- Reference 4.1 Understanding a Project
- Exercise 4.1.1 Creating a Project
- Reference 4.2 Defining the Primary Storyline
- Exercise 4.2.1 Appending the Primary Storyline
- Exercise 4.2.2 Rearranging Clips in the Primary Storyline
- Reference 4.3 Modifying Clips in the Primary Storyline
- Exercise 4.3.1 Performing Insert Edits
- Exercise 4.3.2 Rippling the Primary Storyline
- Reference 4.4 Timing the Primary Storyline
- Exercise 4.4.1 Inserting a Gap Clip
- Exercise 4.4.2 Blading and Deleting
- Exercise 4.4.3 Joining a Through Edit
- Exercise 4.4.4 Refining Some Sound Bite Edits
- Reference 4.5 Editing Above the Primary Storyline
- Exercise 4.5.1 Adding and Trimming Connected B-roll
- Exercise 4.5.2 Understanding Connected Clip Sync and Trimming Behaviors
- Reference 4.6 Creating a Connected Storyline
- Exercise 4.6.1 Converting Connected Clips into a Connected Storyline
- Exercise 4.6.2 Appending Clips to a Connected Storyline
- Reference 4.7 Editing Below the Primary Storyline
- Exercise 4.7.1 Connecting a Music Clip
- Reference 4.8 Finessing the Rough Cut
- Exercise 4.8.1 Adjusting the Edits
- Exercise 4.8.2 Adjusting Clip Volume Levels
- Exercise 4.8.3 Connecting Two Additional B-Roll Clips
- Exercise 4.8.4 Refining Edits Using Cross Dissolves and Fade Handles
- Reference 4.9 Sharing Your Progress
- Exercise 4.9.1 Sharing an iOS-Compatible File
- Lesson Review
This chapter is from the book
This chapter is from the book
This chapter is from the book
Reference 4.5 Editing Above the Primary Storyline
The primary storyline has established the content foundation, timing, and pacing for the project. It’s time to see what those sound bites are discussing. At this stage, you’ll edit B-roll clips into the project by placing them above the primary storyline, and connected to it.
With these B-roll edits, your editing approach changes to a “lane” above the primary storyline. Clips in a lane outside the primary storyline are vertically connected back to the primary storyline, thereby establishing a synchronized relationship in this project between the sound bite and the B-roll. When Mitch says “helicopter,” your audience sees a helicopter.
These connections keep clips synchronized even when a ripple edit occurs in the primary storyline. An upstream ripple that shifts a sound bite’s timing in the project will also shift the B-roll clips connected to that sound bite. The connection ensures that the sync is maintained by shifting the connected clips the same amount. You first establish the connection and then Final Cut Pro maintains it so your focus may be on the rest of the story edit.
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In the following exercises, you will connect B-roll clips to the sound bite–driven primary storyline you’ve already edited. Then, you will trim these connected clips and observe their unique trimming behaviors.
