: Apple Pro Training Series Advanced Editing and Finishing Techniques in Final Cut Pro 4 DigitalFilm Tree Foreword by Walter Murch DVD-ROM includedApple Pro Training Series Advanced Editing and Finishing Techniques in Final Cut Pro 4 DigitalFilm TreeApple Pro Training Series: Advanced Editing and Finishing: DigitalFilm Tree Copyright © 2004 by DigitalFilm Tree Published by Peachpit Press. For information on Peachpit Press hooks, contac Peachpit Press 1249 Fighth Sere Berkeley, CA 4710 (510) 524-2178 Fax (510) 524-2221 sw peachpit.com To report errors, please snl a mote to [email protected]. Contributing Writers Andrew Balis, Daniel Fort, Steve Martin, Mary Plummer, Yan Shvalb, Mi Fditor: Serena Herr Production Editor: C DigitalFilm Tree Project Director: DigitalFilm Tree Project Managers: Donna Madrigal, Joshua Rei, Zed Sacedl DigitalFilm Tree Design and tllustration: Sazeer Kader DigitalFilm Tree Technical Editors: Tom Maroney, John Taylor, Larry Jordan, Joshua Reis, Zoe Mougin, ‘Technical Editors: Matthew Geler, Stepten Kanter Technical Reviewers: Dean Chamberlain, Ralph Fairweather, Adam Green, Stephen Kanter Copy Editor: Darren Meiss Compositor: Hapypenstance Type-O-Rama Indexer: Kats Arrigoni (Cover and Interior Design: Frances Baca (Cover Illusteation and Production: Aren Howell n Sitter, Michael Wohl Notice of Rights Al rights reserved. No part ofthis book may be reproduced or transmitted in any form by any means electrons ‘mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For informa. tion on getting permission for reprints and excerpts, contact permissions@ peachpit.com. The Chocolate Curse © 2003 Bret Shapiro, www-thechocolatecurse.com. Al rights reserved The Pick Up © 2003 Courtesy of At The Big Picture Company, Anthony Assini, and John Leichies. AI rights reserved. xerpt from the short film Gold Fever © 2003 Courtesy of Brazos Pictures Film, with special permission from Stephen Purvis, eww brazospix.com. All rights reserve. [Aquatic Footage © 2003 Howard Hall Production, Courtesy of Howard and Michelle Hall, wwew.hovwardhall com. All rights reserved. Notice of Liability “The information in this book is distributed on an “As Is" basis, without warramty. While every precaaton has been taken in the preparation of the book, neither the authors nor Peachpit Press shall have any liability to any person or entity with respect tovany loss or damage caused a alleged to be caused dlectly or indirectly by the instructions contained inthis book or by the computer software and hardware products described in it Trademarks ‘Throughout this book trademarked marked name, we state we are wsing the names only En am ‘with no intention of infringement of the trademark res are used, Rather than put a trademark symbol in every occurrence ofa trade- al fashion and to the benefit of the trademark owner ISBN 0.521-19726-7 987654321 Printed and bound in the United States of AmericaTa the memory of Maurice Katrib— his spoken and edited word lives on and In memoriam: Ralph Fairweather, a valued colleague, cherished friend, and respected member of the Final Cut Pro community, Acknowledgements When DigitalFilm Tree was asked to take on the advanced Final Cut Pro 4 book, we dove right in, in keeping with our history. To those who have been waiting on this book, we hope the effort, with all its colors and shades, serves you well. We thank and congratulate the incredibly talented concert of writers who made this book possible. ‘May it bring love and peace to you and yours, or at least shed some light ‘on the many faces of Final Cut Pro, And of course, we would like to thank the Final Cut Pro team for unleashing a revolutionary technology on the ‘Thanks and gratitude to all: Joshua Reis and Donna Madrigal, for your singular and unwavering persist- ence, focus, and excellence, ‘The DigitalFilm Tree team, for helping out, while dodging bullets and fireballs, ‘Zed Saeed, for the experience, guidance, and laughter, Walter Mureh, for your contribution to the book and Final Cut Pro history, Serena Herr, for making a book like this possible, and your extraordinary support and guidance, Patty Montesion, for providing us the opportunity, and your tireless work on this and all the Apple Pro Training Series books, ‘The Footage providers, who contributed a rich array of imagery: Anthony Assini, Howard and Michelle Hall, Stephen Purvis, Joshua Reis, and Brett Shapiro.Contents at a Glance Foreword... Introduction. Getting Started. Advanced Editing Lesson 1 Applied Editing . Lesson 2 Advanced Trimming Advanced Effects Lesson 3 Motion Effects Lesson 4 Customizing Motion and Filter Eff Lesson 5 Wariable Speed ...... Lesson 6 Nesting Sequences ... Lesson 7 Composite Modes . .. weve 67 ceeeeee 129 “175 203 = 243 275 - 305 Lesson 8 Travel Mattes . Lesson 9 Keying ..... Color Correction Lesson 10 Evaluating Video Images .......- Lesson 11 Color-Correcting Contrast . veteeeeeteeseeeeeeeeee 4] Lesson 12 Color Balancing ... : Lesson 13 Color Correcting for Scene Continuity 449 Lesson 14 Secondary Color Correction .... wee 89 Working with Audio Lesson 15 Working with Soundtrack : 535 Lesson 16 Using Soundtrack with Final Cut Pro . 5a Lesson 17 Audio Finishing ... : 687 Lesson 18 Configuring Audio Output ......... 707Contents Titling with LiveType Lesson 19 Animating Type with Livelype . Lesson 20 Using LiveType to Create a Motion Ment... -739 Project Management Lesson 21 Advanced Clip Management ..........0602 00+ coe BAB, Lesson 22 Managing Media ... +873 Lesson 23. Encoding and Outputting Video = 897 Working with Film and 24p Lesson 24 Working with Cinema Tools ..s2s.sese0eee Appendix A 24p Editing Basics 913 Appendix B Working with 16x9 . 913 Glossary cece OS Index .. wee eee ee eeeeense eres ISTable of Contents Foreword. . xv Introduction sees eee XIX Getting Started ..............00..00eee eee xxi Advanced Editing Lesson 1 Lesson 2 Applied Editing . Basic Dialogue Editing ‘Cutting an Action Scene . . Bonus Section: Cutting Interview Footage ‘What You've Learned . ... Advanced Trimming ...........000..00200- ‘The Trim Edit Window Multi-Track Trimming . Asymmetrical Trimming in the Timeline ............, Asymmetrical Trimming in the Trim Edit Window 7 ‘Trimming Under Transitions . What You've Learned . Advanced Effects Lesson 3 Motion Effects .......- 2660022000 ee eee ees Working with Motion Properties Creating Dynamic Motion Effects . Generating Motion Paths <2 Fine-Tuning the Compo Creating Templates 2123 What You've Learned... . 127vill Contents Lesson 4 Lesson 5 Lesson 6 Lesson 7 Lesson 8 Customizing Motion and Filter Effects . 129 Streamlining Effects Using Favorites .. 2130 Using Favorites Versus Paste Attributes - M1 Choreographing Effects Across Multiple Clips se 12 Positioning Clips Precisely «152 Modifying Motion Paths Using Bézier Handles ....... 155 Working with Effects Filters . 158 Working with Text 169 173 2173 Additional Exercises . What You've Learned Variable Speed . 175 Basic Slow Motion 176 Variable Speed Effects .. +178 Using the Motion Viewer .....2...20000+ +198 What You've Learned.........-.. . +201 Nesting Sequences . 203 Basic Nesting, 204 Applying Effects to Multiple Clips ++ 208 Applying Complex Geometric Settings 210 Changing the Render Order . 220 Reordering Motion Effects 223 Mixing Sequence Sizes . 27 Using Nesting as an Editing Too! £233 What You've Learned . . 