One of the best things about Final Cut Pro is that it has most every tool built into one package. In the lesson above, you’ll learn how to create title cards right inside of FCPX.
It’s rare that your video footage will come out of camera with perfect color settings. Many times, you’ll need to adjust white balance, exposure, and color when you import your footage.
Creating a timelapse is a great way to take your still images and create a video effect. If you don’t have the time or opportunity to make b-roll video—and maybe even if you do—you can leave your camera in place and take a sequence of images over time to record a simple timelapse.
Well-placed audio can make a video come to life. This lesson from the course Video Editing in Final Cut Pro will teach you everything you need to get started with audio in Apple’s popular video-editing app:
It’s rare that hand-held video footage is perfectly stable. Unless you’re using a tripod or expensive steadicam, you can bet that your video needs a bit of stabilization in post-production.
To get started with Final Cut Pro X, you’ll need to import your video footage into the app. There are a number of options that control how Final Cut Pro handles footage, and you’ll see the most efficient way possible in this lesson.
When you first open a powerful app like Final Cut Pro X, the menus and options can seem overwhelming. You might know what you want to do, but not how to do your work in the most straightforward way.
In this tutorial series we’ve talked about using a variety of tools to move your camera, with special attention paid to fast-paced documentary shoots. There’s a lot of neat gear out there, both new and time-tested, to help you achieve creative camera motion. Simply getting into a car can introduce many new kinds of shots to help add variety in your documentary edit.
Before gimbals, drones, segways and motorized dollies, documentary filmmakers relied on the old standby for much of their moving footage: cars.
Pans, tilts, jibs, and sliders are all solid, established tools to help you add motion to your documentary. But a steadicam, or more recently, a brushless gimbal, can emulate all of those traditional movements with ease. More importantly, they can do things that no other tool can do: they can take your documentary production to a whole new level.
While video technology is moving rapidly, the format of documentary hardly ever changes. You have your interview or dialogue for A-roll, and then everything else is B-roll. The interview format doesn’t change much because anything new or snazzy could distract audiences from the heart of a documentary, the story.
If you’re considering adding a camera slider to your documentary setup, you can do a lot more than simple side-to-side motion. In fact, you can create moves with a slider that are quite unique and add significant production value to your documentary, without adding additional gear (or at least not much gear).
Sometimes a pan gives you a decent camera movement, and other times you want something with a little more flair in your documentary. At its most basic function, the camera slider delivers a side to side movement that is dramatically different than a pan, in that the camera moves through a space, which changes the perspective. Most importantly, the slider reveals something as it moves, which makes it an important tool in your storytelling tool belt.
In this tutorial you’ll learn how to synchronize interview audio and video within Final Cut Pro X.