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Here’s a transcription of the class. Enjoy!
Hello, everyone, and welcome to the class. This is David A. Cox with techtalkamerica.com, and today we’re talking all about Final Cut Pro X. I always like to reference the date when I teach these classes, because as time goes on, things do change.
Today’s date is September 5th of 2015. We’re going to be covering a lot of different aspects of Final Cut Pro. This is a very, very large piece of software to cover. My goal is to give you all the information you need to get started. This is really designed for people who are new to new-ish on the user level. If you haven’t already done so, you can purchase Final Cut Pro X through the Mac App Store.
That would be—just go to the little Apple icon, go to App Store. You can purchase it there. For anyone who complains about the
price, I want to remind you that Final Cut used to be $2,000. It has come down significantly since then. It’s a great piece of software. I use it all the time. I’ve been using different versions of it for over 10 years, now. I originally trained myself in video editing when I was about 14 years old. Back in those days, it was the Media 100 System, and then eventually, Final Cut, et cetera.
We’re going to go over all that today. For those of you tuning in after we record this, since we do have a live audience now, I want to give you a strong recommendation before you play the rest of this class. In the description of this video, I’m giving you all a PDF that I’ve made up for you. It has a ton of different shortcuts and hyperlinks for product that I recommend for people getting into video production. My degree is in film making, so this is something I have definitely had plenty of time to play with over the last many years.
If you need recommendations as far as what kind of hard drive to keep your footage on—that’s one of the things I tend to recommend. Keep your footage on an external hard drive. You can see my recommendations there. There’s all sorts of lighting and sound equipment, different digital cameras that you can use. All that you’ll find, of course, in that PDF. Look for that in the description.
First thing I want to talk about when you get into video editing—I have a very strong recommendation— keep your footage organized and on an external hard drive. For those who are curious, I’ll drag it into the screen I am actually legit when I talk about this.
This is my little hard drive. I have a Drobo Mini. I stand by this product even though it is more expensive than most. It has four hard drives in it. It is basically massaging your data between four different drives. If one drive fails, you pop it out and pop in a new one. It rebuilds everything. It is expandable. They’re just awesome. There’s a few versions of the Drobo. The Drobo Mini is the one I like because it’s so easily portable, so when I travel, which I’m doing more and more these days for business. It comes with a bag. I can bring it with me. Definitely check that out.
What I’ve done today is— we’re going to be creating a little video. It won’t be of significant content. I tagged a few video files to show you how to navigate this.
When you go into Final Cut it will look something like this. Your screen might look a little different, you might not have that open, but I want to walk you through everything here. Let’s go through basic definitions. When you start Final Cut you’ll need to create a few things. I’ll go to File and New. You’ll see the three major items: Project, Event and Library. These can be very confusing. Trust me. I’ve been confused by them in the past. The project is straightforward. It’s whatever the edit is.
I might be doing this video for this and another video for that. Sometimes I do two different versions of something that will be separate projects. Next, is the event. This is the best way to describe it. Let’s say you’re shooting a movie. Each event might be a different scene. You can pull footage from different events into one project. The library contains multiple events. I know that can be a little confusing. I want to go over what that is.
The first thing we do when—because we’re starting new here, I’m going to create a new project. I’m going to call this “Demo.”
You can see up here that it has this little clapboard. If you’re going through with multiple projects, this is the icon you look for to double click to pull up the edit itself. What it has done is create an event here that we can use to bring in our footage. Please keep your footage on an external drive.
Normally, what you would do to bring in footage is you go to File and Import, and you would just tell it where it is. If you have a digital camera, plug it in to Final Cut Pro for it to go to that screen and ask which clips you want to bring in and where to put them. I’m going to cheat a little here because this is a demo class. I have created some quick clips here that I’ll drag and drop here into this event, which another way that you can technically do it.
I like to use different terminology than what Apple puts out to make it easier to follow. I refer to this as my bin. It is everything, all the footage. I’m going to mute the audio.
This is all of my footage. As you skim over it with your cursor, you will see a preview in the preview window at the top right corner. Now, the bottom portion here is the time line. That is where the edit takes place. When you’re go through Apple’s resources, if—you should go through Apple’s resources— sometimes it’s referred to as timeline, sometimes it’s storyline. They are, technically speaking, different. I’m trying to make this easier. I am just going to use the word timeline today. For any experts who are wondering why I’m using wrong terminology, it’s because I’m trying not to confuse people here.