241 Composite Modes .........6.002022.0e eee Understanding Composite Modes Applying a Composite Mode .....2.... Complex Composite Mode Effects. What You've Learned... -.244 265 273 Travel Mattes .. What Are Travel Mattes! seen e275 276Alpha Travel Mattes .... Luma Travel Mattes What You've Learned . Lesson Keying .. Identifying Good Source Footage Basic Keying .. Going Beyond the Basics What You've Learned . Color Correction Lesson 10 Evaluating Video Images ...........- Attributes of a Video Image .. Range Checking ....... Accessing Video Scopes . The Waveform Monitor... wee The Vectorscope . sees Understanding the Histogram ......... Evaluating Color Balance Using the Parade Scope . . Using an External Monitor ......66..02002 What You've Learned «22.00.0000 Lesson 11 Color-Correcting Contrast . Primary Color Correction . Understanding Contrast the Blacks, Mids, and Whites Grading the Contrast Using High- What You've Learned... Lesson 12 Color Balancing ....... bee Compensating for Lighting Understanding the Color Wheel . Contents ixx Contents Lesson 13 Lesson 14 Color Balancing a Scene Rendering Faces Naturally Auto Balance Eyedroppers Using Color to Create a Stylized Look What You've Learned Color Correcting for Scene Continuity ...... 449 The Importance of Visual Harmony .. Making Visual Comparisons .. Color Correcting Across Scenes . Executing a Complete Color Correction Workflow What You've Learned . Secondary Color Correction ..............489 When to Use Secondary Color Correction ve 490 Using Balance and Hue Wheels oA Using Limit Effect Controls . se AB Creating a New Color with Limi Effect Controls +510 Real-World Secondary Color Correction ... +519 Creating a Look Using Selective Color Controls . 2524 What You've Learned . 531 Working with Audio Lesson 15 Lesson 16 Working with Soundtrack Understanding Soundtrack Basics . Basic Elements of Audio and Music « 1g Soundtrack Preferences . Adding Effects and Splitting a Track Working with Audio Effects ... Using Envelopes to Edit Audio . . Saving Soundtrack Projects What You've Learned . 535 536 552 554 572 578 587 589 Using Soundtrack with Final Cut Pro . ...999591 Compose a Score from Prerecorded Loops .....- 592Lesson 17 Lesson 18 Put on Your Video Editor's Cap .... Completing the Round ‘Trip . . Finalize the Score ..... Advanced Editing and Mixing Exporting Projects . . Recording Audio in Soundtrack What You've Learned... Audio Finishing . Preparing the Sequence . Displaying Waveforms in the Timeline . ‘Muting and Soloing Audio ‘Tracks . Setting the Level of the Dialogu Exploring the Audio Mixer . Keyframing Audio... Subframe Audio Trimming . What You've Learned Configuring Audio Output Working with Multiple Outputs. Exporting Audio for Sweetening . Exporting Audio to AIFF Exporting Audio to OMF What You've Learned Titling with LiveType Lesson 19 Animating Type with LiveType . Viewing the Finished Project Configure the LiveType Work Environment. Applying and Modifying a Texture . . Working with Text Objects . Working with a Photoshop Image Animating Objects ...... Working with LiveFonts ....... Contents xixii Contents Lesson 20 Project Management Lesson 21 Lesson 22 Lesson 23, 792 798 799 Finishing the Promo Outputting Your Movie What You've Learned Using LiveType to Create a Motion Menu ... 801 Viewing the Finished Project Exporting from Final Cut Pro... Creating the Motion Menu Background . Building the Menu Bars Animating the Main Title Bar . Animating the Chapter Bars . Preparing Content for Output . What You've Learned... Advanced Clip Management Using the Browser asa Clip Database . Working with Timecodes .. Recording to Dual Systems Using Film-Safe Editing Using Dupe Detection. What You've Learned ...2....2. Managing Media. .. Understanding the Relationship Between Clips and Media Using the Media Manager... Working with Low- Versus High-Resolution Clips What You've Learned ... Encoding and Outputting Video Using Compressor ....... Exporting QuickTime Files . Exporting OMF Audio ... What You've Learned‘Working with Film and 24p Lesson 24 Working with Cinema Tools 912 Deciding on Your Workflow . ..DVD-4 Creating the Database . DVD-6 Understanding Telecine Logs . DVD-8 Editing Essentials . .. DVD-18 Generating Lists ..DVD-27 Finishing Steps ... -DVD-41 ‘What You've Learned DVD-42 Appendix A 24p Editing Basics... 02.2206. 0.00e0000 0. 913 Converting Film and HD to Standard Video .-...- DVD-44 Using Reverse Telecine . ...DVD-48 The Easy Way to 24 fp -DVD-53 ‘What About PAL? .DVD-54 Appendix B Working with 16x9 .. eee e eee eee IZ Capturing and Editing 16x9.. .DVD-56 Outputting Native 16x9 . .DVD-58 Outputting Letterboxed 16x9 «2... .. DVD-58 Glossary ............ be eeee eens IB Index ............... sence ee GIS Contents xiiForeword xv Foreword Film editing celebrates its hundredth birthday in 2003. It is strange to think that something so essential was not born in 1889 along with cinema itself, but that the movies discovered editing —like most of us discover sex— when they were fourteen years old. And like sex, the ability to mingle and juxtapose mo taneously wonderful, improbable, ife-enhancing—and the movies would ed long without it. Louis Lumigre, cinema’s father ‘on the French side of the family, despaired that his child was “an invention without a future.” But he was thinking of the short, static, Lumiére documentaries such as Workers Leaving the Factory (1895), or Arrival of a Train at the Station (1896). 1g images is simul- probably not have surv ingle-shot On the other hand, Edwin Porter’s Life of an American Fireman and The Great Train Robbery (both released in 1903) told dramatic stories with thrilling conclusions (Fire! Theft!) and gave the illusion of continuous reality through a series of discontinuous images, a paradox that remains at the heart of film editing to this day. Despite—or probably because of — that paradox, Porter's films were sensationally successful, single-handedly reviving the flagging fortunes of the young film industry. In the hundred years since, movies have acquired a voice andl burst into color, they have ‘ome much longer and the density of images in them much greater, but the paradoxical path Porter set for us is the one we are still exploring, be In fact, the edited moving image has now become so ubiquitous in our culture—in theaters, on television, in home movies, on DVDs, in lectures, in video games, on the Internet—that it has surged over the banks of the theatrical film industry and now poses a problem with a broader social and technical context: how best to channel and choreograph the flow of all these images, the lingua franca of the twenty-first century, across the widest possible landscape? A system is needed that is technically sophisti- cated, easy to use, reliable, infinitely adaptable, and easily affordable. Until recently, there was no such system.xvi Foreword As different as they are, the machines that film editors used through the twentieth century shared one trait in common: their development costs and technical specifications were extremely high compared to the narrow market at which they were aimed. There are just not that many film edi- tors in the world, compared to, say, doctors. As an inevitable result, editing machines were expensive, usually priced as much or more than a luxury automobile. I remember how shocked I was as a film student in 1965 to discover that even a roll of splicing tape—scotch tape with sprockets— would set me back twelve