IntroductionWelcome| 00:04 | Hi, I'm Ashley Kennedy, and welcome to
Documentary Editing with Avid Media Composer.
| | 00:09 | In this project-based course we will be
exploring the entire post-production workflow for
| | 00:14 | editing a short documentary about local
farming in Santa Barbara, California.
| | 00:19 | We'll start by getting a creative brief from our
client and begin discussing story construction
| | 00:24 | strategies and workflow considerations
in order to start out right.
| | 00:28 | Once we have a plan, we'll talk about how to
properly set up and organize our project in order
| | 00:33 | to deal with the multitude of media
that typically comes with documentaries,
| | 00:38 | including how we can best take advantage of the
ever-valuable interview transcript in digital form.
| | 00:44 | Then we will discuss the process of creating
a rough cut, starting off by laying a solid
| | 00:50 | audio foundation and then working to incorporate meaningful
and creative visual material to flesh out our narrative.
| | 00:57 | (male speaker: There is definitely a movement happening.
It's not just here, it's worldwide, and it's a renaissance,
| | 01:03 | and so many people now are aware that getting
it directly from the producer is the way to go.)
| | 01:07 | We'll then take a look at various documentary
effects which you can use to correct and enhance in
| | 01:13 | perfect video and audio.
| | 01:15 | Finally, we will explore how to conduct
feedback section, make revisions, and bring together
| | 01:20 | the final elements in the
process of finishing our documentary.
| | 01:24 | We'll be covering all of these features plus other tools
and techniques within Avid Media Composer's creative environment.
| | 01:31 | Now let's get started with
Documentary Editing with Avid Media Composer.
| | 01:36 |
| | Collapse this transcript |
| Using the exercise files| 00:00 | If you're a Premium Member of the lynda.com
online training library or if you're watching
| | 00:05 | this title on a DVD, you have access to the
exercise files used throughout this title.
| | 00:10 | So if you've just finished unzipping your
exercise files you should see three folders
| | 00:15 | inside, Avid MediaFiles,
Avid Projects, and Other Files.
| | 00:18 | Now Avid Projects and Other
Files can literally live anywhere.
| | 00:23 | I am going to keep them right inside my
exercise files folder, which is on my Desktop, and you
| | 00:27 | can too if you like.
| | 00:28 | The Avid MediaFiles folder, however,
must live in a special location.
| | 00:32 | So you need to move that right away, and the
place that it needs to live is on the root
| | 00:37 | directory of your Media Drive.
| | 00:39 | So I have here my Media Drive and the root
directory simply means that it's not inside
| | 00:43 | any other folders, and you just drag
this to that location and let it copy over.
| | 00:50 | You may have a slightly different size
here than I do and don't worry about that.
| | 00:54 | Now if you don't have a Media Drive, this
will actually work if you put it at the root
| | 00:59 | directory of your Mac hard drive, your
system drive, or your C drive on your PC.
| | 01:04 | That is not recommended.
It can result in a corrupted media more easily.
| | 01:09 | So please definitely try to get yourself an
external Media Drive or at the very least
| | 01:13 | partition a drive so that it's separate from the
drive that your operating system is on, Mac or PC.
| | 01:19 | We'll just let this finish copying.
| | 01:23 | So I've got my Avid MediaFiles folder right
here at the root directory of my Media Drive.
| | 01:29 | In addition to not putting it inside any other
folders, it also must be named Avid MediaFiles
| | 01:34 | exactly like this, capital A and then a space and
a capital M and a capital F with no space here.
| | 01:39 | So don't try renaming this, it must be named
this for Avid to be able to see the Media.
| | 01:44 | So most of the time this will work just fine,
you just drag the Avid MediaFiles folder to
| | 01:48 | the root director of your drive.
| | 01:50 | However, in this case, what if you
already have an Avid MediaFiles folder?
| | 01:54 | So I have another drive here.
| | 01:55 | It already has an Avid MediaFiles folder,
because I'm already working in Avid.
| | 01:59 | Inside the Avid MediaFiles folder you'll always
see an MXF folder and then inside there they're
| | 02:03 | always be a numbered
folder and by default it's 1.
| | 02:07 | But what I've done is provide you
with a numbered folder that is not 1.
| | 02:13 | So in this case, it's called 103 and the reason
it's called 103 is that I have two other Avid
| | 02:18 | courses that have folders with 101 and 102.
| | 02:21 | So you could literally just work
with all of them side by side.
| | 02:25 | But in this case I would just drag this and
place it right beside the 1 so I wouldn't
| | 02:29 | need to combine media and my
folders could exist in harmony.
| | 02:33 | Now I am not going to do this right now, but
this is what you would do if you already have
| | 02:37 | an Avid MediaFiles folder on your drive.
So that is kind of a workaround for you.
| | 02:42 | So once you're ready with that we can go
ahead and launch the software and get started.
| | 02:47 | Once Media Composer is launched we need to go find
the project that's associated with this course.
| | 02:52 | So you want to make sure that you are on
External and then we click on this icon here, and you
| | 02:58 | just navigate to that Avid Projects folder, which as we
know, is on the Desktop in my exercise files folder.
| | 03:05 | Again, you can put this anywhere, you can put
it in your Documents folder, on a different
| | 03:09 | drive, on your Desktop, wherever you like.
| | 03:11 | I am just going to click on Avid Projects
and Open and then you'll see that the projects
| | 03:17 | inside of that, which I only have one, Farm to
Table documentary, are listed here in this menu.
| | 03:22 | I click on it, and I click OK,
and I am entering the project.
| | 03:27 | And here's what it looks
like when you open it up.
