Create a new library for each project

As above, new library files can be huge. Generally, more libraries are easier to manage. Even if the same project has a few sub-projects (e.g., iPLAY might have iPLAY OG, iPLAY for inclusion, iPLAY promotional videos), it's easier to have each sub-project in a new library so there's less baggage, background rendering, etc. It's easy for 'projects' to be copied from library to library.

When working remotely, import files but 'leave in place'

When working on-site, I've have fewer problems with corrupted backups when files are 'copied to library'. The problem is that doing so ingests all video files into the library. This means the final library file is so big it can't be sent over the internet. Instead, if you 'leave files in place' then the library file just contains the editing instructions, and the raw footage doesn't have to be re-sent. If using 'leave files in place' then be careful moving the library because I have had major headaches in FCPX.

In FCPX, this can be made the default in preferences:

Create nested compound clip that you can edit then filter post-hoc

Rendered footage is harder to edit. So, it's easier to remove the green screen, colour grade, and edit audio once you've done the rough cut. But, you don't want to have to copy-paste your filters across each separate clip. So, I recommend you:

1. Drag all the files for a certain person to the timeline

   

2. Create a compound clip of all these clips (this is the compound clip you filter; parentheses for explanation only)

   

   

3. Create another compound clip of this compound clip (this is the compound clip you edit)

   

So, in the end, the structure for your timeline should be:

• Edited timeline with best shots
  • Compound clip with filters applied
    • Raw original files

Trim the top-level clip

1. If you make the (safe) assumption that the last take is the best one—especially for green-screen teleprompter reading—then start at the end of the timeline (hit ' in FCPX)

2. Ensure the timeline is big enough that you can see patterns in the waveform (the sound). This is useful for finding times where the same line has been repeated

   

3. Use shorts b for blade, and a for select, to first:

   1. Put a cut before and after the good bits of the line: "We hope this has been an INSPIRing beginning". Recommend also cutting the intake of breath before the words start, we'll use an audio transition to make it seem less rushed.

      

   2. Delete the bad bit at the end

      

   3. Scrub backwards to the start of the next long waveform (usually new dialogue). Add a cut when you encounter the line you've already done ("We hope this has been...").

      

   4. There are a few ways to accelerate this process:

      1. You can sometimes see where the waveforms match that show previous, failed attempts (see above)
      2. You can see low waveforms where we were resetting the teleprompter, or waiting for the words to move up
      3. In FCPX, you can accelerate dialogue with the shortcut L

Once finished trimming, add filters

Now you've finished trimming, you can filter the clip without slowing the most scrub-intensive cutting. These are the standard filters I use. Remember, double-click the compound clip so you're not filtering in the 'project', you're filtering the compound clip we made before, so it does the whole 'project' at once.