dollars, ata time when a loaf of bread could be had for 25 cents. The difficulty is this: the images may be increasingly ubiquitous, but the control and organization of those images, even on a computer, has been a complicated, cumbersome, and expensive proposition, subject to periods of technical inertia and bottlenecks. This is a difficult but surmountable problem for commercials or large-budget feature films, but itis just plain difficult for almost everyone else. How to bend this iron triangle of hight specifications, high cost, and narrow market? There is no question of lowering the technical specifications—films are extraordinarily demanding in this regard—but the other two sides of the triangle have started to yield in the last few years, compressed by different aspects of the same force: the inexorable increase in. processing speed of computers. This has both expanded the markets in which motion pictures can function (think of how rapidly DVDs have become commonplace) and has enabled computers equipped with the right software to process high-quality images and sounds without the need for expensive and pro- prietary additional hardware. As it turns out, the ordinary laptop that | am using to write this has also. been one of the machines | have been using to edit Anthony Minghella’s $80 million film Cold Mountain. This would not have been feasible a few years ago. In fact, Cold Mountain is the first large-scale feature motion pic- ture to be edited from start to finish on Final Cut Pro, Apple's softwaree only film editing program.Foreword xvii Thad been curious about the development of Final Cut as a video editing tool from the time that Apple took over the program from Macromedia in 1999, but I became particularly interested a year or so later when Apple acquired the company FilmLogic and integrated their software with Final Cut, since FilmLogic (renamed Cinema Tools) gave Final Cut Pro the capability to handle 35mm film. In the spring of 2002, my assistant Sean Cullen and I approached DigitalFilm ‘Tree, a Post/Design house in LA specializing in Final Cut Pro instruction and implementation, and asked what they thought about our using Final Cut on the upcoming Cold Mountain. The people at DFT were enthusias- tic—they had been hoping something like together we developed a workflow that integrated my usual editing meth- ods within the structure of Final Cut. is would come along—and ‘Three months later, in July 2002, Sean and I were on location in Bucharest, Romania with four Final Cut Pro stations, including four Apple G4 Processors, 1.2 terabytes of Rorke Data hard disk storage, Aurora Igniter capture cards, NTSC monitors, tape decks, sound mixers, video switchers, and other devices, all of which was assembled by DFT for less than the Lesson_01 > 01 Project. Start.tep. 2 Double-click the Scene 2 Clips bin. This opens the bin in its own window. This bin contains all of the source footage for the scene. The shots have been arranged so that multiple takes of the same shot are stacked vertically. There are five primary shots, plus two shots, stacked on the right that contain inserts and additional coverage. 3. Drag the bin (by its tab) back into the Browser window to conserve your Desktop real estate.Basic Dialogue Editing 5 ‘ne was shot in a very traditional method, provi 1g you with ade- quate coverage to choose from. The entire scene was covered in nearly every shot, giving you myriad editing choices for assembling the scene. Familiarizing Yourself with the Footage Before you begin to edit a scene, it’s important to assess the footage you have to work with. 1 Double-click the clip WS Master 218.4 to open it into the Viewer. This is a wide shot covering the entire scene. 2 Play the clip in the Viewer. Keladry (with blond hair on the left) and Re'annon (with dark hair on the right) hang clothes from a basket while they cook up a plan to run6 Applied Editing away. Play the scene several times through, to familiarize yourself with the dialogue and action, playing close attention to the interaction with the basket. Although this shot is useful to acquaint you with the dialogue in the scene, for the majority of the shot, the girls are facing away from the camera. Double- ick and play MS Keladry 2.20.2. This shot shows the entire scene, but it focuses only on Keladry. There are three versions (or takes) of this shot. Each one has a different per- formance and may have different problems or benefits. The director's preference is listed in one of the Comment columns, so let’s go find it. Ina gray area of the Browser window, Ctrl-click to access the contex- tual menu for the bin and choose View as List.Basic Dialogue Editing 7 5 Scroll the window until the Master Comment 1 column is visible. Here you can view the director's comments about the shots. These comments were entered from the camera log book when the footage was logged. 6 Ctrl-click again and choose View As Medium Icons. 7 Double-click the clip MS Re‘annon.2.22 1 and play it in the Viewer. This shot isa reverse of the previous shot, so you will be able to cut back and forth between the two shots. Unfortunately, Re’annon is fac- ing away from the camera for most of the shot, making it a bad take,Applied Editing 8 Review the next take, MS Re’annon_02 22.2. This time the performance has improved, but the lighting has changed, and there is a shadow in front of Re’annon's face, maki 1B this shot unusable, too, Fortunately the crew noticed this and set up a large scrim to soften the sun for the remainder of the takes. It is up to you to review all of the clips to find the best take of each shot. Assembling the Scene The best way to begin assembling a scene like this one is to edit the master shot in first and then overwrite the close-up shots individually until the scene is assembled. You should focus on building the overall structure of the scene and then go back and fine-tune each of the edits. 1 Double-click WS Master 2-18 4. 2 Set an In point just before the two girls appear on the left side of the frame and set an Out point just after they exit at the end of the scene. 3 Inthe Timeline, you should see the Empty Scene 2 sequence already open, If not, double-click the Empty Scene 2 sequence from the Scene 2 Sequences bin to open the Canvas and Timeline, 4 Edit the clip into the sequence.Basic Dialogue Eaiting ® Play the sequence and set an In point just before Re’annon says, “I know, its the same at my house,” (approximately 11-12 seconds into the shot). Open any one of the MS Re'annon shots (your choice, but you might want to open List view again and select the take the director tagged as Best in the Master Comment 1 column). Set an In point just before Re'annon says the same line. Set an Out point after she says, "...for stealing Jack's toys.”10 Applied Editing Overwrite this clip (the medium shot of Re'annon) into the sequence by dragging from the Viewer to the Canvas. New medium shot of Re'annon Play back the sequence. If the actors’ performances are consistent across the shots and takes, each time you add a shot, the edit from this medium over-the-shoulder shot back to the master shot should be smooth. If the medium shot was performed faster or more slowly than the master, you may need to fine- tune the edit later. Open Ms Keladry 2 20.3 in the Viewer and find the end of Keladry’s, line, “It’s not fair!” Set your In point there. Set an Out point after Keladry says, “That's it!” Keladry Re'annonBasic Dialogue Editing 14 10 Overwrite the clip (MS Keladry 20 30.3) into the sequence directly after the second clip. Now that you've reached the emotional height of the scene (when. the girls get the idea that will drive the rest of the film), you will want to draw the viewer further into the scene. This would be an excellent time to move from the medium over-the-shoulder shots to close-ups. 41 Open CU Retannon_2 23.1 into the Viewer. Find the moment where Re'annon responds to Keladry’s, “That's it!” with, “What, get rid Set your In point there and set the Out point after Re'annon “That's a magnificent idea.”12. Applied Editing 12 Overwrite that clip (CU Re'annon_2 23 1) into the sequence right after your last edit, and play back the whole sequence. 