| | 03:30 | You probably won't have a Trash folder, I've
been working and so I do have this Trash folder.
| | 03:35 | But you'll accumulate the Trash
folder as you begin throwing things away.
| | 03:38 | But mostly you'll be working inside this
exercise files folder, and it's broken down by chapter.
| | 03:43 | So if you're going through, and you're on
Chapter 3, movie 2 just simply open up this
| | 03:48 | bin, and you have all the materials
that you need that are inside this bin.
| | 03:52 | Now I do want to mention that you'll be working with
pretty compressed media for this documentary course.
| | 03:58 | Documentaries typically contain a lot of raw
materials, and I had to fit a lot of media
| | 04:02 | into your exercise files download.
| | 04:04 | So just understand this footage started out
as beautiful HD, but I compressed it quite
| | 04:08 | a bit so that you get access
to everything that you needed.
| | 04:12 | But still looks okay though, you can
see everything and here hear just fine.
| | 04:16 | So that's how it works on either a Mac or a PC.
| | 04:19 | Again just put that Avid MediaFiles folder
at the root directory and then you're ready
| | 04:23 | to go just navigate to your
project, and you can start working.
| | 04:27 | Now if you're not a premium subscriber to
lynda.com, and you don't have access to the
| | 04:31 | exercise files, you can follow along
from scratch with your own assets.
| | 04:35 | Now let's get started.
| | 04:40 |
| | Collapse this transcript |
|
|
1. An Overview of the Farm to Table ProjectInterpreting a creative brief to establish goals| 00:00 | Embarking upon the art of documentary editing
is definitely an exciting and challenging task.
| | 00:05 | Just as with other type of video projects,
documentaries can run the gamut of content,
| | 00:10 | style, and perspective, but all share the
common goal of recording real events, hopefully by
| | 00:16 | revealing an intimate look into
the worlds of people and places.
| | 00:20 | Specifically, our task through this course is
to approach a project from start to finish.
| | 00:24 | Analyzing goals and evaluating our raw materials,
then fashioning a game plan in order to prepare
| | 00:30 | our project, and cut a solid rough cut, and
then craft a meticulous fine cut through a
| | 00:35 | thorough review process, and then deliver a
product that ultimately pleases our client.
| | 00:41 | This project called the Farm to Table
Project will be a short documentary of around five
| | 00:46 | to six minutes, on the practice and delivery of sustainable
agriculture in the Santa Barbara, California region.
| | 00:52 | We'll be following one farmer, BD Dautch,
along with the people in his life as he explains
| | 00:57 | to us why local farming is so important.
| | 01:00 | Our client, the Mayor of Santa Barbara, has
delivered to us a Creative Brief, which is
| | 01:05 | a basic summary of the client's
desired message for this piece.
| | 01:09 | So, let's take a look at this Creative Brief.
| | 01:11 | Now, you can find the entire Creative Brief
in the exercise files that come with this
| | 01:15 | title, if you're a lynda.com subscriber,
and I'll put a bit of it up on screen here.
| | 01:20 | But we won't read the entire thing, rather
I'd like to draw out some key points to talk
| | 01:24 | about, quickly, becoming the focal point of a
movement that merges ideas from agriculture,
| | 01:32 | cuisine, and ecology.
| | 01:33 | Now, here we're getting the main thesis of
the piece, explaining the major areas we'll
| | 01:37 | be exploring in our documentary.
| | 01:39 | Shoppers looking to support area growers, help
the environment by reducing the need for shipping.
| | 01:45 | Now, here we're delving into the importance of
local growing, one of the preeminent messages
| | 01:49 | of this growing movement.
| | 01:52 | Chefs and restaurants looking for a way to
distinguish their offerings while providing
| | 01:56 | flavor and nutrition are
turning to local organic growers.
| | 01:59 | All right, so here we're going beyond the
grower/consumer component and are talking about restaurants.
| | 02:06 | Getting across the point that this movement isn't just
for the common consumer is important for our client.
| | 02:12 | And the Farm To Table Project aims to support
this movement towards locally grown, ecologically
| | 02:17 | sustainable produce by promoting key
local growers and the weekly farmers market.
| | 02:22 | And here we're focusing on the
importance of the Farmer's market itself.
| | 02:26 | There will be a lot of great footage of the Farmer's
market, so it promises to be a fun scene to edit.
| | 02:31 | But we are also tasked with the job of showing
how important it is to the Farm To Table movement.
| | 02:36 | So as you can see, we have about 5 or 6 minutes
to find an interesting, educational,
| | 02:41 | and creative way to focus our
piece on these important points.
| | 02:46 | We'll have many tools in our arsenal,
everything from interviews, to video footage, to still
| | 02:50 | images, to graphics, to music, the list goes on.
| | 02:54 | We'll have to take a look at these assets
and our project goals in order to help start
| | 02:58 | the process of defining exactly how
we'll go about editing our documentary.
| | 03:03 |
| | Collapse this transcript |
| Examining project assets| 00:00 | Now that we have a pretty good idea of the
basic thesis and main points that we need
| | 00:04 | to get across in our short documentary, let's
take a look at what assets we have in order
| | 00:08 | to tell our story.
| | 00:10 | Now first of all depending on the editor's
involvement in the production phase of the
| | 00:14 | project, you as the editor may have more or less
say on the assets that you have to work with.
| | 00:19 | For this project, however, it's important
to note that an entire production team went
| | 00:23 | out and shot a bunch of footage and provided
us with our raw materials, and now it's up
| | 00:27 | to us to assemble the best
product possible from what we have got.
| | 00:31 | So in this case, we had
relatively little to do with production.
| | 00:34 | This is completely a post-production venture.
