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With Final Cut Pro, you create In and Out points by using the transition slider and shuttle control to move to the section in the video you want to extract. The shuttle control will allow you to move frame by frame, forwards or backwards, to the point where you want to begin your clip extraction. Final Cut Pro: Setting Clip In and Out Points in the Viewer. If you want to edit your clips in Final Cut Pro, then a handy little system known as the In and Out Points can help you to get the best out of your software. By using these in and out points, you can mark particular places on the clip that need to be edited, which makes it easier to.
If you want to go from casual to serious Final Cut Pro X editor, then this article is for you. Iain Anderson shares five tips from the front line to help your editing workflow shine. If there's one thing that separates the casual editor from a more serious one, it's usually speed. In and Out Points Stopped Working? - Discussion of techniques and tips and tricks using Apple FCPX. Apple Final Cut Pro X Forum. Extend or shorten clips in Final Cut Pro. You can trim a clip in your project by adjusting the start point or end point of the clip. The default type of trim in Final Cut Pro is a ripple edit, which adjusts a clip's start point or end point without leaving a gap in the timeline.The change in the clip's duration ripples outward, moving all subsequent clips earlier or later in the timeline.
␡- Creating Audio Fades
This chapter is from the book
This chapter is from the book
Creating Audio Fades
Nearly every audio clip should ideally have a small fade-in and fade-out applied to it. Tiny shifts in background sound levels can create subtle, but distracting clicks and knocks that can interfere with an otherwise flawless soundtrack.
Every audio clip in Final Cut Pro can easily be faded in and out without applying an effect, adding multiple keyframes, or performing any other elaborate manipulation. You can fade audio clips with a single gesture.
- In the Timeline, position your pointer anywhere over Shot_02. Fade handles appear at the left and right edges of the waveform area.
- Drag the fade-in handle to the right to apply a fade-in effect to the clip.
- Position your pointer over the right edge of the clip, and drag the fade-out handle to the left. The farther you drag, the longer (slower) the fade effect.
Fade effects are applied in addition to any adjustments made to the audio level parameter. The fade will always begin (or end) at complete silence, and fade up to the maximum level set by the level parameter.
Final Cut Pro X Reviews
Crossfading Between Audio Clips
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Using fades, you can easily create a crossfade effect between two audio clips, as long as the clips overlap in the Timeline. For audio/video clips, you will first need to expand the audio to make the clips overlap; for connected audio clips, you can simply drag them into an overlapping position.
- Double-click the audio waveforms for Shot_02 and Shot_03. The audio is expanded, allowing you to manipulate it separately from the video.
- Drag the Audio start point of Shot_03 to the left until it overlaps the fade at the end of Shot_02.
- Drag the fade handle on the left edge of the Shot_03 audio to add a fade that matches the duration of the clips' overlap. The first clip fades out as the second fades in creating a crossfade effect.
- Select the two clips, and choose Clip > Collapse Audio/Video, or press Control-S. The clips are collapsed, but the crossfade between the two shots remains.
Crossfading adjacent connected clips is even easier.
- Select the edit between the two connected audio clips under Shot_04.
- Press Command-T. The two clips are converted into a new storyline, and a crossfade effect is placed between the two items.
You can change the duration of the crossfade effect by dragging either edge of the gray transition icon.
- Drag the left edge of the transition to the left to lengthen the duration of the overlap.
Setting a Fade Shape
Final Cut Pro includes four fade shapes that perform different types of fade effects. It's up to you to decide which shape to use in any situation. There are no absolute rules because every clip will need a unique fade shape and length, but you can use the following descriptions to help you choose:
- Linear: Best for fades to or from silence on a clip with a relatively even waveform (such as a roomtone or ambiance track). Should not be used for crossfades, as a volume dip may be heard at the middle of the fade.
- S-curve: The default shape for crossfades. It is an all-purpose shape that creates an ease-in at the beginning and an ease-out effect at the end of the fade.
- +3 dB: The default shape for single fades. It is also known as a fast-fade, or when used as a crossfade, an equal power fade. This shape is ideal for crossfading between two clips of constant volume (such as roomtone, ambiances, and some music). The slight boost in the middle of the fade compensates for audio's naturally nonlinear response curve and creates a transition that is heard as a constant level across the edit.
