Mark Spencer – ProVideo Coalition https://www.provideocoalition.com A Moviola Company Sun, 28 May 2017 13:01:47 +0000 en-US hourly 1 https://wordpress.org/?v=4.7.5 https://cdn.provideocoalition.com/app/uploads/cropped-Moviola-Favicon-2016-32x32.png Mark Spencer – ProVideo Coalition https://www.provideocoalition.com 32 32 Keyboard Superpowers in Final Cut Pro X https://www.provideocoalition.com/keyboard-superpowers-final-cut-pro-x/ https://www.provideocoalition.com/keyboard-superpowers-final-cut-pro-x/#respond Thu, 27 Apr 2017 17:51:26 +0000 https://www.provideocoalition.com/?p=51645 This week on MacBreak Studio, I am joined by special guest Noah Kadner from FCPworks.com, who shows us some great ways to add keyboard commands to speed up your color grading workflow. The first tip Noah shares was an eye-opener for me: he opens the Command Editor (Final Cut Pro > Commands > Customize) and

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This week on MacBreak Studio, I am joined by special guest Noah Kadner from FCPworks.com, who shows us some great ways to add keyboard commands to speed up your color grading workflow.

The first tip Noah shares was an eye-opener for me: he opens the Command Editor (Final Cut Pro > Commands > Customize) and then sorts the list of commands by the “modifier” column in order to push all commands that have no keyboard shortcuts assigned to the top of the list. Very smart, and a great way to see any new commands that may have been added in an update that could benefit from a shortcut!

Next, Noah demonstrates the usual procedure for color correction with the Color Board, click and dragging to move the pucks to adjust shadows, midtones, and highlights, and then clicking again to move among the exposure, saturation, and color balance tabs.

If you search for “puck” in the command editor’s search field, you’ll find commands for moving the pucks in the Color Board. Create a new command set by duplicating the default set, and you can assign just about any keystroke to invoke these commands. Noah chose the left and right arrow keys to move to the next and previous puck. Because the up and down arrow keys already work by default to move the pucks up and down when the Color Board is the active window, with these new shortcuts you can very quickly select a puck and move it by keeping your right-hand fingers over the arrow keys.

Next if you search on “pane” you’ll find commands to move from one Color Board pane to the next. Noah assigns the 1, 2, and 3 number keys to each pane.

By combining these two command types together, you can very quickly grade a shot by tapping the number for the pane you want and then using the arrow keys to make your adjustments. And when you move to your next shot, the Color Board automatically resets for that shot so you can just keep going.

It’s a great warp-speed workflow tip, check out the details in the video above. If you want to learn more tips for speeding up your workflow, check out our freshly updated Warp Speed Editing in Final Cut Pro X tutorial.

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Symbols & Symbol Fonts in Motion and Final Cut Pro X https://www.provideocoalition.com/symbols-symbol-fonts-motion-final-cut-pro-x/ https://www.provideocoalition.com/symbols-symbol-fonts-motion-final-cut-pro-x/#respond Fri, 21 Apr 2017 16:54:44 +0000 https://www.provideocoalition.com/?p=50932 This week on MacBreak Studio, I show Steve Martin from Ripple Training a couple of tips related to using symbols as 3D objects in Motion. These tips work just as well in Final Cut Pro X, since both applications contain the same underlying 3D text engine. We have discussed the process of how to create

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This week on MacBreak Studio, I show Steve Martin from Ripple Training a couple of tips related to using symbols as 3D objects in Motion. These tips work just as well in Final Cut Pro X, since both applications contain the same underlying 3D text engine.

We have discussed the process of how to create 3D objects out of symbols in previous episodes such as Episode 309 and Episode 316.

Today, the first tip is about the Emoji & Symbols palette. Although symbols are available here, it turns out that there are many more that are hidden by default. To gain access, you need to click the tiny gear icon at the top left which is strangely greyed out as if it were not selectable – don’t let that fool you, there are some nice surprises hiding there! Many optional collections are just a checkmark away from becoming part of the palette so that you can make 3D objects out of them.

The second tip is about Font Book. While we’ve discussed creating a Symbol font collection manually, it turns out there is a better way – just like in Final Cut Pro X, you can make smart collections in Font Book! You can specify that the smart collection be defined by a “Design Style” descriptor such as Sans-serif, italic, Roman, or even – yes, you guessed it – Symbol! So no need to manually locate and add symbol-based fonts to a collection; the smart collection finds them all automatically.