So let's take a look here.
| | 00:39 | I have a hard drive provided to me by the
production team, and if I go ahead and just
| | 00:44 | take a look and see how much I've got, about
432 gigabytes of mostly HD footage, and this
| | 00:52 | is really common to shoot a lot of footage
for documentaries and so it's a big job for
| | 00:57 | us to go through everything and make sure
that we know what everything is and how it
| | 01:00 | can best be used to tell our story.
| | 01:02 | So as you can see,
everything kind of has categorical names.
| | 01:06 | We have various parts of the Farm to Market
process, loading on the farm as well as some
| | 01:13 | shots of the farm, packaging process, and
picking, and I'll just kind of go through
| | 01:19 | so you can see all the stuff we have to work
with, shots at the farmers market, and down
| | 01:25 | here towards the bottom we have our interviews.
| | 01:27 | So these are our raw materials, we have over
400 gigabytes of stuff to sort through, nothing
| | 01:33 | has really named, we don't know what anything is
unless we would actually click on it and play it.
| | 01:39 | So there is going to be a lot of this in
our future and going through in organizing it
| | 01:46 | well so that we can work with
it in the best way possible.
| | 01:49 | We also have some music and some other
things like Archival Images and some still images
| | 01:55 | that were shot on DSLR as well as the
iPhone and some graphic stuff as well.
| | 02:01 | So lots and lots of stuff, really not
organized very well right now, but what I want to do
| | 02:06 | is actually show you the project once it's been
organized so you can see kind of where we are headed.
| | 02:12 | I am going to open up Media Composer
and show our Assets and dig deep here.
| | 02:19 | All right, so here's our Audio and Graphics,
our Interviews which no longer are they 30
| | 02:25 | minute long interviews, but these are interview
selects where we have gone through and determined
| | 02:29 | what part of the interviews are going to
be most useful to us. They are named.
| | 02:34 | We have all of our video B-roll, which is
going to help us tell our story, and if I kind of
| | 02:39 | look in here, you can see that now we have
all of these clips that are named appropriately
| | 02:44 | and all the stuff that was not useful for
the documentary is not going to be here.
| | 02:49 | So I know that I've gone through, and I have
really made sure that everything in the project
| | 02:53 | is stuff that I really
think I am going to work with.
| | 02:55 | So as you can see, we have
a lot of stuff to work with.
| | 02:59 | It's still hard to really find it all, but
fortunately over the next few chapters, I
| | 03:03 | am going to go through some really useful
Media Composer searching techniques so that
| | 03:08 | we can find exactly what
we want when we need it.
| | 03:12 | So as you are crafting the story, it's so
important to be able to recall this perfect
| | 03:15 | sound bite or the perfect video
to slot in at the perfect moment.
| | 03:19 | Fortunately, there are quite a few organizational
tools as I was saying that can help you arrange
| | 03:24 | your assets in a way that makes sense and
allow you to immediately recall those essential
| | 03:28 | moments which we'll explore later.
| | 03:31 | So hopefully we now have a good approach and
know our project goals as well as the tools
| | 03:35 | we have to make these goals a reality.
| | 03:38 | Let's be sure to remember all of this as we
continue to fashion a plan to craft our documentary.
| | 03:43 |
| | Collapse this transcript |
| Defining the project approach| 00:00 | So we know we're slated with the task of
relaying several important points within the parameters
| | 00:05 | of the Farm to Table project, and we have a
general idea of the assets that are available to us.
| | 00:10 | In order to figure out our approach and style,
let's take a look at some possible options
| | 00:14 | and then decide how we'd like to move forward.
| | 00:17 | Given our assets we're probably going to let
the interview footage and B-roll tell a large
| | 00:21 | majority of our story.
| | 00:23 | The interviews have been
shot rather traditionally.
| | 00:25 | So we've already got that
part largely decided for us.
| | 00:28 | They will serve as the backbone of the piece.
| | 00:31 | We have one main documentary subject and about
a half a dozen secondary subjects and they'll
| | 00:35 | each get there chance to help tell our story.
| | 00:37 | The video B-roll as all of the primary and
supplemental video footage that was shot
| | 00:41 | that'll be inter cut with the interviews.
| | 00:44 | B-roll can be anything from beauty
shots to intricately shot process footage.
| | 00:48 | We'll explore all of this later.
What else do we have?
| | 00:52 | Narration, or voice over, is common technique in
documentaries to relay information to the audience.
| | 00:57 | The style amount and content of the narration
can vary drastically from project to project,
| | 01:02 | but in general voiceover narration gives a
documentary a somewhat observational feel
| | 01:07 | where the audience is getting a
guided look at the topic at hand.
| | 01:11 | Text is another tool that can help relay
important information to the audience.
| | 01:15 | Text has the ability to slow down a piece,
allowing the audience to soak in essential information.
| | 01:21 | Usually, filmmakers tend to use text more as
a punctuation device where there are fewer
| | 01:26 | instances of it, but it can really feel
like its own character within the film.
| | 01:31 | Sometimes documentaries don't use any
formal channels of information relay.
| | 01:35 | Indeed you can just let the footage tell the
story, and that's what cinema verite is.
| | 01:39 | A technique commonly used in
documentaries from the 60s is truly a secret look inside
| | 01:45 | the lives of others.
| | 01:46 | Now because we already have a somewhat
formal or a traditional method in the form of our
| | 01:50 | interviews, we won't be employing true cinema
verite in our documentary, but I think it
| | 01:55 | could be great to use a
little bit of this technique.
| | 01:58 | Sometimes documentary film makers choose to
take a very creative, artistic approach to
| | 02:02 | their storytelling technique perhaps in the
form of eccentric graphics, cartoons, or music.
| | 02:08 | Being a little out of the box can really make a
documentary interesting and exciting to watch.
| | 02:12 | So let's keep that in the back of our minds.
| | 02:14 | Of course, many documentaries choose to
take a combination of these approaches and may
| | 02:19 | even employ techniques we haven't mentioned.
