Maybe I’m the last person on earth to discover this, but just in case I wasn’t…
If you’ve been wondering how to drag and drop with the new force-touch magic trackpad, the answer turns out to be totally simple…and it’s not any of the complicated work-arounds you may have been told about when Google-searching this problem.
The older trackpad had 3 finger drag and drop. But this simple feature seemed to disappear from the new Magic trackpad 2 and it seemed almost impossible to move something somewhere without dropping it or opening up a force-touch menu.
You can get back your familiar drag and drop by going into ‘Accessibility’ in the preference pane and then under ‘trackpad options’.
Enable dragging with 3 finger drag and everything will be back to normal.
Very useful summary list of great tools for FCPX in their relative price ranges from the Final Cut Pro X Babbling blog.
Other useful babblings too.
Not exactly a key-word-rich title, but I kind of like it. Just came to mind as I sat down.
My wife is a sculptor who has worked on many prestigious projects and hobnobbed with some important people and celebrities over the years.
Occasionally I’ve been around and was able to get an interview or two on tape to add to a growing list of B roll shots I had been accumulating in the past few years.
Finally, with 3 interviews and some recent interesting footage with the Duchess of Rutland and Alan Titchmarch, I thought it was time to throw something together that didn’t require interviewing Laury. I’d just let these other people do the talking this time.
As I usually do, I edited the interviews to provide the narrative that would drive the video, then added appropriate B roll, titles and music. Pretty standard fare. For those interested, it was all done on the Sony HXR NX30–except a few rocky shots that were shot in China by someone else.
Something interesting happened though–of no great importance, but interesting just the same.
I had recently completed a corporate video. I spent quite some time searching for the right piece of music for it on Audio Jungle (my favorite music site) and finally found a piece that was not only perfect for the video, it was the perfect length. Double perfect. It was the only time I ever added music that I didn’t also have to edit to fit. It just fit perfect and, unbelievably, did all the right things in all the right places–just as if it were written for my video.
I really liked that piece of music and, in the back of my mind as I was editing Laury’s video I hoped I might be able to use the same piece of music–something I don’t normally do.
As I got the final length established (by the narrative along with beginning and end titles) I glanced down at the total length. Amazingly, it was the same length as that last corporate video I did, and amazingly that same piece of music dropped in on this video without any need of editing.
I thought I had covered this in the book Run ‘n Gun Videography–The Lone Shooter’s Survival Guide, but on quick review, it appears that I didn’t.
So here we go.
If you’ve read the book, you know how I go about shooting corporate videos. In short, I do an extensive interview or interviews with the relevant people and then I shoot a lot of B roll of their business. A lot. Then, as a result of being thoroughly indoctrinated into the business (by reason of the interviews–which are usually with the Managing Director, other executives and sometimes staff), I edit the interviews down to a final length of about 3 minutes to forward the marketing message in the best way possible and then cover up the dozens of edits with relevant B roll. The ‘script’ is created from the narrative.
Producing Multiple Videos For Different Purposes (from the same content)
Anyway, in most cases it is quite possible to create multiple videos from the material obtained on a one or two day shoot. They don’t always ask for it, but I always point out that this can be done because I make sure to obtain adequate footage during the shoot day(s) to facilitate multiple videos. I’d do it anyway, because it’s always good to have lots of B roll to choose from, but of course, not all of it will get used.
Probably half the time they think this is a good idea. They’re already spending the money, and it won’t be that much more to get multiple videos for different purposes out of the spend. And that’s good because it can double your income or more, depending on how much they want and what you can do. They’re essentially paying for additional editing time–and frankly, after the initial editing process, the creation of further videos goes much faster as much of the basic work has already been done.
Case in point and the reason for this post…
I recently posted a sample video from a shoot where I said 11 videos were produced. The purpose of that post was to give an example of the interview -style approach I just mentioned above. But this was also an example of the client realising the benefit of obtaining additional video content from the paid shoot days.
