I can select this and I can put a key word on it, I can bring in the key word panel and
I'll type in splash, and now that key word has been added to that portion of the clip,
you see from this blue bar up here, that that's been added to that portion of that clip.
I go back here to the beginning, select another range here with a car skidding, and I can
put in a skid key word, and now I've got that key word on that portion of the clip.
And over here in the left-hand column you'll notice that I've got a skid and splash smart
collection that have automatically been added.
If I open up this clip, you can see that I can select and I can select those two ranges
of that clip.
This is really powerful.
A lot of times you have really long clips, you have a 20-minute clip, and you might have
a few 10-second segments in the middle that are interesting, and instead of having a key
word, the whole thing was splashed and skid and then have to go back and find the pieces
you want, you can type just the sections that you're interested in.
There's also a favoring mechanism like the favor button.
It's really powerful.
It's amazing.
You have a lot of content and you're trying to find things.
You can do this, and the key words can overlap, so you can have the same section of media,
you can have this multiple key words on it, so it's really powerful for being able to
order measure footage.
Now, the list of you is one way to look at this, but I also have a filmstrip view, and
the filmstrip view, we get filmstrips of all your content with skimming.
You get to control the time frame.
We're currently set to one thumbnail for each 10 seconds of video, and you'll notice
as I skate.
Scroll down here, without even having to move the cursor around, I can tell what's in each
of these clips.
I'm sure everybody here has had a situation where you're trying to find some content and
you double click on something, you open it up, you scroll back and forth, not that close
it.
Double click on something, you scroll back and forth, and it's an incredibly time consuming
process.
Here, I can just scroll down and I can see, okay, I've got the car coming up the hill,
I've got the car skidding along here, you've got all of these clips that are really, really
easy to identify.
I can make selections in here, I can put keywords on, I can also just drag a selection
over to one of these keyword collections, skid, that automatically puts the skid keyword
on that portion of the clip.
So now, if I come up and select skid, I'm not looking at those two segments of those
two clips that have that skid keyword on it.
It's that easy to get back to the content that you want to, so it's really a huge improvement
in the organization process in follow-up and pro-tech.
So we're joking at the timeline now, and for some of you, we're going to open up my timeline
index.
Well, the timeline index is actually a chronological listing of everything that's in the timeline,
and you can search on this, you can find any clip, any title, anything you want, you can
find it directly here in the timeline index.
It also has a section for tags, and this allows you to put markers within a timeline that
you can get back to really easily, or even to do markers that you can assign, and then
check off as you finish them.
I'm going to use this as kind of a cheat sheet to jump around within the timeline.
First thing I'm going to do is jump down here a little bit and scroll down and zoom in just
a little bit here.
So let me demonstrate the magnetic timeline.
So you'll see that these clips in here, the stuff that's in the primary storyline, we
have these little green lines that show the clip connections to the audio.
So if I pick up a clip and move it around, things move around, but the audio that's associated
with that clip moves with it.
The sync is maintained as I move things around, I can move stuff around earlier and later
in the timeline.
I can also pick up a clip that has things attached to it, and the audio that's attached
to it moves with it automatically, and the timeline rearranges itself as I go.
The magnetic timeline also allows me to do things like, for example, if I go to extend
this piece of audio, normally when I get to this point where it's going to hit that other
audio clip, I wouldn't be able to move it any further.
I'd have to go move that other one out of the way and worry about what other things
that was going to affect.
Here, I just move it down a little further.
That's how I go.
It's usually a lot of fun to work on a timeline because you're not messing with things further
down in time.
Timelines are no longer fragile.
It's really amazing.
One thing to notice there is, there are no hard tracks in this interface.
There aren't really any tracks.
Tracks come and go as needed.
needed. So you can have things stacked up really deep in one section and only a few in another section, no problem.
Really, really easy. Now as Keith was talking about, audio sync is something, for each one of these clips that's in the primary storyline, it has the audio, the primary audio is connected to it and appears in the same block within the primary storyline.
We do a bunch of different things to line up. If you're doing secondary audio, if you have second source audio, we do a number of things to line those up for you. We can take the time code from those two items, line them up.
We can even, if you're using, say, a DSLR, you can let the audio run, the light on the camera run as scratch audio, take your secondary audio from second source.
When you bring those in, we'll go and analyze the waveforms and figure out how the line goes up. And then once those have been locked together, nothing that you do at this level of timeline can have your audio goes out of sync.