Once created, this new smart collection is available within Motion (or Final Cut Pro X) when selecting a font. Or, simply copy and paste the symbol you want directly into the Canvas or Viewer.

All the good details in the video above. If you want to improve your Motion skills, check out our fully updated Getting Started in Motion tutorial.

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Using Graduated Masks in Final Cut Pro X https://www.provideocoalition.com/using-graduated-masks-final-cut-pro-x/ https://www.provideocoalition.com/using-graduated-masks-final-cut-pro-x/#respond Sat, 15 Apr 2017 22:30:55 +0000 https://www.provideocoalition.com/?p=50405 This week on MacBreak Studio, Steve Martin from Ripple Training shows us a two useful and quite different uses for the graduated mask effect in Final Cut Pro X. Introduced in version 10.2, yet overshadowed by other new features, the graduated mask effect adds a feathered transition line from transparency into black on top of

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This week on MacBreak Studio, Steve Martin from Ripple Training shows us a two useful and quite different uses for the graduated mask effect in Final Cut Pro X.

Introduced in version 10.2, yet overshadowed by other new features, the graduated mask effect adds a feathered transition line from transparency into black on top of any content in your project. You can adjust the angle of the transition, its position, and amount of feathering all with the two on-screen controls, or by changing the Target and Center parameters in the Inspector. The only other parameter, Amount, adjusts the transparency of the black from opaque to fully transparent.

In Steve’s first example, he has a shot in a vineyard in which the sky is over-exposed. With the Waveform monitor, he shows how pulling down on the highlights puck in the Color board’s exposure pane affects not just the highlights but the full dynamic range of the shot, bring down midtones and even losing some shadow detail. By applying the graduated mask, he is able to lower just the highlights at the top of the shot without affecting midtones or shadows at all.

The second example is completely different: he uses the same graduated mask effect to reveal a title by keyframing mask to move across the letters, slowly transitioning from black across a soft feathered line, creating a very classy reveal. The key to pulling this off is starting off with a title that is over black.

If you haven’t used any of the 5 different mask effects in the Mask category, definitely try them out as they are all useful and can save you a trip to Motion!

Check it all out above. If want to learn more about how to create effects in Final Pro X, check out this tutorial.

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Get back your Molo mojo https://www.provideocoalition.com/get-back-molo-mojo/ https://www.provideocoalition.com/get-back-molo-mojo/#respond Thu, 06 Apr 2017 23:51:13 +0000 https://www.provideocoalition.com/?p=49843 This week on MacBreak Studio, I show Steve Martin from Ripple Training how you can move bits and pieces of your Motion projects to other projects and share them with other Motion users. If you’ve updated to Motion 5.3, you’ve probably noticed that the File Browser is gone. While you may not have used it

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This week on MacBreak Studio, I show Steve Martin from Ripple Training how you can move bits and pieces of your Motion projects to other projects and share them with other Motion users.

If you’ve updated to Motion 5.3, you’ve probably noticed that the File Browser is gone. While you may not have used it much (since you can import media into Motion via drag and drop from the Finder or by using the File > Import command), there was one casualty: the ability to easily save and reuse layers and groups of layers, including any applied filters, behaviors, masks, and keyframes.

Before 5.3, dragging any layer or group of layers to the File Browser created a file with a .molo extension. You could then drag that file from File Browser into a different project, or send it from the Finder to another Motion user. It’s been a convenient way to reuse and share parts of larger projects, like a nicely animated title, logo or background element.

With the elimination of the File Browser, you can still save, reuse, and share these .molo files, but the method has changed. If you try to drag a group or layer to the Finder from Motion, you’ll end up with a .xml file that can’t be added back to a project.

Instead, you need to add that group or layer to Motion’s Library. I like to use the Favorites folder for this. Once added, that group or layer is available from the same Library location for any project. If you want to send it to someone else, you can right-click it and choose Reveal in Finder to locate it quickly.

If you do send that .molo file to another Motion user, they cannot import it from the Finder into their Motion project like they would with a video clip, image, or audio file. Rather, they must first place it in the correct Finder path so that it will appear in Motion’s Library, and then add it from there. In the video above, I demonstrate how you can quickly locate that path.

If you want to improve your own Motion mojo, check our extensive library of Motion tutorials.