The first thing you’ll do when you go through your footage is pull the best shots. If you’re curious and haven’t heard of me before, I have this hobby of using an aerial drone. I do a lot of drone films. If you’re curious about them, you can go on Facebook and search for “Droning Province town.” That’s where we are. You can find my videos there. I try to put out a video each week if I’m fortunate enough, especially during the summer.
What you’ll do is go through here to pick out your best shots. Bring them to your timeline. I’ll give you some shortcuts to make this easier. The first thing is when you’re skimming through footage and find the perfect place, you’ll want to play it. Hitting the space bar will play it. There is audio on this clip. This is the only shot not with the drone. I’ll wait for the perfect moment with some seagulls in here. At that point, I’ll tell it what my in point is. To mark the in point, hit the letter “I”. Think in equals I.
You get that little yellow box. Now what I’m going to do is I’m going to play the footage to figure out how long the shot will go. When I find the stopping point, I’ll hit the letter “O”. O as in out point. It is showing me, of this clip, this part here, which I have tagged as being a good shot. Now, I’m going to bring it into the time line. There’s a couple ways to do it. You can drag and drop it if you want. I like to use hotkeys and shortcut keys.
There are three keys that work to do this. Personally, I only use one. For organization purposes I find this to be better. Keep in mind that I don’t shoot with actors, so I’m not worried about things matching up correctly. The three letters are Q, W and E. For those of you on an American keyboard, those are next to each other. The one that I use more than anything is E because it puts it at the end of your project. You can see it’s now right here at the end of my timeline. It’s the first shot, so the end and beginning is the same shot.
The other options here are W. I’ll zoom in here. If you have a track pad, you can pinch with your fingers, just like you would zoom in on Safari. If I use W, it will put it where this little bar is. That is the playhead. That will interrupt the shot if it’s not between two shots. I’ll do undo to clear it out. A good hot key to be aware of on the MAC is undo, which is Command Z as in zebra. The other option is Q. Q is good for dealing with interviews. I’ll try to paint the picture.
You watch an interview with someone on camera. They go to what is called B Roll footage, which is something else like them walking through a park. You still hear their audio. This is an example where Q can be useful. Check it out. It puts it above the shot. If this clip had no audio, you would still hear the audio from this shot here. I’ll show you how to tweak audio in a little bit. The big one I tend to use more than anything is E. It puts it at the end of the project for me to manipulate later on.
In order for me to show you the editing I’ll put in a few other shots. Let me find a good shot. I for in point. Let’s hit play. Give it a few seconds of footage. Scroll down to get a few other shots. The aerial drone is definitely one of the—no, I’d say the coolest gadget that I own. For those who are curious, I use the Yuneec Q500. I’m going to upgrade to the 4K camera.
Let’s get some other footage. Let’s get this shot with the shadow on the left side. I love this shot here. This is a difficult shot to do without looking at the monitor. We got a bunch of shots to play with which is always good. I’ll get one more.
Perfect. We have our shots to work with. I want to show you how to trim clips. We’ll break these down to refine them. There’s a few different ways to do this. I switch back and forth depending on the kind of shot. First, look at the middle of my screen. There’s an arrow. That’s what it is by default. You can trigger the arrow by tapping A. This is on the cheat sheet I gave you. The other option is Blade. You are splicing the shot into two.
If I go through this shot and want it to end earlier, I can put the blade on this shot and click. It will split this into two different clips. One example where that might be useful is going to be covered later on. When you do a shot that you want to be fast and slow it down, you take the original shot and splice it in two. Part becomes fast and the other part is slow. Then, you don’t have to do any transitions. It is just automatically going.
Let’s undo that for now. The other way is to zoom in here to better see it. If you put your cursor on the end of one clip, it will turn into that icon. What that means is if I click there and drag to the left, it will bring that clip back, cutting into the final frames of this video. See it is actually counting back the frames. If I move it to the right, it shifts.
Now, I’m doing the same thing to the other clip on the other side. I’m cutting into it so it starts later, like that. You can toggle between that by using the trim selector. I don’t find it necessary because your cursor is between two shots, so there is no need to do it.
Zoom can be handy if you’re on an iMac, using a traditional mouse. The reason I don’t use Zoom is because I have the track pad. I just pinch with my fingers to get into the shot. For example, I can pull back all the way—that’s my whole project. I can pinch to zoom in, you know—you can see how now I can see a much more detailed version of that particular shot.