43 Mark In and Out p Keladry says, “No, what if we got rid of ourselves instead?” ts around the section of the sequence when 44 Open GU Keladry 2 21.1. Set an In point just before she says "No, what if we...” 15 Overwrite that clip into the sequence. Now the sequence progresses from Re'annon's close-up to Keladry’s close-up and then back to Reannon. 46 Play back the sequence.Basic Dialogue Editing 13 Depending on how well you marked your clips, some of your edits may feel abrupt. The same audio may play twice, or there may be a delay before a reaction, creating an unnatural effect. Choosing exactly when to make your edits and which shots to cut to is an art that you will master over time. In general, you should only cut when there is some new information that could not be revealed in the previous shot. In dialogue sequences, it is often more important to see someon reaction than to see the speaker’s moving lips. There are countless ways to edit the same sequence, and there is no “right” way. Refining Your Edits ‘Once you have your sequence roughed together, you will probably need to go back and clean up the edit points, adjust the timing, and generally smooth out the look and feel of the scene. Rather than using the Scene 2 sequence you edited, this exercise will use a different rough cut of the same scene. 1 Open Rough Scene 2 from the Scene 2 Sequences bin 2 Play back the sequence to familiarize yourself with this version of the edit. You will fix this scene edit by edit. The first problem is that there is an unnatural pause between the first two cuts, when Keladry says, “It’s not fair,” and Re’annon answers, “I know;" (approximately 12 seconds into the scene).14 Applied Editing 3 Play the sequence and stop the playhead as soon as Keladry finishes saying, “It’s not fair.” 4 Select the Ripple tool from the Tool palette or type RR. 5 Click om the right edge of the outgoing clip and drag to the left, short- ening the clip until you reach the playhead position. If snapping is enabled, the edit will snap to the playhead.Basie Dialogue Editing 15 6 Play back the sequence. Now the timing is right, but because of the business with the basket, Re’annon is in the wrong position, causing a jump cut. There are two ways to solve this: use an insert shot or split the shot. Use an Insert Shot 4 In the Scene2 Clips bin, open the clip called insert Basket 01, There should already be In and Out points set. 2 Play the clip from In to. Out by pressing Shift-backslash. This clip can be used to cover the action of the girls standing up and beginning to hang the wash on the line.16 Applied Editing 3 Untarget the audio tracks in the Timeline by dragging the Source controls away from the Destination controls. Now the next edit will not modify the audio tracks. 4 Inthe Timeline, position the playhead on the edit point between the first two clips. 5 Overwrite the insert Basket 04 clip into the sequence by dragging it to the Canvas. 6 Play back the sequence. Using this insert shot effectively covers the continuity error between the two shots, There is, however, another way to solve this problem,Basic Dialogue Editing 17 Split the Edit 4 Press Cmd-Z to undo the last edit. 2 Select the Roll tool from the Tool palette or press R. 1 3 Press and hold the Option key to override Linked Selection and click the Video edit point.18 Applied Editing 4 Drag the edit point to the right until the left side of the Canvas displays a frame where Re'annon is fully standing. When you have lined up the edit on the desired frame, release the mouse. NOTE > If snapping is enabled, it may be dif cult to line up on the correct frame. In that case, press the N key to turn off snapping. 5 Play back the sequence. Because you are using a long shot and Re’annon is facing away from the camera, you can get away with playing the dialogue from the sec- ond clip over the first, even though she wasn't actually speaking. Using Ripple Delete to Remove an Unwanted Sound The next edit in the sequence contains the same action twice: the unwanted repetition of a sound. Keladry sighs in the outgoing clip and then sighsBasic Dialogue Editing 19 again in the incoming clip before saying her line. To solve this problem, you ‘must eliminate the duplicate frames and offset the video and audio cuts. 1 Set an In point in the sequence right after Re"annon says“ stealing Jack’s toys” and before Keladry begins her first sigh, (approximately 21 seconds into the scene). 2 Set an Out point in the sequence just before Keladry sighs again in the third clip.20 Applied Editing You have now successfully removed the double sigh, but the edit may still feel somewhat abrupt because the cut occurs precisely at the beginning of Keladry’s next line, “I hate him.” This is aggravated by the way the actress delivers the line: she swallows the beginning of it. ‘Turn off Linked Selection by clicking the button in the Timeline button bar. Using the Selection tool, click on the edit point on track Al. selected as a roll. When you select an edit with the Selection tool Cmd-click on the edit point on Track A2 so that both audio tracks are selected. ‘Type +110 and press Return. ‘A window appears in the Timeline, indicating that you are performing a numeric rollBasic Dialogue Editing 24 8 Press Return. This should clean up the edit by rolling your audio edit forward past the sigh. Make sure the audio from the outgoing clip matches the video of Keladry’s lips in the incoming clip. 9 Press the backslash key to play around the current edit. Using Replace Edits The next two edits play smoothly, but Keladry has an important line that is delivered entirely off-camera. To improve the sequence, you will cut to her for her line, and then cut back to Re’annon for her reaction. 1 Play back the sequence. 2 Mark In and Out points around the section where Keladry says, “Well, think about it,” (approximately 40 seconds into the scene),22 Applied Editing To edit a shot of Keladry into this section and maintain sync through- ut the sequence, you could load the close-up of Keladry into the Viewer, find the exact spot where the line begins, and hope that it aligns precisely with the other shots in the sequence. But there's an easier way. Park your playhead over the previous close-up of Keladry in the Timeline. Choose View > Match Frame > Master Clip, or press the F key.Basic Dialogue Editing 23 ‘The master clip opens into the Viewer, cued to the same frame as the Canvas. 