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Final Cut Pro 12.3 just released, and I believe this is the update that many of you have all been waiting for. >> [music] [music] >> I know why you clicked on this video, so let's just jump right on in to the auto captions. To use them, it's super simple. You're just going to find the clip that you want to generate captions on, right click, then you'll go down to generate captions, and you'll notice this new subtitles option. Clicking that will go through, it will transcribe the video, and it will generate titles over the top of your video. You'll also notice that if we go to our index, these subtitles have their own role. You can enable or disable these just by clicking on this checkbox, which is really handy. But, there's so much more we can do with these generated subtitles. For one, you can select a single subtitle, then press command A to select all of the subtitles that are down on your timeline. But, you'll notice that this is actually different than if I were to say select a video clip and push command A, which will then select everything on my timeline. On top of that, any changes that we make here in the title inspector are going to apply across all of the subtitles we have here on the timeline, as long as they're the same type of subtitle. Now, by default, Final Cut Pro comes with this basic subtitle, which has several different animation styles we can choose from. For example, let's go ahead and choose something like highlight. We can change the font on it. We can change the font size, we can change the color, and we can change our highlight color. Plus, we can decide if we want to have a background. It's kind of hard to see here, but if I drag that off, you can see we have this nice background. We can also change the corner radius on that. We can raise or lower this using these sliders here to place it in the middle of our scene. And so now we have our own individualized captions. Let's go ahead and play back and see what this looks like. It gives you this nice preview of exactly what segment you're selecting. >> And like I said, we have a bunch of different animation styles. Let's go ahead and try scale. From there, it gives you this nice preview of ex- Or we can try fill. From there, it gives you this nice preview of exactly what segment you're selecting. But this is so far from everything you can do with subtitles because you can actually select basically any title you have installed into Final Cut Pro as an automatically generated subtitle. And with that, I'm super excited to announce my brand new plugin, FCB's Pro Subtitles.
>> [music] >> If we jump on over here to my titles, you can see this absolutely enormous list of presets I have gone in and hand crafted just for you. To use them or any other title here in Final Cut Pro, you'll just simply locate the one that you want to use. So maybe I'll try my gradient highlight. You'll right click on it and then select make default subtitle. Once you've done that, you can come back to any clip and push command shift S or right click and select generate captions, subtitles, and those will be placed on the timeline. This nice preview of exactly what segment you're selecting. We could try my new outline reveal. This preview of exactly what segment you're selecting. >> Or we've got this new filmic one that I absolutely love. You do nice preview of exactly what segment you're selecting. And of course, you can go in, select these, and change all of these various settings to get it looking exactly as you want. But, there's a few other things you need to be aware of when it comes to subtitles here in Final Cut. For one, you'll notice they all have about a 2-second long duration. To change that, you're simply going to want to come up here to Final Cut Pro, go to settings, then under the editing panel, you'll see your subtitles length. They are set to 2 seconds by default. To change this, you can just simply type in any number. So, maybe you want to have roughly two to three words on the screen at a time, you can just simply type in 0.5 or even 0.25. And now, if we were to regenerate our subtitles, I'll go ahead and choose another option here. Preview of exactly what segment you're selecting, and we can just slide this clip over to a part that we're happy with. You can see how the length of each of these subtitles has changed.
Auto mask in many ways is similar to the magnetic mask, but it has some key differences that make it incredibly powerful. Now, I have this basic scene of me, and I want to add a bit of skin smoothing. To do so, I'll just search up the Gaussian blur effect and apply it onto my shot. Then, we'll simply come over here, and you'll notice that we have several different mask tools that were not previously visible. We have our shape mask, our color mask, and you'll notice we also have what appears to be the magnetic mask, but it also houses the brand new auto mask. You'll just simply click on it, and you'll notice that you have this brand new menu here with a whole bunch of things that have been pre-selected for you. For one, I could select people, but we can also get a little bit more granular. We can select the skin, my skin and face, my hair, my facial hair, mouth, lips, eyes, eyebrow, clothing, foreground, and background. But on top of that, you could simply just mouse on over in your image and find exactly what you want to click on. So, I want just my skin, I want my beard, I want my eyes, I want my hair. You can do that using auto mask. Let's go ahead and select just my skin because we want to apply some skin smoothing. And you'll notice that that has given a checkbox next to the skin. But we can also select some other objects in the scene at the same time like my shirt if you wanted to do multiple masks at the same time. I'm going to do just my skin though and select add auto mask. What's different about auto masks compared to the magnetic mask is that everything is instantaneous. I didn't need to sit around and wait for it to process the entire video. It just automatically applies the mask in real time. And now you'll notice that we have applied this Gaussian blur specifically just to my skin. Nothing else is affected. I can go in here and dial this down and get it to a very subtle level to nicely smooth my skin. Obviously, you don't want to go too far with it, but this is a great way to give your clients a lot more confidence on camera. But on top of that, you can use this to whiten teeth really, really easily. I'll remove that Gaussian blur for now and we can move forward and we'll go ahead and I'll push command six to get my color wheels and we'll just add in another color wheel. From there, we'll add a auto mask. I'll click on this icon and we can scroll through and find the teeth. Select that, we'll select add auto mask. Now that it's selected the teeth, we're going to zoom way in here to my ugly mug. Sorry you have to see this, but you know, we got to show the demo here and we can see my teeth. We can go in and drop on our highlights and our midtones the actual saturation. So, I'll just go ahead and do that and you'll see they're kind of looking black and white now. We could also raise up the brightness a bit. And so, just like that, I have now actually whitened my teeth in just a few clicks. You definitely don't want to go too far, but you can start to see just the power of this. Maybe I'll drop down the mix. But, if we zoom out, I now have my teeth whitened in a matter of seconds rather than going through with the magnetic mask like I used to and doing a color selection on the teeth. Everything is done for me, and it actually looks like I brushed my teeth on a regular basis. It's incredible. One last thing I do want to note with these auto masks is that they can be quite processor intensive. So, I recommend using these auto masks near the end of your edit because they will slow down your computer. If you do need to use them early on, you can always render at any time with control R on your timeline.