The other way you can do this is—if you look at the very bottom of my screen—see, we have a little magnifying glass. There’s a minus and plus. You can manually do it that way, too, and a little trick here is if you put the playhead—if you click and put the playhead, it’s going to know that you want to zoom in on that area. For fine tuning adjustments, that is very handy.
There’s another trick I like to do. I like to mark points. In my case, I do this with audio. I’ll bring in the audio file. I want to give you strong advice for those of you creating content for YouTube or Facebook. I apologize if this sounds off topic. It is important for you to know. If you don’t know this and spend hours creating content, you could be hit with an unfortunate reality. Let me explain how music works with YouTube and Facebook. If you are putting background music on Facebook—if you do not own the rights to it, they will take it down. There’s not much ability to challenge that decision. You really are forced to take it down.
If you do a photomontage with music by your favorite musician, don’t do it. You want copyright free music. There’s a great resource in that I’ve given to all of you in that little cheat sheet. I do request, if you don’t mind using the link that I give you in that cheat sheet, it is an affiliate link. We get a little credit. It doesn’t cost you anything. It helps us keep these classes free without charging you anything to take them. That service is called Audio Jungle.
I’ll give a quick shout out to my favorite composer. The guy is named Brian Crutchfield. He’s a graduate of Berkley School of Music. He’s awesome. He did the song in the background, which I own copyright access to. When you want to bring in music there’s two ways to do it. You can either drag it and drop it right into your project just as you saw I just did, or, if you look here, on the right side—see the little music note?
That, really more than anything, talks iTunes. It can talk to other folders, including Garage Band. If you have it in iTunes you can bring it in through that method. I usually tend to use copyright free music, so it’s usually in file form. I usually drag and drop it.
In the case of YouTube, by the way, you can use copyrighted music. Points for me using copyrighted and not copywritten. I always make that mistake. The big difference is that you cannot make money from a video if you use a copyrighted song. Typically, I try to use copyright free music. You are paying a licensing fee to use it, around $18. It depends on the length of the track and popularity. It is a great resource to keep as a book mark.
For people who aren’t tuning in live, we’ll do a quick commercial break to keep these classes free. Live listeners won’t see an interruption. We’ll continue on with a bunch of other stuff. This is David A. Cox with TechTalk America. We’re going over Final Cut Pro today. We will be right back. We’re back.
Before we went to the break, I mentioned a trick I use to create my projects. If you’ve seen my drone videos, I edit to the beat of the music and the key moments in the music. To do this I have to turn my audio on. I use a short cut that’s on your cheat sheet. It’s for marking. You can do this for video or audio. I like to use it for audio for obvious reasons. You want to make sure that the play head is where you want. Click on the audio file right here. Hit play. Hit the M key on the keyboard. It will put a notation of that moment.
I will typically do that first. I will align my shots to meet those moments. Those dramatic moments cut into that perfect moment. Let’s go through it to show you how it looks. I forgot about the audio in that clip. Let me take that down and show you in a moment.
[19:17] [Audio plays]
Sorry. I clicked on the video clip when I should have done audio.
Let’s do that from there.
I just went through the song while hitting the M key. Do you see these little blue dots? They’re a notation. It doesn’t affect anything in the video. You can clear them out if you don’t want them. I will align these shots to meet this. Let’s try moving some stuff around here. See if I can try to extend it.
Another cool feature is that even though I told it to bring in this much of the shot, it knows there’s actually more there. If I suddenly need one second of footage here, I can go here to drag it. It will pull it from the original file. I know it fits the right timecode. The same goes with this shot. I need a little more. Notice that it’s snapping to the beat. If you want that feature to snap to different moments, it’s this blue button here. I believe by default, when you actually get Final Cut Pro, it does automatically come set that way.
Next, what I want to do is I want to start to walk through a few other features here. We’ll go through this bar on the right side, towards the center. We’ll jump around a little bit. First one here we have is the effects browser. The effects browser comes with a lot of different effects.
If you want to age your clip to make it look like 50s TV, watch this. You’ll see in just a moment. It will load the clip. You have to click on the clip and then click in here. It should load it in a moment. We’re live, so it might not do it right off the bat. It’s giving me a preview of what it will look like.