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Replace with ambience in Final Cut Pro X https://www.provideocoalition.com/replace-ambience-final-cut-pro-x/ https://www.provideocoalition.com/replace-ambience-final-cut-pro-x/#respond Fri, 31 Mar 2017 14:52:44 +0000 https://www.provideocoalition.com/?p=49432 This week on MacBreak Studio, Steve Martin from Ripple Training shows us a great way to quickly remove audio distractions and replace them with clean room tone. A MacBreak Studio viewer had asked Steve how to perform a “Replace with Ambience” in Final Cut Pro X, and Steve does not disappoint. Legacy Final Cut Studio

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This week on MacBreak Studio, Steve Martin from Ripple Training shows us a great way to quickly remove audio distractions and replace them with clean room tone.

A MacBreak Studio viewer had asked Steve how to perform a “Replace with Ambience” in Final Cut Pro X, and Steve does not disappoint.

Legacy Final Cut Studio included an application called Soundtrack Pro that many of us remember fondly, myself included. One feature of STP was its ability to sample some room tone and then use the “Replace with Ambience” command to remove background noise like coughs, traffic, birds, an ice making in the fridge, or anything that doesn’t belong in your audio.

You can’t just cut these noises out completely because the silence will stand out against the normal subtle background ambient noise, or room tone, that is present in almost any environment. As any good production team knows, you always record this ambient sound in every location because it varies so dramatically from one place to another.

There are two steps to the process: first, locating and sampling some good room tone, and then, replacing the “bad” audio with the sampled room tone. For the first step, Steve uses Filmstrip view in the Browser and makes the filmstrip quite long in order to locate a section of ambient sound, where the waveform is almost flat. He sets a range with I and O (or dragging) and then presses Command-K to assign a keyword to that range (you could also press F to favorite the range and rename the favorite). The end result is that just that piece of room tone is now quickly accessible any time that you need it. Best to find something that last several seconds. In this way, you can create a collection of room tone samples from each of your shoot locations.

The second step, replacing the offending audio, is accomplished with an Overwrite edit. Just set a range in the timeline and press the D key. It’s fast and easy to skim through an audio clip and replace these areas with clean room tone.

By the way, if you audio is connected to video, then just press Shift-3 to make an audio-only edit before pressing the D key. You only need to press Shift-3 once, Final Cut will stay in audio-only edit “mode” until you press Shift-1 to return to audio and video editing.

If you find this tip useful, check out Steve’s Sound Editing in Final Cut Pro X tutorial, fully updated for Final Cut Pro 10.3.

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Working with Photos in Final Cut Pro X https://www.provideocoalition.com/working-photos-final-cut-pro-x/ https://www.provideocoalition.com/working-photos-final-cut-pro-x/#respond Thu, 30 Mar 2017 14:34:59 +0000 https://www.provideocoalition.com/?p=49397 This week on MacBreak Studio, Steve Martin from Ripple Training shows us an interesting way to work with photos in Final Cut Pro X by taking advantage of the editing and filtering tools in the Photos application. If you use the Photos application on your Mac to store your photos, then they will appear in

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This week on MacBreak Studio, Steve Martin from Ripple Training shows us an interesting way to work with photos in Final Cut Pro X by taking advantage of the editing and filtering tools in the Photos application.

If you use the Photos application on your Mac to store your photos, then they will appear in the Photos section of the Photos and Audio sidebar in Final Cut (by the way, if you missed the Audio portion, check that out here). To get a better view of these photos, you can use version 10.3’s new workspaces functionality to create a custom workspace that closes the Timeline and Inspector and creates a nice large Browser and Viewer to work with.

All the categories of photo collections in Photos are directly accessible in Final Cut, so you can choose a specific Event, Album, Smart Album or one of the built-in collections like Years, Moments, People and Shared from a pop up list.

Then, you can filter that view to see just images you have favorited in the Photos app using the pop-up menu at the top right of the browser (were you can also choose to view just photos or just videos).

But this interactivity between Photos and Final Cut is not a one-way street. If you right click a photo, you can choose to “Reveal in Photos”: this action launches Photos if necessary and brings you to the selected photo, which you can then modify it using any of the editing and filtering tools in the Photos application. Your changes are non-destructive, and once saved, the photo in Final Cut Pro X will update to reflect your edits (you may need to select another sidebar category and reselect the Photos category to force a refresh of the thumbnail and you may find the Viewer doesn’t update until you have relaunched FCP X).

You can then drag the updated photo from the sidebar into an Event in one of your active Libraries, where it will properly update in the Viewer immediately.

Now the cool thing is that any further edits on the image in the Photos app will not affect the version in the Event! This is because as soon as you drag a photo from the sidebar to an event, a copy is created in your selected media location. So you can create a different look, and the sidebar will update, drag that to the event, and you’ll have two different versions in your event to work with.

