In this exercise, you'll learn how to use a second video track to provide B-roll coverage for a talking head, how to do a split edit, how to use the Timeline patch panel, and some basic approaches to laying out your audio tracks in a sequence.
1.
Open the Hurricane project, if it isn't open already. Then, Ctrl+click Seq Talking Head finished in Browser and choose Duplicate from the shortcut menu. This makes a copy of the sequence so you can make changes without damaging the original sequence. Name the new sequence Seq B-roll added.First, in this style of editing, you are going to keep your talking head video on v1 and add additional video to v2. I call this multitrack editing.
2.
So, you need to add one more video track and two more audio tracks. There are several ways to do this, but when you are adding multiple tracks, the fastest is to choose Sequence > Insert Tracks and fill in the two dialogs.Next, in order to use the automated tools for editing a clip from the Viewer to the Timeline, you need to change the settings in the patch panel, on the left side of the Timeline.
3.
The default settings work fine, when all your video is on V1 and your audio is on A1 and A2. However, in this case, you want to put your B-roll video on V2 and the natural sounds from it on A3 and A4.To do this move the v1 on the left side up to match V2 on the right side. This means that the video from the Viewer (which comes into the patch panel from the left on v1) goes out to the Timeline using the V2 patch. (If you wanted to put the video on V3 on the Timeline, you'd move the left v1 patch up to V3, thus connecting the Viewer on the left to the Timeline on the right.)Similarly, you need to move the audio patches so that the audio from the Viewer (which, again, comes in from the left on a1 and a2) goes out to the Timeline on A3 and A4.In brief, the patch panel controls how signals are routed from the Viewer to the Timeline.
NOTE | The Patch Panel
The patch panel tells Final Cut how to route the audio and video from the Viewer to the Timeline when you use the automated editing tools (such as dragging to the Canvas overlay, pressing F10, or clicking the red button). The patch panel is "smart," meaning that it knows what type of clip is in the Viewer and adjusts itself accordingly.Normally, the default settings are finebut not when you want to put video or audio on other tracks. The patch panel is also highly useful when you want to do an audio-only or video-only edit with a clip that contains both audio and video.Here, a video-only clip is loaded into the Viewer, and only the v1 patch is available on the Viewer side of the patch panel.Here, a dual-channel audio-only clip is loaded into the Viewer, and only the a1 and a2 patches are available.Here, a mono audio file is loaded into the Viewer, and only the a1 patch is available. These are all straightforward examples. The next three are more interesting.This is an audio and video clip, loaded into the Timeline. All three signals (v1, a1, and a2) are patched through to the Timeline.Here's the same clip, but only the video is connected. See that small gap between the two audio patches on the left and right? You create that gap by clicking the a1 or a2 patches on the left. When you click them, Final Cut disconnects the signal. In this case, only the video is passed from the Viewer to the Timeline.Here's the opposite situation. There's a clip with audio and video in the Viewer, but the patch panel is allowing only the audio to go through. See that small gap between v1 on the left (the Viewer) and v1 on the right (the Timeline)? This tells Final Cut to block the video but let the audio go through.Whenever you use an automated editing tool to move a clip from the Viewer to the Timeline, it always passes through the patch panel.
4.
Move the playhead to where the speaker in the first clip says, "…from Hurricane Irene…" (01:00:02:01) and set an In. You are going to establish who is speaking, but then almost immediately cover them with footage about the hurricane.
5.
Open the B-roll bin and double-click the clip B sandbags CU to load it into the Viewer.Notice how all the B-roll shots start with "B"? That helps me in sorting B-roll video from interviews. Feel free to steal my idea and use it yourself.
6.
Set an In at the beginning of the clip. Set a duration of 2:00. Once you have the clip marked, press F10 to edit it to the Timeline.Notice how Final Cut automatically puts the video on V2 and the audio on A3 and A4? This is why you use the patch panel in combination with the playheadthey give you precise control over where clips get placed. And, as you've come to expect when editing video, the playhead automatically moves to the end of the clip, positioning itself for the next edit.
NOTE | How Final Cut "Reads" Video Tracks
Clips laid out horizontally on the Timeline play one after the other. Clips stacked vertically play at the same time.Final Cut has a rule for reading stacked video tracks: The video on the higher numbered track covers the video on the lower numbered track. Thus, V2 totally blocks video on V1.However, there's an addition to this rule: Video on higher tracks blocks video on lower tracks, provided the video on the higher track is 100 percent opaque and 100 percent full-screen. Changing those settings is the whole idea behind compositing and motion effects. You will learn about these rules in Chapter 10, "Motion Effects."
7.
OK. Now that you've got the first B-roll shot in the sequence, the following table shows the rest of the clips and the timecode at which they start. Given what you know, you should be able to easily edit these to the Timeline.To make it easier to edit, all the rest of the B-roll clips are trimmed, so you don't need to set Ins or Outs.
Chapter 6," Trim Your Story"? It is ideally suited to getting video on multiple tracks to end at the same time.
8.
Select the Zoom tool (press Z) and zoom into the end of the sequence until you can see a difference between the ending of the shots on V1 and V2.
9.
Move the playhead so that it is sitting on the Out of V2. Then, select the Arrow tool, hold down the Command key and click to select the edit points on all tracks.
10.
Press the letter E, and watch as all six tracks instantly line up with the position of the playhead. No muss. No fuss. And no flash frames.
11.
That's a lot to cover in one exercise. In the next exercise, you'll learn how to trim the audio without touching the video. But, for now, save your work and take a break.
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Here, a video-only clip is loaded into the Viewer, and only the v1 patch is available on the Viewer side of the patch panel.
Here, a dual-channel audio-only clip is loaded into the Viewer, and only the a1 and a2 patches are available.
Here, a mono audio file is loaded into the Viewer, and only the a1 patch is available. These are all straightforward examples. The next three are more interesting.
Here's the same clip, but only the video is connected. See that small gap between the two audio patches on the left and right? You create that gap by clicking the a1 or a2 patches on the left. When you click them, Final Cut disconnects the signal. In this case, only the video is passed from the Viewer to the Timeline.
Here's the opposite situation. There's a clip with audio and video in the Viewer, but the patch panel is allowing only the audio to go through. See that small gap between v1 on the left (the Viewer) and v1 on the right (the Timeline)? This tells Final Cut to block the video but let the audio go through.Whenever you use an automated editing tool to move a clip from the Viewer to the Timeline, it always passes through the patch panel.