Another trick, by the way, if I hit the space bar right now, it will just play that clip with that special effect. Notice there’s no rendering. It is automatic. It might not be as smooth as when it does render, but it looks pretty good. We can add noise if you want that kind of film look, like aged paper. Some of these are more appealing than others. If you want to get some really awesome extra effects, I’ll direct your attention to the link in the description of the video and the cheat sheet of the separate class we did. This is for those who want to kick it up to the next level of editing. I did a video last week called, “My Top 10 Final Cut Pro X Plug Ins.” These are through a website that you can download.
They’re amazing effects. For those who use actors, there’s a separate video for this one. It’s not in the document. If you have actors, it will do the same thing Photoshop does to skin in a photo. It will track the person’s face and smooth it in real time. It’s an amazing plug in. We have a whole video on that if that interests you. Check out the links.
Next, the photo icon connects to the photos app or iPhoto. This is nice. A lot of you have questions about the Ken Burns effect. That is the ability to zoom in or out of a photo. Can you do it in Final Cut Pro without special plug ins? Yes. There is a plug in that makes it easier. That is included in the Final Cut Pro Plug Ins video. If that interests you, I recommend you get it. It’s not expensive. If you bundle it with others, you can save money.
You take your photo, drag it and drop it into the time line. It’s just like that. If you bring in a photo with this black bar effect, I want to show you how to manage that. Look up here at these black bars on the side. To the bottom left, we have this icon with the arrow next to it. There’s three forms of this. We have transform, crop and distort. I don’t know anyone who uses distort. I’ve never had a need for it. I use crop because you’re telling it what parts to trim. I’ll tell it whatever I want to crop.
You’ll notice it formatting the shape of this window. I can drag it down. Let’s do it like that. It fills the whole screen. There is the other method for Ken Burns. It is my own personal opinion that the other method is a little better with a few more options. That is the other way to do the Ken Burns effect. You can do the before and after like iMovie. If you want to go on the cheap, that is the way to do it since it doesn’t cost anything. If you want additional features, the plug in is better.
If you hold the command key, you can bring in multiple photos at once. We already talked about music. The next one I’ve never understood what it is supposed to look like. Maybe it’s an hour glass or a curtain. It’s transitions. I like to caution people about using funky transitions. Stay away from them. Cross dissolve and fade to black are your friends. The other ones are too distracting. They get away from your subject.
I’m going to delete this shot. If you want to go from this shot to this shot, take it, drag it and drop it between two shots. This is similar to how iMovie works. This grey bar represents that. If you want to adjust the timing, zoom in and grab either corner while dragging it in. It never lets me do it right while I’m live. That’s how you do it.
You can go into the precision editor. You double click to make it shorter or longer. Let’s do that. I wasn’t planning on using the precision editor today. Next, is about titles. Titles can be applied to footage or the background. It can be black, color or animated background. If you want something more interesting than a black background, there’s another resource on that cheat sheet for Video Hive. One of the aspects of Video Hive has 3D graphic features and stock footage you can buy. If you want ocean waves in the background and don’t have a shot, you can buy it for maybe five dollars. That footage is inexpensive.
If you want to apply a title, let me show you how to do both methods here. Let’s say I want to apply it to my video here. You go through here to all the different options here. These are the kinds of titles you can do. One of the features in the latest update to Final Cut is the 3D ones. It can be repetitive if you use them too much. I’ll use this blur one here. It’s subtle. If you roll your cursor over the preview, it will give you an idea what it looks like. I’m going to drag and drop it above my shot. I’ll give the viewer a couple seconds of ordinary footage. The title will come in. Then, it will fade out.
If you want to adjust the length of this, put your cursor at the end or beginning and drag it back. Right now it shows me that this title will be three and a quarter seconds long. To edit the title, click on it first. Highlight it. Look at the right side of my screen at these buttons. That is your inspector. This opens the window to see the title. You choose the font and size. I’ll put in the name. I’ll call it “Droning Province Town Presents…” You can change the font. Keep in mind that you have to highlight it like a Word or Pages document.
If you don’t see it on the screen, the play head needs to be where the text is showing up. We’ll have to change a few aspects here. Let’s move it. You might want to re-position it. For that you’ll want to go here to the same button as before. This time we’re not doing crop, we’re doing transform. When you’re in transform mode, you can drag and drop it wherever you want on the screen. That is something I wish you had in iMovie that you don’t have. Let’s see how it looks. I’ll make sure my speakers are muted.