Now, if you do get something out of sync for some reason, this clip, we actually deliberately push out of sync. So if we play this back, or by this powerful machine, that's way out of sync.
So it's easy to fix if that does happen for some reason. I can just double click and now what's happened is that we've jumped down inside that clip.
So I can see the separate audio in this separate video. We're going to roll back up here to the beginning. And if I zoom in, we can see that we can see right here where the slate audio is, but it doesn't happen in the video.
It's a little bit later. One of the other things to notice here is as I zoomed in this far, you'll notice there's kind of a light band here. That represents one frame.
But the playhead is actually going at a tighter resolution than that. I've got sample accurate resolution for 11-1.
Thank you. So if I left these things back in sync, I can just take this up, drag it over to the viewer's actually updating, and I can just go to the spot where that line's up. I'll back out a little bit. We'll go back down to this other section right here.
In sync. So at this level, I can make adjustments, but when I jump back up a level to my timeline, now they're in sync, propelled forward by this powerful.
And at this level, I can't actually knock things out of sync accidentally. It's just not possible.
Now another thing that we have is what we call secondary storylines. A lot of times when you're working on V-roll, you want to be able to do the same types of operations that you do in the primary storyline.
So that's what we have up here. I can click and I can drag around, and I'm just going to stick up back to the beginning to go to one of those demo rooms I was talking about.
So if I go ahead and move this around, you can see that the secondary storyline behaves exactly like the primary storyline does.
I can move things around. I can go in here and I can put transitions in on my secondary storyline up here. I can even pick this up and move it around as a little group above.
So it makes it really easy to actually do edits in your V-roll really easily without having to pile things into little tiny pieces together in a bunch of different tracks.
It makes editing a lot easier.
Let's jump a little bit earlier in the timeline here, and I'll zoom in. Now let's take a look at the precision editor.
So we have an edit here.
This is the first time you've passed that.
So it kind of stumbles a little bit. It would be nice if you started writing and started to say something interesting.
I can just double click on the edit here and the precision editor opens up.
What I'm looking at here is I can see skin and see the content on the left clip before the edit, but I can also see all the content that's available to me past the edit.
On the clip to the right, I can see all the clip that's in the edit and all the content that's before the edit.
So I can see all of the media in the edit.
A lot of times what you end up having to do is you want to add some frames, you have to add some extra and then take it back off again.
Here you can see them before you even get there.
And I can grab, I can move this around, I can grab either side of the edit to move things around.
I can roll the edit by just grabbing the center.
And I'm doing everything using the mouse here because that works well for a demonstration, but everything I'm doing here can be driven from the keyboard.
So for example, I use command type in plus 10 and it's going to move by 10 frames.
So no worries, everything can be driven from the keyboard.
What I'm going to do is to find the spot where he starts saying something interesting,
I'm going to turn on audio skimming.
And this is pitch-directed audio skimming.
This is the first time you've done something like this.
The first skimming.
So right here when he says the first, I can just skim to that.
It makes it really easy to find something.
Between the waveform and the audio skimming, it's really easy.
And all I have to do is click.
And when I click, the edit moves to that point, I can double click on this.
And now, the first time you press on the gas pedal, it's gone.
That's fine for the audio, but he's not looking at the camera.
So he doesn't look at the camera until over here.
So it'd be really nice if the video, if we stayed on the video with his audio cutting in under, that's really easy to do.
I can just double click on the audio, and then the audio comes down into a separate element,
and then the end of the audio and video can be adjusted independently.
L-cuts and J-cuts are super easy.
All I have to do is grab this and drag over.
The first time you press on the gas pedal, it's quite an experience.
Just like that.
And you notice as I did this, I can even open up another clip.
And I can look at the audio for that one, but if I want to push the audio for this one over, the other one gets out of the way.
So L-cuts and J-cuts.
Normally with L-cuts and J-cuts, when you're moving one, you have to change the other one to make space.
Here you get to adjust things based on what's appropriate for each side of the edit.
So you can do things that are much more complicated than the traditional L- and J-cuts, much more easily.
Let me show you a little bit more audio.
I have a little control down here on the right that allows me to select what I see in the timeline.
So I can see just an overview if I'd like to keep it simpler.
I can also go over and see audio.
You can see some nice big audio waveforms in here.
For each audio clip, if you want to adjust your fade in and fade out, you have fade hands here.
I'll just grab the fade in.
I can right-click on this to choose how I want to use it.
But say I want to adjust the audio in the middle of the clip.
I'm going to have to put in G-frame gaps, right?
I'll use my range select tool, grab the line, and turn along this other data.