As I said we have an arsenal at our disposal.
| | 02:23 | So we shouldn't be
afraid to use what we've got.
| | 02:26 | Give it all of these considerations we need to
figure out how we're going to tell our story.
| | 02:30 | Sometimes the technique is boiler plated for
us, and we don't have too much freedom, but
| | 02:35 | in this case, we do have some leeway.
So how do we decide?
| | 02:38 | We want to take a look at a few things our
content, our audience, and our intentions.
| | 02:43 | Our content, or subject, is a progressive movement
involving focus on agriculture, cuisine, and ecology.
| | 02:49 | Nothing too formal about this.
| | 02:51 | In fact, it's got a very
organic natural feeling to it.
| | 02:54 | Our audience is mostly people who would
likewise be interested in this type of progressive
| | 02:58 | practice and lifestyle.
Also, the Mayor of Santa Barbara hired us.
| | 03:02 | So we've got to try to
appeal to his basic desires.
| | 03:05 | Again, we'll probably be going with a more
organic approach here, but we also have to
| | 03:09 | be concise and educational.
| | 03:11 | Now our intention is to paint the farm to
table process in a positive light while trying
| | 03:15 | to educate and enlighten, and it'd be great if
we could also try to be a little artsy about it.
| | 03:21 | So based on all of that our basic strategy
is going to lead us to go for an organic film
| | 03:26 | to try to match our subject matter, but we
still need to be educational and concise,
| | 03:31 | and we'll let the interviews tell the story.
| | 03:34 | It'd be great to use some cinema verite
where we let the footage speak for itself,
| | 03:38 | and we probably won't be
using any narration or text.
| | 03:41 | So we definitely have a
combination of tools we can use here.
| | 03:44 | So we know we're going to keep it fairly organic
and natural, but also be concise and informative.
| | 03:51 | So hopefully we now have a good approach and
know our project goals as well as the tools
| | 03:55 | we have to make these goals reality.
| | 03:58 | Let's be sure to remember all of that as we
continue to fashion a plan to craft our documentary.
| | 04:03 |
| | Collapse this transcript |
|
|
2. The Documentary Postproduction ProcessUnderstanding the documentary postproduction process| 00:00 | Before diving straight in, let's take a
step back and look at a high-level view of the
| | 00:04 | entire documentary post-production process.
| | 00:08 | Early in the process you as the editor may
get a chance to communicate with producers,
| | 00:12 | directors, and other stakeholders
about how the film is planned and shot.
| | 00:16 | I highly recommend you do this if you can.
Before editing, do as much research as you can.
| | 00:22 | Try to familiarize yourself with the content,
style, and workflow of your documentary.
| | 00:28 | Additionally, become familiar with formats,
deliverable requirements, and other technical
| | 00:32 | considerations for the
post-production workflow.
| | 00:36 | Once you get the footage
it's time to log and annotate.
| | 00:39 | You'll need to sort through your raw source
materials and all notes pertaining to the documentary.
| | 00:45 | Develop a system for organization here.
Then it's time to bring it all in.
| | 00:51 | Name your clips intelligently, group the
materials into bins, and organize the bins appropriately,
| | 00:57 | in order to achieve
quick access to all footage.
| | 01:00 | You can also link your source
clips to imported digital transcripts.
| | 01:04 | Now, finally it's time to edit the program
and polish it to the best of your abilities
| | 01:09 | using the available tools.
| | 01:12 | Screen your rough cut to several audiences
and get as much feedback as you possibly can.
| | 01:19 | After the screening of the rough cut, meet
with people invested in the project to work
| | 01:23 | toward a locked cut of the program.
This is a big collaborative stage.
| | 01:29 | Then it's time to distribute locked picture
and rough audio tracks to specialists for
| | 01:33 | finalization, or if you're doing all the
finishing yourself then you need to spend a lot of time
| | 01:39 | on each of these phases.
| | 01:41 | Finally, you'll assemble the finished program by
integrating the final audio mix and graphics,
| | 01:47 | and create program masters for duplication.
| | 01:49 | Now, many of these steps are very similar to
those from other types of editing projects,
| | 01:54 | but as we'll see there will be particular
emphasis on the research and organizational parts.
| | 02:00 | Since, we will literally be carving our
story out of a virtual mound of raw material.
| | 02:05 | But again, that's the fun part of editing a
documentary, you have the duty and the responsibility
| | 02:11 | to find the best story out
of a thousand possible ones.
| | 02:16 |
| | Collapse this transcript |
| Focusing on the preparatory phase| 00:00 | Because of the nature of documentaries you
can often end up with hundreds of hours of
| | 00:04 | footage and unless the footage was shot with a
specific script in mind you're often carving
| | 00:10 | through all this material to extract
and shape the best and clearest story.
| | 00:15 | Remember, in a documentary thousands of
stories can exist, and it's up to you to find the
| | 00:19 | best story for your purposes.
| | 00:22 | So in order to set yourself up for the
most success you'll need to prepare well.
| | 00:26 | Let's take a closer look
at the preparatory phase.