The next feature is an interesting one because it's a feature we've had for quite some time here in Final Cut Pro, but it's actually using Apple intelligence now, and that is match color. To use it, I simply want to match these two shots. So, I have the shot on the right and the shot on the left, and I would like the shot on the right to match a little bit closer to the shot on the left. To do that, I'm simply going to come over here to the magic wand and then select match color. You can also get that with option command M. From there, it'll give us this little drop zone window style, and we can select the shot we want to match to. So, I'll just click that, and we can press apply match. And so, now you should be able to see how much closer this matches the scene on the left. Here it is without, and here it is with. Plus, you have access to all of these different sliders available to you. So, if it's still not quite matching, you can really dial it in as much as you need to. But, I'm actually very happy with the results it's given me here. Here is a shot that I've gone through, I've color graded everything really nicely, and here is a shot with just a basic S-Log conversion LUT applied to it. We'll go ahead, we'll push option command and M, and we'll select the shot that we want to match, then we can press apply match. And you can see if I jump back and forth between the two that the colors are actually very close. The main difference being the lighting that I had on the day of filming here compared to the lighting I had here. You'll also notice though that I have a vignette going on around my scene, and I don't have that vignette here. So, if we wanted to get a bit closer, we could go in and add that vignette. I'll just do a shape mask, scale it out a bit, go to the outside, drop the global brightness a bit, and the saturation a little bit, and kind of get that vignette back. So, this is just a great tool for quickly getting those two cameras, or three, or four cameras all into the same spot with just a single click.
Now, as an editor, you're probably downloading a lot of clips off of the internet to edit with, and that's where this next tool is incredibly helpful, edit detection. The video clip I have here on my timeline is one that is completely edited all the way through. And what I can do is instantly find the moments of this video where a cut has been made. I'll just simply right click, then select detect edits, or you can press shift E. Final Cut Pro is going to quickly go through and find all of the moments where an edit happens in my video. I've gone ahead and sped up this recording about eight times so you can get a rough idea of what it looks like. It can be a slow process, especially if you're working on a really big project, but compared to manually going through and finding all of the cut points, this is so much faster. And now that it's finished, I can go ahead and select everything, and you can see where all of these cuts were made. It seemed to find all of the cuts very nicely here within the video.
Those are the exciting brand new features, but there's also a bunch of workflow enhancements that I'm really excited about. For one, they've added the two up display when you're selecting an edge. What do I mean by that? Well, I'll go ahead and select my trim tool and select this edge right here. And if I were to push comma or period, I can move forward back and forth a frame. Previously, this would just show me the frame that my playhead was currently on, but now we have this two up display, so I can clearly understand where the ending frame of the previous clip is and where the first frame of the next clip is. They've also added the ability to send a frame to Pixelmator Pro. To do so, you'll just simply come out up here to your share menu and you'll see send frame to Pixelmator Pro. Another super cool feature is the ability to swap a clip forward or backward on the timeline and you just simply do that by pushing option right arrow or left arrow and you'll notice how that pushes it back and forth. And you can actually do this with multiple clips at the same time. You can also now select all of the connected items by pushing command, control, and A and you'll see now that I've selected all the audio components and all of the titles up here on the top for this complex clip. And then again, we could just push option left arrow, right arrow and all of those are going to move together as a single unit. And the last workflow enhancement you need to be aware of is the fact that if I were to right click on a clip, select transcode media, and then check this box for create proxy media, you'll notice that it now says HEVC here instead of H.264. HEVC is extremely efficient on Apple silicon. The file sizes are a lot smaller and HDR can stay intact when you're working with HEVC content. So, while H.264 has served its purpose over many, many years, as Apple silicon has become more and more adopted, HEVC is becoming the standard, and it's just a much better system here in Final Cut Pro.
Don't forget to check out my brand new subtitles plugin, which will be linked down below with a huge launch week discount, only happening this week. [music] And if you're interested in all things Final Cut Pro, maybe consider subscribing because I have a ton of update related videos coming over the [music] next couple weeks. Thank you so much for watching, and I cannot wait to see you in the next one.