And not only that, you'll notice the waveform is adjusting in real time to show you the things you can get close to the key for clipping right in the waveform.
So you can visually balance levels out a lot of the times without even having to listen to it.
So I also have full control of fades on either end.
You know, I can do ramps on the sides of this, and all the waveforms adjust in real time as I'm doing that.
It's really powerful.
I'm going to go ahead now and switch back to thumbnails, thumbnails back on.
And let's zoom out just a little bit here.
Now, this section here where we've got a bunch of audio, we've got a bunch of cuts up here in the main storyline,
we've got a bunch of audio down here, and that's all really important as I'm putting that together.
But once I get that all figured out, this also becomes kind of visual noise.
And so one of the things I can do with compound clips is I can select a group of clips like this,
and with a single keystroke, I can collapse that together into a compound clip.
That maintains all of the edits exactly as they were, but this now creates a single clip that I can trim, I can cut, I can do anything I want to.
If I double click on it, I can jump down inside and see all of the stuff that was there and continue to edit this piece.
But it lets me do it at different levels so I can control the complexity that I'm looking at in the timeline.
So let me jump over a little bit further down here, we'll zoom in a little bit.
And now I'm going to show re-timing.
We've got re-timing directly in the timeline.
So we've got this nice clip.
It's a little slow, nice to speed that up.
All we have to do is select the clip, come up to the menu, select fast, 4x, that clip is now 4 times as fast.
But it'd be really nice if we had it going fast at the beginning and slow toward the end.
No problem, I'm just going to select the second half of the clip, come back to my menu, choose normal,
and now the second part of the clip is at 100% and the first part's at 400.
Really easy.
There's only one, so I can grab this and I can make this part longer, slower.
It's telling me that when it's green it's 100% or it's blueish or it's faster.
I can adjust this segment over here back and forth.
But notice as I do this, as I pull this shorter, look what's going to happen over there on the right.
Those two audio clips are going to bump into each other, which would normally be a huge problem.
No, they just get out of the way.
I don't want to move you.
What's going on is moving down in my sequence as an entity.
Think about that.
You can just edit it in some place and everything down the street is going to stay in sync with the way you intended it.
It's going to really amazingly change in the way that you have to work with this automation.
It's like walking.
The next thing I want to show is color matching.
We have this clip that's a sunset shot and the next one is the cars driving away.
It would be nice if those two matched.
All I have to do is come up here and choose match color.
This brings up a two-up display and then I just select the clip I want to match to.
If you want to match to the interview shot, I just click.
If I want to match to the sunset shot, I want to show you.
See the orange bar up there?
That's the render bar that's up there.
It's extra cycles, renders.
You don't have to do anything.
It's automatically doing that all the time in the background to make sure the stuff is rendered.
Pretty amazing.
That's quickly.
We've done a match.
We've got a nice color match between those things.
Pretty cool.
Let me jump down a little bit further here.
We have this shot here.
This is shot on a GoPro camera.
This brings up a really good point.
This piece has a bunch of different types of content in it.
Final Cut Pro X allows you to mix and match content without having to do any sort of transcoding.
We can take the end of the footage from your DSLRs.
We can take an ADC HD.
It's taken stuff from the GoPro and you can just edit it natively.
All the time.
You can switch.
It doesn't matter.
It just takes care of it.
This footage, you'll notice up in the roof of the car, it's kind of muddy.
It's kind of black there.
It's nice to do a little color correction here.
I'm going to go ahead and choose to show my color board.
When I choose the color board, I can adjust the color, the saturation, or the exposure.
I've got a master control and then I have controls for highlights, midtones, and shadows.
I can go ahead and just grab the shadow control and just bring up the shadows.
We'll bring up a little bit of detail up in the roof of the car.
Let's play primary color correction.
If I want to do some secondary color correction, say I want to adjust just for face.
I can do that by just adding another color correction.
Then I'm going to do a color range.
I'm going to use my eyedropper to pick the color range.
I can also do it based on the shape.
We've got really nice shape controls in here where you can choose the size, move it around,
you can choose to fall off.
These things can be animated over time so you can follow things around.
Then I just go over to the color board and say we want to go into saturation.
I can pull saturation down, I can pull it up, and I'm just adjusting it on that color range
and on that section of the clip.
So some really impressive color corrections.
The primary and secondary color correction goes right into the application.
We want to push her up a little bit further into the corner of the frame.
I'm just going to come up and click my cropping control.
This allows me to either trim the clip, I can crop it.