| | 00:29 | Early on it's beneficial if you can meet
with the producer and director so you can gain
| | 00:33 | initial insight into the film's flow as
well as be available to consult with on topics
| | 00:38 | relating to the
post-production schedule and budget.
| | 00:41 | It's good to also be aware of all the assets
coming in from the production team and determine
| | 00:45 | how much you will need to
acquire and create on your own.
| | 00:49 | You'll also need to start
planning the distribution requirements.
| | 00:53 | The research stage is an important
part that you should not overlook.
| | 00:57 | Without a clear script, you will need to spend
time figuring out the story's thesis or main idea.
| | 01:01 | You will need to determine how you'll be
able to support this thesis, and you'll need to
| | 01:06 | ask yourself serious questions
about your documentary's audience.
| | 01:09 | Additionally, you will need to work to
construct a style, and you will need to see what tools
| | 01:14 | and assets you have that can
help you achieve your goals.
| | 01:18 | Now technically, you will need to be aware
of all media formats, types, and frame rates
| | 01:23 | that will be used to assemble the documentary.
| | 01:26 | With documentaries, you'll often be working with
a plethora of material of all different types.
| | 01:31 | So it's good to know this
information sooner rather than later.
| | 01:34 | You'll also need to make decisions regarding the
use of hardware and software in the post-production
| | 01:39 | workflow, and you will need to figure out what
you already have and what you need to buy or rent.
| | 01:44 | You will also need to go through all
your material and log all applicable shots.
| | 01:49 | Use the production crew's production
notes and take plenty of notes yourself.
| | 01:53 | Occasionally, you will get the chance to
screen the material with the director, which is nice
| | 01:58 | so you can establish a link
to the vision of the project.
| | 02:02 | During this process, you will ideally boil down the
footage to 30% to 50% of its entirety to make selects.
| | 02:08 | Essentially, you are mentally carving out
the material that you think you'll need even
| | 02:14 | if you choose to capture it all.
| | 02:16 | You should however appreciate your role of
objectivity as the person who was not in the field.
| | 02:22 | Detach yourself from the footage and judge it as the
person who is delivering the product to the audience.
| | 02:28 | Before capturing devise a
precise labeling and logging scheme.
| | 02:32 | If you're editing for a post house, there's
most likely a naming scheme already in place.
| | 02:37 | Perhaps the most common method is to devise
a code that involves both the name of the
| | 02:41 | show and the number of the tape
or digital file for that show.
| | 02:45 | Once the material is in your project
organize it into content and subject specific bins.
| | 02:50 | Also, add custom information to your clips,
like rating, quality, description, and composition
| | 02:56 | so that you can easily find
clips based on qualitative data.
| | 03:00 | Remember, hunting and pecking through hundreds of
hours of material is not good for the creative process.
| | 03:05 | By the time you found what you're looking for
the magic is gone, and you've lost your momentum.
| | 03:10 | Finally, if you have scripts or transcripts,
import them and then link your master clips
| | 03:16 | to them using Script Integration.
| | 03:18 | As you can see, there is an awful lot of things you
need to figure out before you make your first edit.
| | 03:23 | Indeed, organization of documentary projects
is absolutely critical in order to maintain
| | 03:28 | creative momentum and to
tell the best possible story.
| | 03:33 |
| | Collapse this transcript |
| Focusing on the rough cut phase| 00:00 | Once you've screened your footage, taking
detailed notes, and properly organized and
| | 00:04 | labeled your footage in appropriate bins and
folders, it's time to begin editing the rough cut.
| | 00:10 | The rough cut is the fun part.
| | 00:12 | It includes all the major story formation
in which the editor constructs the scenes
| | 00:16 | and assembles the narrative.
| | 00:18 | Often, once the main project goals are defined the
rough cut is constructed in relative separation
| | 00:23 | from the film's other invested stakeholders in order
to let the editor flesh out the documentary structure.
| | 00:30 | Because of this the rough cut is
often called the editor's cut.
| | 00:34 | Later in this course we'll discuss
many elements of creating the rough cut.
| | 00:37 | For now we'll just take a fairly high-level
view of the story creation process.
| | 00:41 | So after you've gone through some of the
first stages in finding out the style, audience,
| | 00:47 | and intention of the documentary, you should
have a pretty good idea about how'd like to
| | 00:51 | tackle the process in terms of the formation and
enhancement of your thesis and supporting points.
| | 00:56 | Now different people approach
this phase in different ways.
| | 01:00 | Some people prefer to loosely assemble a
basic structure of the entire film in order, which
| | 01:06 | is called a rough assembly, and then refine
it further until arriving at a solid edited
| | 01:11 | version of the piece called the rough cut.
| | 01:15 | With the documentary editing, however,
because there's often no script many editors tend
| | 01:19 | to take a more granular approach.
| | 01:22 | Instead of laying out the entire movie in a
general sense, they spend some time figuring
| | 01:27 | out the general film grammar of one or more
scenes and then take that basic approach and
| | 01:33 | apply it to the rest of the scenes in the film.
| | 01:36 | Now here are the elements that make up the
grammar in which you will define your film.
| | 01:40 | First, you have the frame, and you can
think of that as the most basic unit.
| | 01:47 | So it's like a letter.
Then you have the shot.
| | 01:50 | A shot is a single continuous recording made by
a camera, and you can think of that as a word.
| | 01:56 | So we've got a frame, which is just a single
still image, a shot, which is a continuous
| | 02:02 | recording, and then above that you have a
scene and a scene is a series of related shots,
| | 02:07 | and you can think of that as a sentence.
| | 02:10 | Then finally you have a sequence and a
sequence is a series of scenes, which together tell
| | 02:16 | the major part of an entire story.