Check it all out above. If you want to edit faster in Final Cut Pro X, check out our Warp Speed Editing tutorial.

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Creating an animated Pac-Man in Motion https://www.provideocoalition.com/creating-animated-pac-man-motion/ https://www.provideocoalition.com/creating-animated-pac-man-motion/#respond Fri, 10 Mar 2017 18:41:59 +0000 https://www.provideocoalition.com/?p=47834 This week on MacBreak Studio, I show Steve Martin from Ripple Training how I used Motion to create a Pac-Man type animation. For this year’s holiday video for the Delfina Restaurant Group, we decided on a more whimsical approach (you can see the completed video here). Their marketing director asked me to make a Pac-Man

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This week on MacBreak Studio, I show Steve Martin from Ripple Training how I used Motion to create a Pac-Man type animation.

For this year’s holiday video for the Delfina Restaurant Group, we decided on a more whimsical approach (you can see the completed video here). Their marketing director asked me to make a Pac-Man animation, in which the Pac-Mac is a pizza and it would eat its way through the course, adding ingredients to itself as it moved through the game.

I started by photographing elements at one a couple of the restaurants, and then isolating each element by remove the background in Photoshop©. I then used a reference of the actual game board to replace all elements, rebuilding the entire board with Delfina-specific objects. This was the most time-consuming part of the whole process.

Once the board was built, I animated the Pac-Man to open and close its mouth by stacking a closed mouth version on top of an open mouth version and the using an Oscillate parameter behavior to control the opacity of the top layer, set to a square patten so that it would blink on and off. No keyframes required!

To animate the Pac-Man along the path, I turned to the Motion Path behavior which was perfect for this task. Adding the Snap Alignment to Motion behavior made sure the Pac-Man turned when needed, always facing forward. Again, no keyframes needed.

To be able to make adjustments without changing my camera animation, I simply added a second “building” camera that I could use at any time to zoom in close to adjust a part of the course, or get a bird’s eye view of the entire layout.

Finally, I created animated masks to hide each item after the Pac-Man ate it. These masks I did animate with keyframes to match the timing of the Pac-Man’s movements.

Motion made this process fun and easy to accomplish. Check it all out above. If you want to up your Motion game, check out our introductory training that will get you up to speed quickly.

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Publishing Music to Final Cut Pro X https://www.provideocoalition.com/publishing-music-final-cut-pro-x/ https://www.provideocoalition.com/publishing-music-final-cut-pro-x/#comments Thu, 02 Mar 2017 16:51:31 +0000 https://www.provideocoalition.com/?p=47069 This week on MacBreak Studio, Steve Martin from Ripple Training shows us how make your own music creations available for your projects in Final Cut Pro X. This episode is a follow-up to the Final Cut Pro X in Under 5 minutes episode where Steve discussed how to create custom audio folders in the Sound

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This week on MacBreak Studio, Steve Martin from Ripple Training shows us how make your own music creations available for your projects in Final Cut Pro X.

This episode is a follow-up to the Final Cut Pro X in Under 5 minutes episode where Steve discussed how to create custom audio folders in the Sound Effects category in the Audio sidebar in Final Cut.

But what about the GarageBand and Logic Pro X sidebars? If you have never created any content using these applications, you’ll see they are completely empty (if you were expecting them to contain all the built-in loops in these apps, you would be disappointed). However, whether you create music loops or full arrangements in GarageBand or Logic Pro X, you can get either the audio files or the full projects into the appropriate sidebars in Final Cut Pro X.

The first approach Steve demonstrates is to launch GarageBand, and add a loop that you want to access at any time in Final Cut. To do so, all you need to do is to share the song to iTunes, and add it to a playlist (or create a new one). Doing so of course makes the song available in iTunes, but also, in Final Cut, in the iTunes section of the Audio sidebar, you can now find that same loop by selecting the playlist from the menu at the top right of the Browser. This file is the exported audio file, and as such is not editable.

If you’d like to access an editable version of your audio file, all you need to do is instead of sharing to iTunes, you share to the Media Browser. Note that you are sharing the project itself, not an exported audio file. Because of this, back in Final Cut, the project will be available in the GarageBand category (or the Logic category if you used Logic). You can edit the audio directly into a project from here, but not only that, you can right-click to reveal the file in the Finder, and then double-click that file to open the source project. Any edits you make will then update that same file in Final Cut.

All the good details in the video above. If you want to master audio editing in Final Cut Pro X, make sure to check out our recently updated Sound Editing tutorial.