5 Retarget the audio tracks by dragging back together the Source con- trols and the Destination controls for tracks Al and A2, 6 Drag the clip from the Viewer to the Canvas and drop it on the Replace edit section of the Edit Overlay.24 Applied Editing 7 Play back the section by pres ing the backslash key. Replace edits match the Viewer and Canvas/Timeline playheads to each other and use this matched frame as a starting point to edit in material, both forward and backward, until the boundaries of the edit points before and after the playhead are reached. However, if there are In and Out points set in the sequence (such as in our example), material lays in only between those set In and Out points. Since we just used Match Frame to make sure the Viewer was displaying the same frame as the Canvas, and since the pace of Keladry’s close-up was relatively similar to that of the sequence, the edit placed the line of dialogue we wanted from Keladry’s close-up into the right place and maintained syne. Ganging the Viewer and Canvas Another way to take advantage of Replace edits is to use the Gang controls, which lock the Canvas and the Viewer into sync. 1 Goback and park your playhead over any part of Keladry’s close-up. 2 Perform a Match Frame by pressing F.Basic Dialogue Editing 25 3 In the Viewer, set the Gang Syne mode to Gang. ‘This ties the Canvas and Viewer playheads together, As you move the Canvas playhead, the Viewer playhead moves by the same amount, and vice versa. 4 Play the sequence and stop right after Re’annon says, “I know where my mom keeps our money. (approximately 46 seconds into the scene). 5 Choose Sequence > Add Edit or press Ctrl-V. 6 Play forward until Re'annon says, “...all the land.” Add another edit at the end of her line.26 Applied Editing, 7 Add a third edit after she says, “When shall we leave?” 8 Place your Timeline playhead anywhere between the last close-up of Re’annon and the first edit you added. 9 Drag the match framed clip in the Viewer (GU Keladry_2_21_1) to the Replace target in the Canvas. Because the two windows were ganged after a match frame, the new edit will be in syne with the surrounding clips. 10 Park your playhead between the next two edit points that you created.Basic Dialogue Editing 27 11. Perform another Replace edit. 12 Play back your sequence. You have now edited two close-ups of Keladry into the sequence. All that remains is to edit one more close-up of Re’annon, 13 Park your playhead over one of the close-ups of Re’annon already in the sequence. 14 Press F to perform a Match Frame. 45 Set the Viewer to Gang mode.28 Applied Editing 16 Park your sequence playhead over the remaining segment of the mas- ter shot, between the two close-ups of Keladry. 17 Perform a Replace edit to insert the close-up shot. 18 Play back your entire sequence, If you wish, you may spend some more time fine-tuning it with the Ripple tool and other tools we covered in the preceding exercises, There Are No Right—or Wrong Edits As we said earlier, there are as many ways to edit a scene as there are editors. ‘There is never just one way to composite shots or sync audio and video. But a good way to learn how to create really good scenes is to study the choices that others editors made, 1 Double-click Fine Scene 2 from the Scene 2 Sequences bin. 2 Play back this version of the sequence. This is the actual version that was cut for the film. You can learn from seeing the choices that the editor made. Notice that the opening cut- away to the basket is further enhanced with a shot of Keladry working on the laundry as Re'annon speaks.Cutting an Action Scene 29 Also notice that the editor chose to use the close-ups of the girls for the entire sequence. This may have been because the performances were best in these shots, but using the close-ups has the effect of flattening the arc of the scene. 3 Play the Alternate Scene 2 sequ: e. In this version, the editor cut out most of the dialogue in the second half of the scene, Often you can eliminate redundancy and sharpen a scene by cutting some lines of dialogue or by cutting out the b ning or end. This version uses only two audio clips for all the video, and also involves a lot of lip synching. Experiment with the footage on your own time and create your own version of the sequence. Cutting an Action Scene Most of the same rules and techniques apply whether you are cutting a logue scene, an action scene, or any other type of scene, There are, however, certain issues that are likely to arise in particular situations. Action scenes, for example, rely very heavily on continuity cutting (follow- ing action across cuts), and you may encounter obstacles such as screen direction problems that ate tricky to solve. ‘Continuity Cutting In this exercise, you will make some continuity cuts to help the viewer fol- low the action more easil 1 Open the Water Scene sequence and play it back. This sequence is incomplete. You must add the remaining shots where the boy pours the bucket of water on the girls.80 Applied Editing 2° Open the WS KaR got wet 1.11.1 clip from the Water ene Clips bin, In order to make a successful continuity cut, you must find an action that occurs in both shots and set the cut in the middle of that action. 3 Play back the clip in the Vie" and stop on the frame just as the boy is leaping off of the log. Set an In point. 4 Play back the sequence and find the frame in the last shot where the boy begins to leap to the left.Cutting an Action Scene 31 5 Overwrite the clip into the sequence at that point. Don't worry about where the Out point falls. 6 Play back your new edit. You may need to fine-tune the edit with the Ripple and Roll tools to make the action look and sound fluid across the edit point, but your new edit should now follow the action with more continuity. Solving Screen Direction Problems However, there is a bigger problem. The screen direction changes across the two shots: In the first clip, the boy is moving right-to-left and in the second clip he is moving left-to-right. This occurred because the camera position changed between the two shots.32 Applied Editing ‘There are several different ways to solve this sort of screen direction prob- lem, depending upon what footage you have to work with. Using an On-Axis Shot One of the easiest ways to fix incongruous screen direction is to replace the offending clip with a shot where the action is coming directly toward the camera, called an on-axis shot. 1 Undo the overwrite edit you just did in the previous exercise (WS KAR get wet 1.11.1) 2 Open WS Start chase 116 6 from the Water play it back Seene Clips bin and This clip shows the same action from a wider, more neutral angle.Cutting an Action Scene 33 Notice that in this shot, the boy is not moving left-to-right or right- to-left, but rather he is moving directly toward the camera. Using an on-axis shot like this one is one way to get around a screen direction error. The clip is already marked with In and Out points 3 Drag this clip to the Timeline and overwrite the very beginning of the Ws Kar shot. Although this is a fairly short shot, it should play smoothly as long as the action is continuous across the two cuts. The fast cutting also makes the action more dynamic, and heightens the drama of the scene. Using the Flop fitter Another way to fix this type of screen direction error is to use the Flop filter, 4 Play the water sequence back and stop near the end, just after Keladry screams from having the water dumped on her. 2 Open ECU Keladry 4136 2 from the Water Scene Clips bin. The In and Out points have already been set. 3 Perform an Overwrite edit by dragging the clip to the Canvas. 