I did three different kinds of videos for this client.
1) From his interview I created several different narrative-driven videos about specific top selling products.
2) We created several more videos that were simple demos of these products.
3) I then created an ‘overall’ video for his Home Page or About US page which used music and graphics to get across all the things that they do.
As a note, for the first two types of video I created a template to massively speed up the editing process. When done with one edit, I could simply copy-paste it into a new project, change out the narrative bits, change the wording of the title or graphics, adjust a few shots if necessary and adjust the music to the length of the new video. Also, each of the narrative versions had the same ending (where he talks about branding and ‘UK made’). This is because those different products would never really be seen by the same audience. People will tend to watch the product they are looking for and won’t know several other videos have the same ending. And if they did watch other product videos, so what?
It might be a bit tedious, but I’m going to string all the videos out below. You don’t have to watch them all, but it might be of interest to watch a few to see what I mean about creating a template.
As a note, all 11 edits were approved as submitted with no changes required.
The ‘Interview-driven’ series
The ‘Product Demo’ series
The ‘Overall’ graphics/music driven summary of the business
I knew there must be a way. I knew it, I knew it, I knew it.
I won’t tell you how many hours–I mean DAYS– I spent trying to match up tonality between two different audio takes.
I had a 2 hour interview to cut down to about 12 minutes.
The first thing I did–before cutting anything–was to give a rough mix to the whole interview audio track. That’s so no matter what order the pieces wound up in, they’d all be the same mix.
Then I fine tuned it to a final narrative at which point I copy-pasted the audio track into a separate project where I mixed it and then exported it back into my original project as one 12 minute piece. That way, any further mixing could be applied to the whole track and not have to be applied to dozens of little pieces.
I forgot one very important thing–to keep a copy of that first mix saved as a separate project I could go back to if need to. I had called that project “work” (meaning it was a temp project just to be able to do something out of the main project). I later used the ‘work’ project again, this time over-writing it to do something else.
Well, that was dumb.
After I had crafted the narration and added the B roll for my rough edit with my mixed audio I realized I needed an additional piece of narration to cover a particular subject. So I found the piece in the original footage after realizing I had over written the project where I had mixed it and exported it from. You see, even if the piece I wanted to use wasn’t in the original project, I could have either dragged out the clip nearest it to find it (at which point it would have the same mix as everything else, OR I could have simply copy-pasted the audio effects from the mix onto the new un-mixed clip.
Now, try as I might, I could not duplicate the original mix to achieve the same tonality with the new clip. I tried all kinds of different EQ tools, studied the frequency response to try to match it, but all to no result. The original mix dealt with ambient noise removal, making the voice more present and fuller. No matter what I did, I could not match the new clip to the mixed version. I couldn’t remember the order I did what in (and that does matter)–and there was a looming deadline.
Finally I must have googled the right question.
Right there at the top of the list was a Larry Jordan article on this very problem: matching tonality between shots.
Turns out the solution is right there in FCPX and is idiot simple.
With one click I suddenly had a very near match that I was able to tweak a bit and all in a matter of a couple minutes (after wasting untold hours) doing other stupid things.
The main difference now wasn’t really tonality, but the talent’s emotional tone and pace, but I was able to make it close enough to not be really noticeable.
Here’s the Larry Jordan link that explains where to find the magic tool and how to use it. It will take you about 30 seconds to learn it and not forget it. Larry’s article on matching tonality in FCPX.
Notes to self:
1) ALWAYS, ALWAYS, ALWAYS save every project for exactly what it is, even if a temporary work project that’s been copied pasted out of your main edit for the purposes of being exported or copy-pasted back to it.
2) Periodically duplicate your project (particularly after completing a significant phase) and number them all in sequential order while continuing work on the new duplicated project which is now your current version. Leave the old ones alone. If you ever need to go back to cut and paste an audio or video effect to your current version of the edit, all the information will be there.