When used for a fade-in, it creates what sounds like a uniform volume increase over the course of the fade. When used for a fade-out, the result is a seeming acceleration of the attenuation. This shape works well on dialogue or other clips when there's only room for a very short fade.
- –3 dB: Also known as a slow-fade. For a fade-in, it creates a slower, more gradual volume increase. It's often used for fading in clips with noticeable background noise or when there's room for a longer fade.
For a fade-out, the attenuation is accelerated at first, followed by a more gradual decrease in volume. When used on a longer fade, the slow-fade works well to make sounds disappear more subtly or organically.
- Position your pointer over Shot_02. The fade handles appear.
- Control-click (or right-click) the Fade In handle to open the Fade Shape pop-up menu.
- Choose –3 dB.
- Play the project to hear the fade-in.
- Set the fade shape to +3 dB, and play the project again. The difference is subtle but audible.
You can also set the fade shape for crossfade effects.
- Select the crossfade effect between the two connected clips.
- If the Inspector is not visible, press Command-4 to open it.
- In the Audio Crossfade section of the Inspector, set both the Fade In Type and the Fade Out Type to +3 dB. The crossfade is now set as an equal power crossfade.
- Play the project and listen to the fade.
- Experiment with the other fade types and try to hear the difference between them.
Related Resources
- Book $47.99
- eBook (Watermarked) $38.39
- Web Edition $38.39
[ There are more than twenty significant new features in the 10.0.6 update to Final Cut Pro X. This article looks at one of them. Check out our latest training covering the Final Cut Pro X 10.0.6 update here ]
One of new features in Final Cut Pro X that drove me the most nuts was the inability of any clip to remember the In or Out when you clicked to another clip.
This made comparing clips really, really difficult. (Yes, I know, you could set favorites and keywords and all sorts of other shenanigans, but all that was really necessary was for the clip to remember the In and the Out.)
Now, they do. In fact, Apple took this one step farther, which provides even more benefits, as you'll see in a minute.
HOW IT WORKS
Brace yourself.
Select a clip in the Event Browser. Set an In. Set an Out. Click anywhere else. Click back to the first clip.
Ta-DAH!!!
The In and Out are still there! Whew… Even better, these selected ranges remain until you get rid of them.
Crossfading Between Audio Clips
Final Cut Pro X Price
Using fades, you can easily create a crossfade effect between two audio clips, as long as the clips overlap in the Timeline. For audio/video clips, you will first need to expand the audio to make the clips overlap; for connected audio clips, you can simply drag them into an overlapping position.
- Double-click the audio waveforms for Shot_02 and Shot_03. The audio is expanded, allowing you to manipulate it separately from the video.
- Drag the Audio start point of Shot_03 to the left until it overlaps the fade at the end of Shot_02.
- Drag the fade handle on the left edge of the Shot_03 audio to add a fade that matches the duration of the clips' overlap. The first clip fades out as the second fades in creating a crossfade effect.
- Select the two clips, and choose Clip > Collapse Audio/Video, or press Control-S. The clips are collapsed, but the crossfade between the two shots remains.
Crossfading adjacent connected clips is even easier.
- Select the edit between the two connected audio clips under Shot_04.
- Press Command-T. The two clips are converted into a new storyline, and a crossfade effect is placed between the two items.
You can change the duration of the crossfade effect by dragging either edge of the gray transition icon.
- Drag the left edge of the transition to the left to lengthen the duration of the overlap.
Setting a Fade Shape
Final Cut Pro includes four fade shapes that perform different types of fade effects. It's up to you to decide which shape to use in any situation. There are no absolute rules because every clip will need a unique fade shape and length, but you can use the following descriptions to help you choose:
- Linear: Best for fades to or from silence on a clip with a relatively even waveform (such as a roomtone or ambiance track). Should not be used for crossfades, as a volume dip may be heard at the middle of the fade.
- S-curve: The default shape for crossfades. It is an all-purpose shape that creates an ease-in at the beginning and an ease-out effect at the end of the fade.
- +3 dB: The default shape for single fades. It is also known as a fast-fade, or when used as a crossfade, an equal power fade. This shape is ideal for crossfading between two clips of constant volume (such as roomtone, ambiances, and some music). The slight boost in the middle of the fade compensates for audio's naturally nonlinear response curve and creates a transition that is heard as a constant level across the edit.