Okay. It is a little studdered right there. The orange bar above it means it hasn’t rendered yet. The current version of Final Cut Pro starts automatically rendering any video when it needs rendering, when you stop moving your cursor. Render means to process. This happens a lot when dealing with graphics, transitions, special effects, fast motion and slow motion. It tends to be pretty quick, especially when you have a better Mac—like a Mac Pro or an iMac, it’s going to do it significantly faster.
I do all of my editing. My computer is a 13 inch MacBook Air. I have the maximum specs that I can get. If I had a better computer, that would be helpful for me. One day. One day.
I want to point out the 3D text options here. If you click where it says “Normal”, we have 2D styles and 3D styles. They have different looks. You can change the colors. If you don’t like glossy green, you can make it blue, white or whatever you want.
We’ve gone over titles. If you want to do a title without video as a background, then you will do the same thing. Instead of dragging it on top of a clip, drag it between two clips or before a clip. In my case, I drop it right here to become its own bar. Right now it will be over black. I’ll add a different layer by dropping a video file beneath it.
Let’s delete that. The next one we have is something I don’t suspect you using. They are generators. I never use them. You can use a countdown that would be helpful. Some are weird blobs. I think these effects are obvious for anyone who does video editing how you made your video. I try to stay away from it.
There’s a curtain like the one in iMovie. This is trying to load in the background. If you need a simple background, some of these are not animated. You can find them right there. The next one that I don’t use is themes. Themes are different effects that are meant to go together. For example, when making the next Spider Man you might want to comic book theme. These are different video transitions. The images of trees are place holders that you can replace with your video.
This goes from one shot to another. I think this makes the video look amateurish. Sometimes you want your video to have that cute effect. You can go through all of these here. Quite a few come with Final Cut. Parents doing a sports video for their kids soccer practice can do cute things. You can put the score at the top of the screen. It works like titles. You can type it in and put in whatever text you want.
I want to jump around to show you some cool effects that you might want to be aware off. I want to show you slow motion and fast motion. I’m sorry. Before I show you that I want to show you one other thing: color correction. I want to show you this first. I’ll use this shot here. We start really close and back up to a full frame view of Province Town. One of the cool effects to give it variety is to start slow and go fast. You can do the opposite. You can start slow and go to normal speed. Mix it up how you want.
I’m showing you color correction first because you have to do it first. As soon as you split the shot it’s hard to provide color correction equally to both shots. It tends to look weird. There’s a few ways to color correct. Click on your shot to highlight it in yellow. Go to the magic wand icon with the arrow next to it. We’ll talk about these three here: balance color, match color and show color board.
Balance color is like auto enhance in iMovie. You’re telling the computer to do what it thinks to make it look good. Admittedly, I do this when I do my videos to see what happens. Usually when I shoot at sunset I don’t need color correction. I don’t know if it will work that well for this one. In my case I think it made it look not as good. You can keep that or use command Z to undo.
Option two is to match color. This is good when you do a two camera shoot, back and forth between actors. You want the lighting to match. You go to match color. What you do is basically click on the shot that you want to match again. Look at these two shots here. The color and lighting is different. If I click on this shot here, it is attempting to make the color match between the two shots. This isn’t the greatest example because these are shot at two different times. Take my word for it. If you have two actors in the same location for two shots, you can click on the other shot and it will try to make the lighting match both shots. I’ll hit cancel for now.
The other option is to show the color board. This is where you get into nitty gritty. There are three options: color, saturation and exposure. You can probably guess what they are. If your greens are off, you can literally grab the greens to adjust them to where you want. This is a way to add warmth to your shot. I’m giving more attention to the reds here. I’m letting the other colors shine more. I’ll undo that for now.
Let’s go to saturation. We have your shadows, mid tones and highlights. You can grab each dot and change them as necessary. I usually add just a hair to each. It tends to give it that extra pop. I’ll undo those three to get us back to our original.
This slide bar is the master. If you change it, it will change all of them. Be careful about using too much. Subtle is better. If you desaturate it, you are left with a black and white image. I’ll keep it there for now. Exposure is the same exact deal. You can manipulate individually or use your master controls.