So that would be equivalent to a paragraph.
| | 02:21 | So as you see here it
really is a lot like writing.
| | 02:25 | By using these elements you're basically
establishing a set of codes that become the universal backbone
| | 02:31 | of the film language for your documentary in
terms of style and pacing, and conventions,
| | 02:37 | and repetitive elements, and so on.
| | 02:40 | Just like writing the style that is established
early usually follows a basic structure throughout
| | 02:46 | the book, or in this case, throughout the film.
| | 02:49 | So how do you arrive at this
grammar or convention for your film?
| | 02:53 | Well, in the beginning the editor often spends
a bunch of time combing through all the footage
| | 02:57 | and trying out a lot of ideas and different
combinations with different emphases and approaches
| | 03:02 | and ultimately arrives
with the general conventions.
| | 03:05 | Finding the style by trying many ideas is both
fun and rewarding, but also very challenging.
| | 03:12 | Once you've worked out the film style, and if
constructed the thesis and supporting materials,
| | 03:16 | then you can begin building
out the rest of the film.
| | 03:20 | Once you've arrived at your cut of the project, the
rough cut, it's time to show other people and get feedback.
| | 03:30 |
| | Collapse this transcript |
| Focusing on the picture lock workflow| 00:00 | As some editors say, the film
is mine until the fine cut.
| | 00:05 | Reaching the fine cut means the film has
entered a stage of intense collaboration.
| | 00:09 | It is during this period that an editor must
ensure that the film's story, direction, and
| | 00:14 | style are in sync with the film's vision.
| | 00:18 | This begins with a screening of the rough
cut and proceeds through several more versions
| | 00:22 | of cuts until picture lock.
| | 00:24 | So, after you've completed the rough cut,
you should screen it as much as possible and
| | 00:30 | take very detailed notes on
people's feedback, both good and bad.
| | 00:34 | You should not only screen it for a director
and other stakeholders, but, also to general
| | 00:38 | audiences that are not
invested in the success of the film.
| | 00:42 | Screening the film to people who are not too
close to it can be extremely valuable in telling
| | 00:46 | you what works and what doesn't.
| | 00:48 | Now first, the editor usually works closely
with the director to tweak, reorder, cut, and
| | 00:54 | add scenes, combing through every shot and
every sequence and discussing every element
| | 00:59 | of the story and structure.
| | 01:00 | Because of this, this version of the
fine cut is often called the Director's cut.
| | 01:06 | For a documentary, the time spent on the
Director's cut can be pretty extensive, especially if
| | 01:11 | the editor was not
working from a defined script.
| | 01:14 | This collaboration is really important in
closing the gap between the director's original
| | 01:18 | vision and the editor's creation.
| | 01:20 | So, if you think about it there exists this
tension between three different stories that
| | 01:25 | will flush out during this process.
| | 01:27 | You've got one, the story the director tries to
tell based on the original concept for the film.
| | 01:33 | In almost all cases this idea evolves during
production as does the director's overall vision.
| | 01:39 | Then you have the story the editor
realizes through editing the film's rough cut.
| | 01:45 | And finally, you have the final edited version,
which is the collaboration between these two visions.
| | 01:51 | Now, after the director has had an
opportunity to oversee the cuts, he will often show the
| | 01:56 | film to other important collaborators and
during this period the film is further aligned
| | 02:00 | with the interests of all involved.
| | 02:02 | Of course, going through all of these
various versions of cuts, that must address all of
| | 02:06 | these people's intentions and desires can
be interesting and sometimes stressful.
| | 02:11 | Conflict between editors, directors, producers,
and other stakeholders have been known to
| | 02:15 | occur, whether it be over creative control,
budgetary issues or contradictory goals.
| | 02:20 | But usually a successful film results with
the picture lock aligning near the goals of
| | 02:25 | most all involved.
| | 02:27 | Once this agreement is reached, the editor
arranges for the final color correction and
| | 02:31 | sound design and then distributes the film in
multiple formats depending on the deliverable requirements.
| | 02:38 |
| | Collapse this transcript |
|
|
3. Organization Tools: Assembling Raw MaterialsBeginning a project| 00:00 | As you've hopefully gathered from the
previous chapters, there's a lot of things you need
| | 00:03 | to do before actually tackling the edit.
| | 00:06 | Once you've done them, however, you can begin
really looking at what you've got in order
| | 00:10 | to devise exactly how you'd
like to organize everything.
| | 00:13 | Now, before the days of file-based workflow,
the editor would usually screen all footage
| | 00:18 | out of the editing software and take detailed
notes in devising the best way to tackle the capture.
| | 00:24 | And certainly, if you're still working with
tape, you'll want to approach it this way.
| | 00:27 | However, in the tapeless environment, you
can just bring the footage right into the
| | 00:31 | software and screen from within media composer.
| | 00:34 | Now again, because we can't provide you with
the 430 gigabytes of raw media, we can't include
| | 00:39 | this step in the exercise files.
| | 00:41 | So please just watch this movie for reference
and then enjoy the organized footage for your
| | 00:45 | own purposes later on. Okay.
| | 00:47 | So, first of all, I know through my
consultation with the production team that this footage
| | 00:50 | was shot as QuickTime movies in 1080p
format with a frame rate of 23.976.
| | 00:57 | So, that's how I want to set up my project.
| | 00:59 | I'm just going to navigate to my drive, so I can
put my project there, and select New Project.
| | 01:08 | And under Format, I want to make sure that I
am at 1080p/23.976, which I am, and I'm just
| | 01:13 | going to name this Farm to Table, okay.
