-roll and lower third titles, automatically! Go from radio cut to ready-to-view in minutes; speed your finishing workflow. How many places will this save you time?
The SliceX / TrackX / DriveX bundle gives you three powerful tools for using Academy Award winning mocha tracking directly on the timeline in FCP X.
SliceX lets you create instant tracked Shape Masks to cut out layers or isolate effects. SliceX includes eleven motion templates for common tasks and you can also use the Shape Masks with built-in effects, the built-in color corrector or with third party plugins. SliceX powered by mocha takes the pain out of following complex motion, just draw a shape and hit “track”. You can then adjust with manual keyframes as needed.
TrackX can track text or graphics to background movement for innovative title effects, or track and insert a layer for screen replacements, to replace a sign, or extend a set.
DriveX harnesses the full power of Mocha tracking with complex 3D effects and particles, and stylish motion graphics. CoreMelt DriveX allows advanced users to link any parameters inside an Apple Motion Template to track data, and publish the result as an FCP X effect. DriveX includes 40 motion templates to get you started with more coming soon.
“The first key to workflow wizardry is to exploit an application’s strengths. In exploring the nuances of FCPX, famed workflow wizard Simon Ubsdell opens up some of the secrets around one of its most uniquely powerful, but sorely underused tools: Smart Collections. This isn’t about replacing your existing project management (although it can). It’s about leveraging some of the ridiculously awesome power of the Smart Collection to make your work flow far more easily than you might have imagined.
Another aspect of Simon’s wizardry: this is something he quickly whipped together springing out of two very energetic conversations in Creative COW’s FCPX or Not: The Debate forum. The first is based on Charlie Austin’s presentation for FCPWORKS’ FCP Exchange, called Making the Switch to X: A Comparative Study. As the conversation evolved, Simon more deeply explored the specific question, what might happen if you used one Library, one Event, one Smart Collection to organize everything? He continued to explore this on the new thread from whence this tutorial emerges, One Smart Collection to Rule Them All’>One Smart Collection to Rule Them All.
Take a look at this, then take a look at those, and prepare for your workflow to be transformed. Not unlike magic.” – Simon Ubsdell | Creative Cow
“Steve Martin talks about working with secondary storyline in Final Cut Pro X. He demonstrates to Mark Spencer about how helpful using this feature can be to keeping your timeline more organized and making different types of edits in them.” – Pixel Corps
“Take the right approach to importing your footage into Final Cut Pro X.
Before you can edit your footage, it needs to be imported into your project. Importing may sound like a fairly easy process, but if you want to get the most out of Final Cut Pro X there are a few best practices you should adhere to when importing your footage.
In the following video tutorial we will take a look at different ways you can import footage into FCPX. The tutorial covers:
Drag and Drop Importing
External Media Referencing” – Ben Consoli | PremiumBeat