Final Cut Pro HD | H•O•T Hands-On Training [Electronic resources] نسخه متنی

1.

Start by opening Chapter 06 Lesson, if it isn't already open. Then, if you did all the work in the last exercise, open the Seq Trimmed 30 sequence. If not, open the Seq First trim sequence.

2.

Move the playhead so it is between the first and second clips. This step, which is optional, helps you remember which edit you are working on.

3.

In the Tool palette, click the Roll tool (or press R).

The Roll tool icon has two rollers, implying that it is changing two sides of the edit at once.

4.

Click the Roll tool on the edit point containing the playhead.

What you are going to do is to tweak the placement of the edit point to improve the flow between two shots by simultaneously changing both the In and the Out.

5.

Drag the Roll tool to the left. Notice the changing numbers in the tooltip.

6.

Now, drag the Roll tool to the right. Watch the tooltip and the two images in the Canvas. The left picture shows the changes to the Out of the outgoing clip. The right picture shows the changes to the In of the incoming clip. Stop when your numbers match those in the screen shot.

7.

Let go of the mouse and press the \(backslash) key.

The backslash is a fast way to preview the location of the playhead, which is why I had you position the playhead at the edit point in Step 2. The default setting is for playback to start 5 seconds before the playhead and end 2 seconds after.

Roll trims are excellent when the action in both shots matches, and you are just trying to find the best place to make the cut.

The next trim tool you will learn is the Slip tool. This is often a tricky tool to get your mind around because it is not initially intuitive.

8.

Put the playhead between the first and second shots and play the second clip. Notice how the snowboarder doesn't get completely out of frame before he skis into the third shot?

What you are going to do is keep the second clip the same length and at the same location in the Timeline, but change the content of the shot itself, by simultaneously changing the In and the Out of the second shot.

9.

Select the Slip tool from the Tool palette (or press S).

10.

Click in the middle of Shoot the edge and drag slowly left and right.

11.

Watch the Canvas images to see your changes. The left image shows the changing In, the right image shows the changing Out, both from Shoot the edge. See how you are changing the content of the shot, without changing the duration or its location on the Timeline?

Drag to the left until the tooltip says :24 and the snowboarder is just leaving the frame in the Out image.

12.

Press \(backslash) and preview the edit.

Hmmm…something doesn't feel right. The cut feels "jumpy."

13.

Grab the Slip tool and slip the clip back two frames (-:02 in the tooltip).

14.

Preview the edit again. Much better! For some reason, many edits flow better when you don't perfectly match the action, but take out a few frames between the end of the first shot and the start of the second to slightly speed the action.

The Slide tool is, essentially, the opposite of the Slip tool. The Slide tool maintains the current duration and content of a clip, but slides it along the Timeline by simultaneously adjusting the Out of the preceding clip and the In of the following clip in the same direction. It's a concept that has been known to drive strong men to drink.

15.

Select the Slide tool from the Tool palette (or press SS).

16.

Click in the middle of Track The gap and drag left and right. Watch as the location of the clip shifts on the Timeline. Drag the clip to the left and you'll discover a point where you can't drag it anymore. This is because you have run out of handles on the In the lake clip. Without handles, you can't slide the clip any further.

17.

Slide the clip to the left nine frames (:09) until the snowboarder in the right image, the In, disappears from the frame, but not his shadow. The images in the Canvas represent the changing Out of the outgoing clip on the left, and the changing In of the incoming clip on the right.

18.

Let go and preview the edit. Giving a little more time to the last shot helps to pay off the joke of him skiing into the lake (showcasing, I guess, a new approach to water skiing).

19.

This ends the exercise. Save your work. But keep everything open because even with all this trimming, your commercial is still heavy (um, TV-speak for "way the heck too long"). In the next exercise you'll finally bring it into time.