And let's go ahead and Enter.
| | 01:21 | Now I mentioned that we want to basically
screen from within media composer, and that's
| | 01:25 | because we have instant access to the files.
We don't have to wait for the tapes to capture.
| | 01:30 | And the way that, that is possible
is via AMA, or Avid Media Access. Okay.
| | 01:34 | So, if I go into Settings and select AMA, I
want to make sure that Volume Mounting > Enable
| | 01:42 | AMA Volume Management is checked.
This will allow AMA to work.
| | 01:46 | And it is by default so that should be good.
| | 01:49 | Then under Bins, I like to create a new bin,
and I like to just call it AMA Source Media,
| | 01:55 | okay, and you can see it's not created yet, but
it will be created once I bring in those files.
| | 02:02 | Now, I'm bringing in QuickTime movies and
the QuickTime AMA plug-in is included with
| | 02:07 | every installation of media composer,
so I don't need to do anything extra.
| | 02:11 | But just in case you're working with another type of
media, you want to go to Avid's website, avid.com/ama.
| | 02:20 | And listed at the bottom are all of the
native file types that it works with via AMA.
| | 02:25 | So, you'll just need to download the
plug-in for the workflow that you use.
| | 02:31 | So again, we are working in
QuickTime, we don't need to do that.
| | 02:34 | So, I can just go right
in, and get those files.
| | 02:37 | I'm going to choose File > Link to AMA Volume,
and I know all of those QuickTime movies are
| | 02:43 | right here in that Footage
folder, and go ahead and open.
| | 02:47 | And you can see that this bin, it's called
AMA Source Media just like I set up, and here
| | 02:54 | they come in many, many, many files, some
are short, some are a little bit longer.
| | 02:59 | You can see that in general,
they're categorically named.
| | 03:02 | A lot of times you'll be bringing in
files and all they are in numbers.
| | 03:06 | And this is nice because I can set up some
general loose structured bins, so I don't
| | 03:12 | have just one giant bin that
I'm going to be screening from.
| | 03:16 | So just wait till these come in and then kind
of get a sense of all the different categories
| | 03:21 | that we're going to make bins for, and then
I'm going to basically just drag the clips
| | 03:26 | into each of those bins and begin screening.
| | 03:28 | Now, I have a project set up where I
have these bins kind of ready to go.
| | 03:32 | So I'm going to hop over there.
| | 03:34 | So, I had everything in the AMA Source Media
bin, but now you can see that, that's empty
| | 03:39 | because I dragged everything
into these just general bins.
| | 03:44 | Again, I'm probably going to
tweak this in a little bit later.
| | 03:47 | But now, it's time to screen.
| | 03:49 | And this process takes hours, especially when
you're going through interviews and lots and
| | 03:54 | lots and lots of B-roll.
| | 03:55 | So, I'm literally going to load each clip,
and if it's a general blanket shot, I can
| | 04:02 | go ahead and say name it, and it's ready to go.
| | 04:05 | But if it's an interview or if it's something
a little bit more complicated, I'm going to
| | 04:09 | want to watch it, and then I'm
going to want to name intelligently.
| | 04:12 | And if I don't think I'm going to use it,
then I'm going to delete it so that it's
| | 04:15 | not cluttering up my project.
| | 04:18 | But most of all, I'm
probably going to sub-clip.
| | 04:21 | So, I'm just going to load this into the
source monitor, and I've gone through this and he's
| | 04:25 | just basically talking to the
videographer here in the beginning.
| | 04:29 | I know I'm not going to use that.
| | 04:31 | And then towards the end here, he's not really
talking about too much important that I think
| | 04:35 | I'm going to use, but this middle part is
really, really terrific, and I think that
| | 04:40 | him talking about these various herbs is
something that I'd really like to use in the documentary.
| | 04:45 | So you are going to go through, you are going to
make these decisions, you are going to sub-clip.
| | 04:49 | So I've marked my in and my out, I'm just
going to drag this into the bin, and I've
| | 04:53 | sub-clipped it, and I'm going
to name this intelligently.
| | 04:56 | So, Jonathan talking about herbs, and so
now this becomes a usable clip that I can use
| | 05:04 | in my documentary, and this becomes searchable.
| | 05:07 | I'm going to add further qualitative data
to this clip a little bit later on as we'll
| | 05:11 | see in future movies.
| | 05:12 | But this is what you need
to do for every single clip.
| | 05:15 | So, this again takes hours, you need to make
sure that you have great care during this phase.
| | 05:20 | I have here a bin where I've kind of gone
through all of the interviews and sub clipped
| | 05:26 | everything that I think is of use to me.
| | 05:29 | So, this big Interview Bin, some of it
is just not really going to be useful.
| | 05:35 | But this here is kind of the subset of the
stuff that I'm really excited about. Okay.
| | 05:40 | So again, this is a meticulous and arduous
process as you go through each clip in every
| | 05:44 | single one of your bins, but don't skimp here.
| | 05:47 | You'll be glad you did all the leg work upfront as
you go through the documentary post-production process.
| | 05:51 | All right, so I can begin working with it.