4 Open Gu Timmy 1415.3 into the Viewer. Again, the In and Out points have already been set.5 Overwrite this clip into the sequence right after Keladry’s extreme close-up. ‘As long as you have not moved your sequence playhead, the clip will be overlaid immediately after the ECU of Keladry. 6 Play back your sequence. Notice that Keladry and Timmy are both looking to the right in sub- sequent shots. If the two are supposed to be looking at each other, this, breaks the basic rules of screen direction. The easiest way to solve this problem is to use the Flop filter. 7 Sclect the ECU Keladry clip in the Timeline 8 Apply the Flop filter by choosing Effects > Video Filters > Perspective > Flop. | Dafa Crone Bache ha att ‘coe ores | betade coef odem HT | | ear beta‘Cutting an Action Scene 38 9 Play back the section of the sequence that you have changed. Now Timmy is facing right, Keladry is facing left, and they appear to be looking at one another. The Flop filter only works in certain instances. If there had been any writing in the shot (such as a store awning or billboard in the back ground) it would appear reversed, creating a bigger problem than the incongruous eyelines. Also, if you needed to cut back to another shot showing a character on the left side of the frame, you would have simply traded one bad cut for another. Fortunately in this sequence the flop works fine and can be reinforced by ending the sequence with another shot where Timmy is on the left and Keladry is on the rig 10 Open WS Start chase 1.16.6 into the Viewer36 Applied Editing, 44 Even though In and Out points are already set, mark a new In point just as Timmy begins to run away and Keladry lifts her leg to step over the log. 42 Edit this clip into the sequence directly after the CU Timmy shot at the end of the sequence. 13 Play back the entire sequence.What You've Learned 37 You have all of the footage to create your own versions of these sequences. Take some time to experiment with cover new ways of constructing the scene. Remember, there is no right way to construct a scene. ferent shots and dis- Bonus Section: Cutting Interview Footage Interviews and narration are another common type of footage you'll encounter while editing. Like dialogue or action footage, there are specific techniques that are ideal for working with interview footage. ‘We've include a special bonus section on these techniques, in PDF for- mat, in the Lessons > x_Bonus_Lesson folder on the DVD that comes with this book. Take some time now to master these techniques. What You've Learned + The Ripple and Roll tools can be used to je-tune edits. + A cutaway or insert shot can cover a difficult edit. + You can split edits to smooth dialogue. + Ripple Delete cleans up an edit point. + Replace edits speed the editing and synching of clips. + Gang Syne mode keeps clips aligned and simplifies the process of editing dialogue. + Time continuity cuts to sync action shots, + Overwrite shots and/or use the Flop filter to solve incongruous screen direction errors,[peer tty NE rs ferris eerie uence an eee eum ay Sea ee RC Pe Re TRG eR Dee Rect Pe ne nn aos Use dynamic trimming to speed editing ee ace cc! eee en ESC a CR Ce Rd SR une N ¥ _ “4Lesson 2 Advanced Trimming Editing, like most complex tasks, typically follows the 80/20 rule The last 20 percent of the work typically takes 80 percent of the time. You can usually knock out a rough assembly of your video fairly quickly, and even refine it into a rough cut soon after, but getting from that point to a polished final piece involves a great deal of work. You must finesse each edit point to its optimal loca- tion, split your edits so your audio and video don’t begin and end at the same time, and trim away extraneous frames to make your program as tight and concise as possible. In this lesson, you will explore some of the more advanced trim- ming techniques, such as basic multi-track trimming, asymmetrical trimming, dynamic trimming, and trimming an edit under a transi- tion effect.40 Advanced Trimming Fortunately, Final Cut Pro has a plethora of tools designed to make this work as fluid and painless as possible. The single most important tool to master, however, is the Trim Edit window. ‘The Trim Edit window is like a zoomed-in view of an individual edit point. You can see the frames of the outgoing and incoming clips in full detail and make adjustments to both. Although the functionality of the Trim Edit window is simple, itis also quite powerful The Trim Edit Window For the most part, the work you do in the Trim Edit window can also be done in the Timeline. The advantages to the Trim Edit window are prima- rily precision and fluidity You can make decisions while playing the clip. Deciding when to use the Timeline rather than the Trim Edit window depends on the circumstances of the edit and your personal preference. 1 Open the Lessons > Lesson_02 > 02 Project Start.fep project 2 Play back the open sequence (Night Woods Chase 01). You can probably see that even though the overall sequen several edit points need to be adjusted. cis intact,The Trim Edit Window 41 3 Double-click om the first edit point with the Selection tool to open the Trim Edit window. (Be sure to turn on Linked Selection first, so that both audio tracks and the video track are highlighted and loaded for trimming.) Although trimming in the Timeline can be efficient for some edit points, the Trim Edit window can be especially usefutl when you need to add frames to your edit. In the first cut, the ogee is barely visible before the edit cuts away to the gir!’s reaction, Here you need to add frames to the outgoing clip without changing the incoming clip. 4 Click on the left side of the window (the outgoing clip).42 Advanced Trimming This sets the trim type to a Ripple Outgoing. The Trim Edit window changes so that only the clip on the left (the outgoing clip) has a green bar over it. Also, the Timeline changes to indicate a Ripple (Outgoing trim. Position the cursor over the left clip. The position of the cursor determines which clip your JKL keys will affect. Positioning the cursor over the left side of the window controls the outgoing clip. Positioning the cursor over the right side of the window controls the incoming clip. No clicking is necessary. The active clip’s Play button appears light blue. Most editors find that making decisions while playing is the best way to make subtle, effective changes. The edit you are adjusting could be corrected in the Timeline—you could grab the Ripple tool, drag the left side of the edit point to the right, and watch the two-up display in the Canvas until you felt that the ogre was onscreen long e ough— but watching the edit frame by frame makes it difficult to determine how long is “long enough? The Trim Edit window, in contrast, allows you to make that deci jon while playing. NOTE » Make sure you do not have the dynamic check box selected for the following steps.The Trim Edit Window 43 © Press the | key to back up the clip slightly, and then press the L key to play forward, Let the playback run beyond the Out point until the ogre is visible for “long enough.” At exactly that moment, press the K key to stop playback, There is no exact frame that makes the edit “correct.” The preceding figure illustrates one possible end frame. 