I can even do a Ken Burns effect where I can pan across the video really easily.
I'm going to select crop and I'm just going to come in here and bring my crop control in,
move her up, done.
She's kind of cropped over on the side.
A couple of clicks.
But now I've got some footage underneath of this car.
It would be nice if I actually animated this up and across.
So all I'm going to do is just choose a frame.
I'm going to bring up my keyframing controls and add one keyframe at this point
when my plane had a little bit earlier.
Now I'm just going to grab the center of the frame, drag it over.
I get nice guides to show me where the centers are.
Then that automatically puts in a keyframe.
I'm going to go earlier and I'm going to pull this down.
Pull it down.
And I get a nice bezier path there.
I can also say that I just want that to be a linear path.
And so now when I do this, you see this come up and move over.
Just like that, keyframe directly in the timeline.
But one of the things I notice here is that as this is kind of going across,
notice the clip underneath ends and we see a flash of that interview shot coming back in there.
So what I can do is I can click here and I can show my animation graph.
So I can actually see all of the keyframes in place in the timeline.
So for example, I can grab this keyframe and I can drag it back over here
to where that clip underneath still exists.
So now I no longer see that flash of that other clip underneath.
I can see everything in context.
Finally, it's really powerful.
I'm going to jump down.
The last thing I want to demonstrate is auditions.
So this is something where a lot of times the closing shot here,
this is a good example of something where as you're editing,
you potentially find shots that you think,
oh, this is a good reason to close a shot.
But you don't really want to make that decision yet.
You want to do that kind of toward the end.
So you can collect these shots together into an audition group.
And then you can switch between them very easily and try them out.
Now you notice these are all different lengths.
So as that's happening, because of the magnetic timeline and the clip connections,
everything to the right is just sliding around,
staying safe exactly like you intended it to.
So try these out.
All you have to do is press the spacebar.
What I want to try the next one, press the right arrow, spacebar.
Try another one.
That one feels a little bit more.
Now I'm going to go back to this middle one, press return,
shots in place, nothing's out of sync.
Just as easy to do right now.
If you're working with a client or working with a director,
and you want to stack up a bunch of decisions,
so they can make the decisions one right after the other and get out,
this makes it so much easier to do that sort of thing.
So that's just a few of the features in the new Final Cut Pro X.
And thank you very much for letting me be the one who shot it.
Thank you.
So the new Final Cut Pro X, like Pete and Randy said,
it's really all about three things.
It's about image quality.
Being able to work with everything from Faraday over there with DV,
all the way up to 4K.
And being able to deal with all of that co-sync
and all of that high-quality media
and render it all in the background
and keep it going all the time.
And then organization.
Being able to have all that content ingested
and put it to a sensible structure
so you know exactly what you're doing before you even begin.
That's incredibly important.
That means that you're already halfway there
before you even hit the timeline.
And speaking of the timeline,
what about that intran-
at a timeline?
Thank you.
Nobody will ever have to worry about sync issues,
and that's just incredible.
So, the new...
Thank you.
Thank you.
That was a sneak peek.
That was a worldwide sneak peek.
Just so you realize,
we've had a few people who have been using this on our beta program,
in the world, who have had given us quite a lot of feedback.
And I just wanted to share just two or three of those things with you
because I just want to let you know
just how other people, other than Apple people,
are thinking about the product right now.
So let's start out with Outpost Digital in New York.
5th Company of Tech is blazingly vast.
I experienced out-of-this-world performance
working in 1080p and even 4K resolutions.
In LA, I love the new interface.
The magnetic timeline is a huge advancement,
which lets me focus on editing instead of worrying about sync.
Editors just want to make great cuts,
and FunCut Pro X makes that easy.
And then finally,
finally, Dean Devlin,
who anybody who knows and realizes he's a big FunCut fan,
is here tonight.
And once again, Apple brings us a Game Changer
new era digital editing.
So these guys have had it for a little while.
The question is, when can you have it?
Well, I'm pleased to tell you that we will be shipping in June.
How can you get it?
Well, you'll be able to download it directly onto your Mac.
So how much will it cost?
Last, we've had a number of different flavors.
We've had upgrade pricing, we've had FunCut Express,
we've had FunCut Studio.
So we decided that we want to really do away with all of that.
We wanted to greatly simplify the pricing structure,
and make it very, very easy for you to decide
that you want to get a copy of FunCut Pro.
So we decided to make it available for the amazing pride of tonight.
So the only thing that's left for me to say is, frankly, thank you.
