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MULTIPLE VIDEO TRACKS
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TITLE SAFE AREA
In
the upper portion of the canvas window, make sure you turn on title safe. This will
give you visible guidelines, so you can keep your video elements within the
viewable areas of a television screen.
The inner box represents a safe area for titles. The outer box represents the safe area for
picture elements.
DRAGGING AND DROPPING TO CREATE A NEW VIDEO TRACK
By dragging a video clip directly from the browser or viewer window into a vacant area in the timeline window, a new video track will automatically be created.
Notice in the below
graphic, that dragging a clip to a vacant area in the timeline will create a
new video track.
CONTROL CLICK TO ADD A TRACK
To add or delete a video
track on the timeline, control click on
any existing track, and select Add Track or Delete Track.
TARGETING TRACKS
When using three point editing, it is important to target a track so the clip will be placed where you want it to go.
To target a track, drag the source track indicator (v1) to (V2). This will tell Final Cut Pro to automatically
place your clip onto V2 when using the red overwrite function.
LOADING A CLIP INTO THE VIEWER WINDOW
By double clicking on a clip in the timeline window, it will be loaded into the viewer window.
Make sure you park your position indicator somewhere within your clip in the sequence.
This position will be used as reference when adjusting the motion parameters of your clip.
Loading your clip from the timeline back into the viewer window is a critical step. Otherwise, you will not be adjusting the parameters of the clip that is on your timeline.
ADJUSTING MOTION PARAMETERS IN THE VIEWER WINDOW
By clicking on the motion parameters tab in the viewer window, the window interface will display several parameters that can be adjusted for the clip.
Notice how the duration of the ‘Sailboat’ clip directly corresponds to the highlighted area in the viewer window.
ADJUSTING THE SCALING PARAMETER
As you adjust the scaling parameter within the motion tab, you will see the clip in the canvas window adjust accordingly.
Remember, the reason we are able to see the clip scale as we adjust the parameter, is that the position indicator is parked in the middle of the clip in the timeline window.
EDITORS NOTE:
Make sure your position indicator in the timeline is parked on the clip that you are adjusting. You will then be able to see the clip scale accordingly as you move the slider in the motion tab.
This example shows the ‘Sailboat’
clip being adjusted to 50.4 percent according to the motion parameter.
An image may also be manipulated in
the canvas window or viewer window by switching to wireframe mode.
By dragging the corner of the wireframe, you can resize an image by holding down the mouse button and dragging the image to become smaller or larger.
You can also drag the position of the image on screen. The position and scaling of the image will mirror the parameters in the motion tab of the viewer window.
Within the motion tab, you can
place keyframes to determine the motion path of an image.
Final Cut Pro will automatically move your image from one keyframe to another.
Clicking the keyframe button will add a keyframe based on where the position indicator is parked. Once an initial keyframe is created for a parameter, other keyframes will automatically be placed where the position indicator is parked if a parameter is changed.
In the lower left corner of the timeline window, there is a clip keyframes button.
By turning on the clip keyframes function you will be able to see a linear display of all the available motion keyframes underneath any particular clip in the timeline window.
The graphic display below shows how clip keyframes are now visible under the sailboat clip. These keyframes match the exact timing that is shown in the motion tab.
The clip overlays button allows you to superimpose one clip over another. The clip overlays button is located in the lower left corner of the timeline window. When it is activated, a clip overlay line will appear near the top of each clip in the timeline window.
Dragging the clip overlay line will allow you to adjust the
level of transparency for a clip. In
this example, the ‘Sunset’ clip has been adjusted down to 30 percent. In other words, only 30% of the ‘Sunset’ clip
will show as an overlay on the ‘
Using the clip overlay feature can be very useful when creating composites of different elements.
Using the pen tool will allow you to create keyframes directly on the clip overlay line within a clip.
The pen tool can be activated in three ways.
-
Holding down the option key
while parked on the line.
- Using the keyboard shortcut P key
- Clicking on the pen tool icon in the tools window
REMOVING KEYFRAMES WITH THE PEN TOOL
You can activate the pen minus tool by using the keyboard
shortcut (PP)
Or, while holding down the option key, if you park the pen tool over an existing keyframe, it will become a pen minus tool and allow you to delete individual keyframes.
The examples demonstrate what
happens to the clip overlay display line when a keyframe has been deleted.
The below graphic show what happens when a keyframe is deleted.
COMPOSITE MODES
Composite modes allow a clip to interact with a clip below it on the timeline.
Control clicking on a clip
within the timeline window will bring up a contextual menu that will allow you
to select a composite mode.
Each individual clip can have its own composite mode.
In this example, the composite mode for the ‘Sunset’ clip has been
changed to Lighten.
This graphic shows how the ‘Sunset’ clip will lighten the ‘Colored Sailboat’ clip.
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