Let’s talk about that slow motion and fast motion thing. Let’s say I want part to be fast. Then, I want the user to take it in for a little. I’ll keep it at normal speed or slow it down. Here’s how I like to do it. I’ll pull out the blade tool with B on the keyboard. I’ll splice this shot into two separate shots. I’ll manipulate this first shot here to transition to the second shot. To manipulate speed, go up here to modify. Go to retime. The options are slow or fast. I wouldn’t get too caught up on percentages or how many times faster. You can individually manipulate it afterwards. Watch what I do.
I’ll say to make it fast. We’ll make it two times faster. The shot will be automatically sped up. The orange bar means it needs rendered. I can still play it. It won’t play as smoothly. When I stop moving my cursor it will render it. Right now, let me play for you what it looks like. I thought that looked good, but I’ll show you how to change it up.
Do you see this light blue bar by my shot? I can grab the side of it. If I want to make it faster, I click and drag it in. It’s not just 200 percent. I can make it exactly this length. If you watch here, you’ll see it match up to my key points. They match to the beat of the music. Now, you can check out the look we got here. Give it two seconds to render before we play. Kind of cool, right?
The same thing applies if you want to do it slower. If I want to slow down this shot, I go to modify and retime. You can make it more or less by 50 percent until you get to normal speed. It goes green when you hit 100 percent. This is 67 percent. Now, let’s go fast. Then, we’ll go slow. It’s a cool effect. If you’re doing sports, that’s a cool effect to use by going fast and then really slow.
Freeze frame is the next thing I want to go over. Let’s say I want to do that there. Click on the shot and put your play head where you want the shot to be. Go back up here. I believe it is under Edit. I am correct. If you like what I’ve done here where it’s in the middle of the shot, it will play the video, free frame it and pick up where it left off. It’s like a normal photo. If this is too long, you can taper it back. It’s now only that long.
My drone doesn’t record audio, so we have to do something special. We’ll talk about the tricks we can do here. Let’s zoom in to see it. You can see the actual sound waves here. I want to show you how to change the levels. Right now they are in the green, even though it’s blue. If I raise this, you’ll see the yellow and red in there. It might be tough to see there. Do you see the yellow? You want to stay away from that because it will get blown out. It will get distorted.
If you need to tweak the overall levels for a shot, there’s this very hard to see, thin, black bar that goes through the shot. If you put your cursor on it, it goes to that icon. You have the arrow pointed up and down. It shows you how many decibels when you click it that you’re lowering it by. The other thing you may or may not see if you’re live is the little dot at the beginning of the shot.
That is your fade ability. When I put my cursor over it the arrows go left to right. If I want to fade in the audio, I can drag that dot. It’s causing a curve. It’s showing exactly how long it will take to go from no volume to full volume. It’s a very quick thing. You can do that at the end of the shot as well.
Sometimes you may want to detach the audio to extract it from the clip. If you have multiple tracks going on, you might need to extract the audio to make it its own file. The easiest way to do this is secondary click on the clip. You see we have the option to detach the audio. I want to show you another trick. There’s a shortcut key to disable.
Let me give an example. When I play with music I might have a few different songs. I’m trying to figure out what song sounds best with this. If you play this now, it would sound awful. We have one track after the other. Sorry about that. I keep my cursor a little larger than normal to make it easier for the folks who are here—oops, that’s—let’s go to…
I’m going to play this. We have multiple audio files on top of each other. It will sound horrible, right? If you need to do this test, hit the V key. That disables it. It’s going to play this song without that song. Hit V again to re-enable.
The next trick I want to show is what to do when you’re done with your video. There are a few tricks to export. You can use the share button at the right side of the screen. You can also go to File and to Share. I recommend that you do a master file export. I would save this to an external drive or something like Dropbox. Go under Settings. There’s things like Video Codec Format. I like to do at least one as the source. Notice the file size went from 169 MB to about 10 times that in source resolution. It’s 1.2 GB. This depends on how much space you have.
Keep in mind that it’s good to have the highest resolution copy of your video. Five years ago 1080p was hard to find. Now, 4K is the thing. They’re coming out with higher resolutions than 4K. Make sure you have the absolute maximum resolution that you can get somewhere. Include chapter markers if you use them. Personally, I don’t.
It will ask you where you want to save this on the next screen. The default file format is an MP4 format. That’s a versatile format. That about does it for our Final Cut Pro class today.
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This is David A. Cox with TechTalk America. This is our class about Final Cut Pro. Class dismissed.