7 Experiment a little. Back up and play the clip a few times until you consistently stop on the same frame 8 When you have settled on the new frame, click the Mark Out button or press the O key.44 Advanced Trimming This performs a Ripple trim, adding the additional frames to the end 9 Playback will automatically loap around the edit point. (You can set the amount of pre- and post-roll in your User Preferences.) If you are happy with the new edit—the ogre is onscreen long enough to see him clearly, but not too long as to slow down the action—you are finished. 10 Ifyou are not satisfied, use the JKL keys to find a different Out point for the first clip. (Be sure your cursor is still over the outgoing clip.) 41 When you stop on the new Out point, press the O key to execute the ripple Creating Complex Trims ‘This same technique can be used to quickly correct more complicated edi- torial problems. 1 Inthe Timeline, double-click the fourth video edit (between WS Ogres. 12.5.2 and MS Keladry hops log 12_3a.3). Again, be sure Linked Selection is turned on.The Trim Edit Window 45 ‘The Trim Edit window updates to display the new edit point, The problem with this edit is that the action overlaps in the two clips The girl jumps over the log in the first shot, then jumps it again in the sec- ond clip, Let’s eliminate the redundant action, Press the U key to toggle the trim type to Ripple Incoming, or click the right side of the window, so the green highlight is only over the incoming clip on the right.46 Advanced Trimming 3 Position the cursor over the right clip to activate it for JKL playback 4 Use the JKL keys to position the playhead in the middle of Keladry's twirl, just after she turns her face away from the camera. You can use the frame in this figure as a guide for where to position the playhead. 5 Click the In button (or press the I key) to set a new In point, 6 Press the Uk outgoing clip. gain to switch to a Ripple Outgoing and work on the 7 Position your cursor over the left side of the window. (Note that the play button on the left window highlights blue.)‘The Trim Edit Window 47 8 Use the JKL keys to position the playhead in the middle of Keladry’s twirl on the outgoing clip, You can use the frame in this figure as a guide. In addition to the JKL keys, you can also use your left and right arrow keys to move one frame at a time, 9 Click the Out button or press the O key. 10 Use the spacebar to watch your edit The movement across the edit point should look continuous. The only problem is that the action of the ogre jumping onto the log is missing. Because you have established continuity across the edit point, you can now Roll the edit to any frame, and the action should feel con48 Advanced Trimming 11. Press the U key until the edit point is selected as a Roll. Alternately, click on the bar between the two frames in the Trim Edit window. The green bar should light up above both clips. 12 Position your cursor over the left (outgoing) clip. Don't click, or you'll change the trim to a Ripple. 413 Use the JKL keys to find the frame where the ogre first lands on the log. ‘You can use the frame in this picture as a guide.The Trim Edit Window 49 44 Press the O key to set the new Out point. 45. Use the spacebar to play around your new edit. The girl's movement should still look natural and continuous across the edit point. ‘Speeding Work with Dynamic Trimming Once you get the hang of trimming while playing, you'll probably grow to love it, You can very quickly make all of your timing decisions while play- ing, which is far more efficient and more intuitive than dragging and count- ing frames. You can even navigate from edit to edit from within the Trim it window, 1 With the Trim Edit window still open and active, press the down, imes to move to the third-to-last edit (between MS Keladry Ogres close in 12 7.1 and GU Ogres close in 12.8.3). arrow key thre [sms eels wiamnimefemmennia | [sons sana woe niafwmenci | =50 Advanced Trimming In this edit, the ogres are not moving at the start of the close-up shot. By now you should have a sense of how to fix this, but this time you will use dynamic trimming to speed the work When dynamic trimming is enabled, one step is eliminated from the process you used in the last two examples Pressing the K key auto- ‘matically stamps the In or Out key to perform the trim, Click on the incoming clip in the Trim Edit window (or press U on the keyboard until the edit point is selected as an Incoming Ripple). check the Dynamic box at the bottom of the Trim Edit window to enable dynamic trimming. Position your cursor over the incoming clip on the right and press the L key to advance the clip forward, ‘After the director calls, “Action,” and the ogres start moving, press the K key.Multi-Track Trimming 51 The In point is changed, and the edit is automatically updated. NOTE > You can also use the spacebar or Esc key to stop playback and not apply the edit, 6 _ Use the spacebar to play around your new edit, Ifyou aren't satisfied with the edit, continue to make adjustments using the JK keys to change the frame where the edit falls Multi-Track Trimming Often, the adjustments you make to an edit point require changing both the picture and the soundtrack, and often you will encounter edits where many different tracks must all be trimmed in order to keep your sequence in syne. 1 Close the Trim Edit window. 2 Find the clip in the sequence called CU Meikus bangs Log 12 6a.1 and zoom in on it (in the middle of the sequence, at approximately 14-15 seconds), 3 Play across the clip to watch it, ‘This clip starts too early. The ogre should already be midswing at the beginning of the shot. To fix this, you'll need to make an Incoming Ripple, which you'll do this time in the Timeline.52 Advanced Trimming 4 Select the Ripple tool from the Tool palette (or press RR) and click on ing edge of the edit point to select both the audio and video inked Selection is turned on.) the incor for trimming. (Be sure 5 Drag the edit to the right until the ogre lifts the club over his head, and then release the mouse to make the trim.Multi-Track Trimming $3 6 Play back the new edit. You will immediately notice that the sound of the club hitting the log is no longer in syne with the picture. ‘To correctly trim this edit, you must edit all four audio tracks in addi tion to the video track. 7 Choose Edit > Undo to undo the last edit you made; you may have to repeat the undo command a few times, depending on how you got to is point, Your Timeline should now look like the figure shown in step 3, except the edit point will be selected. B Ifthe e point as a Ripple Incoming. it point is not selected, use the Ripple tool to select the edit54 Advanced Trimming 9 Cmd- on the right side of the edit point on Track 3 and Track 4 to select both edit points. Now when you perform your edit, all of the tracks will be trimmed simultaneously. 10 Drag the edit points to the right until the ogre’s club is raised over his. head, and then release the mouse. 44 Play back the sequence. This time, the sound effect is moved along with the corresponding picture, and everything is in sync. Asymmetrical Trimming in the Timeline In addition to being able to trim multiple clips on multiple tracks, you can select different sides of each edit point to execute different types of trims.Asymmetrical Trimming in the Timeline 55. You can even go so far as to trim two clips in opposite directions, This is called asymmetrical trimming. 