When used for a fade-in, it creates what sounds like a uniform volume increase over the course of the fade. When used for a fade-out, the result is a seeming acceleration of the attenuation. This shape works well on dialogue or other clips when there's only room for a very short fade.
- –3 dB: Also known as a slow-fade. For a fade-in, it creates a slower, more gradual volume increase. It's often used for fading in clips with noticeable background noise or when there's room for a longer fade.
For a fade-out, the attenuation is accelerated at first, followed by a more gradual decrease in volume. When used on a longer fade, the slow-fade works well to make sounds disappear more subtly or organically.
- Position your pointer over Shot_02. The fade handles appear.
- Control-click (or right-click) the Fade In handle to open the Fade Shape pop-up menu.
- Choose –3 dB.
- Play the project to hear the fade-in.
- Set the fade shape to +3 dB, and play the project again. The difference is subtle but audible.
You can also set the fade shape for crossfade effects.
- Select the crossfade effect between the two connected clips.
- If the Inspector is not visible, press Command-4 to open it.
- In the Audio Crossfade section of the Inspector, set both the Fade In Type and the Fade Out Type to +3 dB. The crossfade is now set as an equal power crossfade.
- Play the project and listen to the fade.
- Experiment with the other fade types and try to hear the difference between them.
Related Resources
- Book $47.99
- eBook (Watermarked) $38.39
- Web Edition $38.39
[ There are more than twenty significant new features in the 10.0.6 update to Final Cut Pro X. This article looks at one of them. Check out our latest training covering the Final Cut Pro X 10.0.6 update here ]
One of new features in Final Cut Pro X that drove me the most nuts was the inability of any clip to remember the In or Out when you clicked to another clip.
This made comparing clips really, really difficult. (Yes, I know, you could set favorites and keywords and all sorts of other shenanigans, but all that was really necessary was for the clip to remember the In and the Out.)
Now, they do. In fact, Apple took this one step farther, which provides even more benefits, as you'll see in a minute.
HOW IT WORKS
Brace yourself.
Select a clip in the Event Browser. Set an In. Set an Out. Click anywhere else. Click back to the first clip.
Ta-DAH!!!
The In and Out are still there! Whew… Even better, these selected ranges remain until you get rid of them.
NOTE: You can not set multiple ranges in the Timeline.
BUT WAIT, THERE'S MORE…
In And Out Points Final Cut Pro X Trial
This ability to set, and retain, ranges exists in the Event Browser and the Import window. However, we can now:
- Set multiple ranges in the same clip
- Set multiple clips each with a combination of one or more ranges
- Import multiple ranges from multiple clips at the same time
SETTING MULTIPLE RANGES IN THE SAME CLIP
To set multiple ranges in the same clip – this is especially useful when importing multiple portions of the same source clip – press Command while dragging to select a range within a clip.
Each time you drag, you create a new selection range. (There were initial reports that Apple included keyboard shortcuts for this function, but they do not seem to be in the released version.)
NOTE: If you edit the selected ranges into the Timeline, they will be placed in the Timeline in the order you selected each range; not in Timecode order. Cool.
In And Out Points Final Cut Pro X Download Free
Notice here, the top clip still retains its three selected ranges, while the bottom clip has a single selected range. However, only the currently selected clip will edit to the Timeline. In other words, you can have lots of ranges set, but only the selected clip's ranges edit to the Timeline.
DELETING SELECTED RANGES
Apple removed the keyboard shortcut that deletes individual ranges – it used to be Option+X. So, to delete all selections:
Select the clips from which you want to delete the selections and choose Mark > Clear Selected Ranges. You can use this menu to remove ranges from a single selected clip, or a group of selected clips in the Event Browser.
EXTRA BONUS VALUE
This ability to select multiple ranges within a clip is especially useful when importing. Now, we can select multiple ranges within a single clip, or multiple clips each containing a range. Prior to the 10.0.6 update, we could only import one range at a time. Which made importing portions of multiple clips really tedious.
Here's the secret you need to know to make this work: Fnaf ar all characters.
- Set all your ranges
- Press Command+A to select all the clips you want to import
- Click Import All
I'll write more about importing shortly, when I write up all the new changes Apple made to the Import process.
NOTE Parallels macos guest. : You can't set ranges when importing from the Finder, or from some DSLR cameras using PTP protocol.
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