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Rigging Transitions in Motion https://www.provideocoalition.com/rigging-transitions-motion/ https://www.provideocoalition.com/rigging-transitions-motion/#respond Thu, 23 Feb 2017 15:19:20 +0000 https://www.provideocoalition.com/?p=46550 This week on MacBreak Studio, I show Steve Martin from Ripple Training how to rig a transition in Motion so that you can choose from several options when using the transition in Final Cut Pro X. This episode builds on a Motion Under 5 episode we did a few weeks ago, where I take a

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This week on MacBreak Studio, I show Steve Martin from Ripple Training how to rig a transition in Motion so that you can choose from several options when using the transition in Final Cut Pro X.

This episode builds on a Motion Under 5 episode we did a few weeks ago, where I take a free clip available from Rampant Design and use it to create a transition in Motion and the publish it for use in Final Cut Pro X.

Here, I take that design a step further by adding multiple video clips and “rigging” them to a “widget” so that you can choose which clip acts as the source for the image mask which creates the transition.

This process of “rigging” and “publishing” is fundamental to the opening up the real power of Motion for creating titles, transitions, effects, and generators for Final Cut Pro X. Instead of publishing parameters (like opacity, position, scale, color, blur amount, etc.) directly to Final Cut, you “rig” the parameters to a control called a “widget” that can then change multiple parameters at the same time.

There are three types of “widgets”: checkboxes, pop-up lists, and sliders. The checkbox is the simplest, as it only has two “states”: checked, or unchecked. A pop-up list can have as many discrete “states” as you like, and a slider makes a continous change from one value to another.

I use a pop-up list in this example, and each “state” is the transition type you’d like to select. To make the pop-up work, you “rig” the parameters that you want to change to the widget: in this simple case, I “rig”, or connect, the opacity parameter of each video clip to this pop-up widget.

Once rigged, it’s simply a matter of setting the value of each parameter for each state. So, if you select the first video clip, you set the opacity of all the other clips to zero. Or, if you had set them all to zero to begin with, you only need to set one clip to 100% opacity.

Finally, you publish this widget, save the project, and test it in Final Cut. All the good details above. If you want to get a little deeper into Motion, check our our “Warp Speed Motion for Final Cut Pro X Editors” tutorial.

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Creating custom camera archives in Final Cut Pro X https://www.provideocoalition.com/creating-custom-camera-archives-final-cut-pro-x/ https://www.provideocoalition.com/creating-custom-camera-archives-final-cut-pro-x/#comments Wed, 15 Feb 2017 16:27:37 +0000 https://www.provideocoalition.com/?p=45879 We are back after a short break! This week on MacBreak Studio, Steve Martin from Ripple Training shows us how you can create custom camera archives with Final Cut Pro X. We have discussed the benefit of creating camera archives before importing your footage in previous MacBreak Studio episodes so if you aren’t aware of the

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We are back after a short break! This week on MacBreak Studio, Steve Martin from Ripple Training shows us how you can create custom camera archives with Final Cut Pro X.

We have discussed the benefit of creating camera archives before importing your footage in previous MacBreak Studio episodes so if you aren’t aware of the benefits, check those out first here, here, and here.

In this episode, Steve takes the concept of camera archives to a whole new level. One of the key benefits of creating archives, rather than simply dragging movie files from a camera card to a hard drive, is that you can import just ranges of clips from an archive, just like you can directly from the camera card itself. This is because a camera archive is a bit-for-bit clone of your card structure, so Final Cut Pro X sees it as a camera card. If you only want to grab a few selects from very long clips, this ability is invaluable.

But what if your card contains a bunch of irrelevant or redundant clips? Personally, I often leave old clips on my card as a backup, only deleting them when I need the space, so I don’t want to make an archive that includes those clips. Or perhaps you’d like to add some relevant material from another card or some other source to your archive.

The process is simple: first make a copy of your entire card to a drive. Then open the copy, and freely delete any video clips you don’t want. Then you can add video clips, audio files, and even images to the copied card structure.

In Final Cut Pro X, in the Import window, the copied card will appear in the Devices section as a folder. If selected, the Create Archive button becomes clickable because Final Cut sees this folder as a camera card.

Once you create the archive, it will appear in the Favorites section. You now have a backup of your customized media set, and you can import from it as normal, including importing just select ranges from any clips, including clips you added to the folder. Very clever! Check it all out above. If you want to get faster at working with Final Cut Pro X, be sure to check out Ripple Training’s Warp Speed Editing tutorial.

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