1 Double-click the Scene 2 sequence. 2 Play back the sequence to get familiar with it. alo gue sequences often benefit from extensive use of split edits to tie the audio and visual elements together. Asymmetrical trimming is. a way to create a split edit in one step. The audio and video edits are moved in opposite directions, offsetting the edit points.5B Advanced Trimming. ‘The third edit (between CU Kelacry 2 21.1-1 and GU Re'annon 2 23 1-1) is a perfect example of where a split edit will improve the sequence. In this edit, Keladry says, “Re'annon, that's it!” and then, after the edit, Re'annon responds. The sequence would be better if it cut to Re'annon when Keladry says her name. Using asymmetrical trimming, you can do this in one step. 3 Select the Ripple tool (RR) from the Too! palette. 4 Click the outgoing (left) side of the video edit point. 5 Cmd-click to also select the incoming (right) side of both audio edits. ‘You can use the audio waveforms in the Timeline to guide your trim.Asymmett 6 Drag the mouse to the left approximately one second, so the new edit point is after the word “Re'annon” and before “That's it!” As you trim the Out point of the outgoing video on the left, reducing its duration, you are also trimming the In point of the incoming audio on the right, which reduces its duration as well. Further, you are now left with a split edit point, where the video and audio cut at dif- ferent times. Because you cut to the incoming video clip first, you get to see Re'annon's face after Keladry calls her name and then watch Re'annion’s reaction to Keladry’s statement. This allows you to cut on the height of the action, one of the fundamental goals of good editing. 7 Play around your edit point (use the backslash key) to see how your new edit Looks. You may want to undo and redo the trim a few times to really see what is happening. Asymmetrical Trimming in the Trim Edit Window You can also make asymmetrical trims in the Trim Edit window, which offers the benefit of being able to set the edit on the fly. 41 Skip ahead two edit points (between CU Keladry 221.1-1 and cu Reannon_2 231-1). Select this edit point in the same asymmetrical pattern as the last al Trimming in the Trim Edit Window 5758 Advanced Trimming 2 With Linked Selection on, use the Ripple tool to Option-click the out- going video clip so that only the video edit is selected Option-Cmd-click to add the audio edits one at a time as a Ripple Incoming. The edit should remain selected in an asymmetrical manner. The ‘Trim Edit window will display a green bar above the outgoing clip, indicating the state of the VI track,symmetrical Trimming in the Trim Edit Window 69 4 Uncheck the Dynamic box so that you can work more slowly and see how the edit changes. 5 Position your cursor over the left (outgoing) clip, but do not click to activate JKL playback for the outgoing clip. 6 Using the JKL keys, back the clip up and play forward, Stop with the K key after Keladry says “ourselves” and just before she says “instead. 7 Press the O key to set the new Out point and perform the trim, The same phenomenon happens here as it did in our previous trim, Both the audio and video are trimmed shorter from opposite diree- tions, which results in a split edit point. Most importantly, the trim drives the excitement of the scene because the viewer is privy to Re‘annon'’s reaction as it forms before Keladry finishes her sentence, This also tightens the dialogue, You can also undo and redo the trim while watching the Timeline update to better understand the change. 8 Use the spacebar to play around your new edit. If you don't like the timing, use your JKL keys to change it until it looks and sounds fluid and natural60 Advanced Trimming Trimming Under Tran: ns All of the same trimming controls are available to you, regardless of whether the edit point you are modifying is a straight cut, a split edit, or contains a transition effect, such as a dissolve or wipe. Often, you will need to trim the edit beneath a transition effect to improve its effect. 1 Open the Transition Effect sequence, 2 Play the sequence back to familiarize yourself with the edit, Depending on your RT settings and the capability of your machine, you may need to render the sequence in order to see it play back properly.Trimming Under Tr In this example, the wipe effect is intended to follow the girls’ move- ment as they exit in the outgoing shot, Simultaneously, their entrance in the incoming shot should follow the wipe. With a wipe, it is easier to make th if the transition is set on Start On Edit or End On Edit, rather than the default Center On Edit. However, working this way will require one non-intuitive step. Ctrl-click on the transition and choose Transition Alignment > Start ‘On Edit from the shortcut menu that appears.62 Advanced Trimming 4 With the Selection tool active, double-click the video edit point (not the transition effect) to open the Trim Edit window with both the audio and video edits selected. y need to zoom in on the edit in order to select the edit point instead of the transition effect. Alternately, use the Edit Select tool (G) and drag a lasso around the edit. 5 Click on the right side of the Trim Edit window to perform a Ripple Incoming trim. Then position the cursor over the right side af the idow and use the J key or drag left to find the first frame in which Keladry (the blond gir) is fully visible in the shot.‘Trimming Under Transitions 63 6 Stamp the trim by pressing the I key. 7 Change the transition from Start On Edit to End On Edit, The Trim Edit window closes automatically 8 Reopen the Trim Edit window by double-clicking the edit point (now at the end of the transition icon). 9 Click on the left side to activate an Outgoing Ripple. Keep the cursor on the left side of the window and navigate to the last frame, before the last girl (Keladry) is gone completely. 40 Perform the trim by pressing the O key, but do not review your edit or move the playhead yet.64 Advanced Trimming Now this is where you need to take an extra, non-intuitive step. To accommodate the offset created when the edit was switched from Start On Edit to End On Edit, you must reset the incoming clip’s In point. 414 Click on the right side of the Trim Edit window to change the trim to a Ripple Incoming. 42 Without moving the playhead, press the I key or click the Mark In button to reset the In point. 18 Change the transition alignment back to Center On Edit. 14 Close the Trim Edit window and render the sequence. 45 Play back the final effect and confirm that the 1g is to your liking The edge of the wipe should follow the girls out of the frame, and the movement of the girls’ entrance should follow closely behind, What You’ve Learned + Double-click or drag with the Edit Select tool to open the Trim Edit window. + Click in the Trim Edit window to control what sort of trim will be performed—Ripple Outgoing, Roll, or Ripple Incoming. + Use the JKL keys to control playback of incoming and outgoing clips in the Trim Edit window. + Enabling dynamic trimming eliminates the step of stamping the In or Out key to perform the trim. + Cmd-click to perform multi-track trims in the Timeline or in the ‘Trim Edit window. + Asymmetrical trimming trims two clips in opposite directions, + Dynamic trimming, asymmetrical trimming, and other trimming controls can all be applied underneath a transition effect.