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by Stephanie Hubbard Award winning Editor, Writer and Story Consultant. For more info go to www.stephaniehubbard.com. Email firstname.lastname@example.org to schedule a consultation or to find out more about our LA based workshops.
Hey everybody - here is the checklist I use to teach FCP.
Good luck. For the full explanation of processes - I am now offering group, in person private, and remote lessons.
FCP Key Command Checklist
1) Building into sequence
Apple 1 – back to viewer
J back JJ back faster
L – forward LL forward faster
Left Arrow - one frame left
Right Arrow - one frame right
; - go to last cut left
' - go to last cut right
I – in
O – out
Apple F9 – insert to target tracks
Apple F10 – Overlay on target tracks
2)Sequence Short cuts
A - neutral
B – Blade
F – brings up virgin material
L – toggles link unlink
M – marker (option apple m to label)
N – toggles "black hole" function
P – Pen tool
TTTT – selects all down stream
Delete – eliminates hole
Shift – keep things "in line"
Apple + close up on time line
Apple – Farther away on time line
3) moving things around –
Apple C – Copy
Apple V – overlay
Shift V – drop in and push down.
Apple Z - Undo
Apple R - Render
Apple 9 - Attributes
Sequence Protocol: select, copy, paste. Rename, drag.
Bin Protocol: Stills, Footage, Music, Graphics, Sequences
Importing – drag item onto desktop – then onto drive. Then import into project. (music, graphics, stills etc)
Exporting – Quicktime, Web etc. Check attributes
Graphics, copying graphics
Effects – copy effects
2) Trust your inner viewer It's the best tool you have! If something doesn't make sense, or seems boring to you – it probably doesn't and Is. Give yourself full permission to voice concerns about something that isn't working for you – or if you're working alone, give yourself permission to change it.
1) Don't start at the beginning.
It will be your beginning, but don't worry if it is THE beginning. If you find stuff that tells your story, start pulling it into a sequence ESPECIALLY if you have limited time. Your beginning will be the last thing you do. At least it should be.
So there are two things to talk about here: a) the first thing you start cutting and b) the actual beginning of the film. Just to prove my point, I'll start with the second thing.
b) When you are looking for the beginning of your movie, you need a scene or an image that actually contains the whole film. I will most likely not be obvious to the viewer until they view the film a second time, but that doesn't matter - the feeling tone will be there. So, that is what you are looking for when you are actually constructing the beginning. But, typically you will want to have developed your whole film before you do this.
Which brings me back to
a) What do you start with? I just start watching footage. Typically I try to choose footage I know is at the heart of the film - a key interview - or key sequence in the film. Sometimes I just start by marking the footage if I see good material - but at some point, an idea comes forward, and I make a choice to start putting material into the time line. It's very intuitive, and the best way I have found to begin. There are often elements of the beginning here, like, what do I need to tell first about this story - but invariably things get moved around later in the process, so the key is just to start.
Okay that's number one - I look forward to your comments!
2) Iraq for sale similarly marketed to 100 social change groups emails – got 3000 people to each donate $100 to making the film in two weeks set up screenings in peoples homes via www.bravenewtheaters.com How many films on there, currently 340.
3) Red Envelope Entertainment: "Born into Brothels", "Tony Bennett: The Music Never Ends", "Business of Being Born", "Kicking It", "Steal a Pencil for Me", "A Walk into the Sea: Danny Williams and the Warhol Factory", "Protagonist", "Running with Arnold". All these films have deals with Red Envelope Entertainment – who are increasingly buying films at Sundance – and whose goal is to 1) circumvent Sundance and 2) buy all the films at Sundance. With Longtail cross promotional marketing they are in a great position to do this. Ted Sarandos, 5 million subscribers, 7 million dvd rentals each week.
I have been a working editor in Los Angeles since 1997. After spending a lot of time in short form documentary, I cut my first long form project in 2001, it was a television documentary called The Channel, about swimming the English Channel.
Since then, I've cut several feature docs, the most widely acclaimed have been Torn From the Flag, executive produced by Vilmos Zsigmond, and shot by Lazlo Kovacs, about the 1956 Hungarian Revolution and Incest-A Family Tragedy, also a multiple award winning film. The first award it won was for Best Documentary at the Beverly Hills Film Festival. Most recently I've edited/cowritten and facilitated a beautiful doc called Journey Home which you can see here: http://www.facebook.com/video/video.php?v=1188417944211 And "Bridges of My Father", a film by Raina Manuel, that I edited and wrote just got sold at Cannes.
This is from last year's premiere of Torn from the Flag. View video in full size here.
BETA SP PAL vs. NTSC