This is still AMA.
| | 05:56 | You can see that the icon for AMA is
kind of half clip, half chain-link.
| | 06:00 | Once you bring it into sub-clips, it's just
general sub-clip icon, and I can just work
| | 06:04 | with this the entire time.
| | 06:06 | However, I should note that for this project,
what I had to do was to transcode the media,
| | 06:13 | so that it would be a workable
size for the exercise files.
| | 06:16 | So, if you want to do that, if you want to
transcode your media and turn it into the
| | 06:21 | native file type of NXF, which is again
Avid's native file type, one, it does optimize the
| | 06:28 | workflow, so it usually works best with NXF.
| | 06:31 | However, it should work fine
with QuickTime AMA as well.
| | 06:34 | You can optimize it or if you need to
transcode it to make them smaller files like I did in
| | 06:39 | this case, you want to do one more step.
| | 06:42 | And if you want to just click on one or if
you wanted to click on all of them to obviously
| | 06:46 | do them in batch, I would just right-click,
and then choose Consolidate/Transcode.
| | 06:52 | Then I am going to chose Transcode, I want
to chose the drive that I want it to go to.
| | 06:58 | Handle Length, it's going to basically default
to about 2 seconds to the left and the right
| | 07:04 | of each of these sub-clips.
| | 07:05 | But I'm fairly confident
in where I marked these.
| | 07:08 | So I'm just going to put that to 0.
| | 07:11 | And then you want to put in
your target video resolution here.
| | 07:14 | Now, for these exercise files, what I had to do was
actually transcode it to a standard definition codec.
| | 07:20 | But you see that none of
those are available here.
| | 07:24 | So, what I had to do, and you might have to
do this too if you want to create smaller
| | 07:28 | proxy files is I click on Format, and just change it
from the HD flavor to standard definition flavor.
| | 07:38 | So now, when I select all of these clips and
right-click and choose Consolidate/Transcode,
| | 07:44 | Transcode, I'm going to adjust 0 frames.
| | 07:49 | You can see that now I have a bunch of
standard definition flavors to choose from, and I had
| | 07:54 | to compress these quite a bit so that you
can work with them, some are 14:1, some are
| | 07:59 | 28:1, obviously not ideal.
| | 08:01 | But again, this is a documentary with lots
and lots of footage, and we had to fit more
| | 08:05 | than 430 gigabytes into about 4 gigabytes.
| | 08:08 | So, a lot of compression going on here, but
you want to choose the drive and then you
| | 08:13 | can go ahead and transcode.
| | 08:14 | Now, you can see--I'm going to cancel this
out--that I've gone through, and this is what
| | 08:21 | you'll see through the
duration of this project.
| | 08:23 | But I've gone through, and I've organized my
footage, you can see kind of in this Assets
| | 08:29 | folder, Audio, Graphics, here's my Interviews,
here's all of my B-roll, everything has been
| | 08:36 | named, everything has been transcoded,
and it's ready to go for you to work with.
| | 08:42 | I'm just going to close some of these
bins so that we can reduce the clutter.
| | 08:49 | And you can see that when I open up
one of these bins, everything is named.
| | 08:55 | These all used to be sub-clips.
| | 08:57 | So I went in and I sub-clipped everything,
but when I performed the transcode, it converted
| | 09:02 | everything into master clips.
| | 09:04 | And here it is, and this is a very low
resolution file, but you'll still be able to work with
| | 09:11 | it, and it's still for
the most part looks okay.
| | 09:14 | All right, so that is a very quick crash
course on organizing your project when you
| | 09:21 | are setting up a documentary.
| | 09:23 | Again, you want to bring it in AMA, then you
want to divvy it into bins, and then you'll
| | 09:29 | want to sub-clip everything out, and make
sure that you're only using the stuff that
| | 09:33 | you know is of use to you.
| | 09:36 | You can work with that as is in the AMA format
for as long as you want to, or if you should
| | 09:43 | need to transcode it to another codec, then
you're just going to right-click Transcode,
| | 09:49 | choose your options there, and then you have
everything kind of contained within the Avid
| | 09:54 | Media Files folder.
| | 09:55 | So, I'll show you right here on my drive, once
I've gone through, and I transcoded everything,
| | 10:03 | everything is residing right inside here, and as I
told you before, Avid's native file type is NXF.
| | 10:09 | So I have basically changed all these
QuickTime movies into NXF, and I'm ready to go.
| | 10:15 | So that's how you'll be working
throughout the rest of the course.
| | 10:17 | Everything is organized fairly well for you.
| | 10:20 | So, you can enjoy the organizing process and
have everything already named and eventually
| | 10:26 | begin editing. So, good luck.
| | 10:31 |
| | Collapse this transcript |
| Screening and assigning qualitative information to clips| 00:00 | When editing a documentary, screening is so
important because it allows the editor to
| | 00:05 | emerge into a world where stories
can literally jump from the footage.
| | 00:09 | Indeed, it is in this story carving process where
the ability to find specific moments is crucial,
| | 00:16 | but unfortunately not everyone
has the memory of a steel trap.
| | 00:19 | Often you need help, and that's where appropriately
tagging your footage becomes such an important
| | 00:23 | part of organizing your project. Okay.
| | 00:27 | So I'm in a project, and I have gone
through, and let's look in our Assets folder.
| | 00:33 | I've organized it into basic
categories, which is what my bins are named.
| | 00:39 | And inside each one of these bins are the
clips and they are appropriately named.
| | 00:45 | And I have some other information here, which
is really going to help me out, because it's
| | 00:49 | information about how much I like the clip,
and its information about the Shot Composition,
| | 00:54 | and its information about
what type of footage it is.
| | 00:57 | We'll talk about Process Footage later.
So this is really great.
| | 01:01 | It gives the clips more depth and more
searchable data, and so we are going to figure out how
| | 01:06 | to actually add this custom information.
| | 01:09 | All right, so if I drill down into exercise
files and go to Chapter 3, 3.2 is an exact
| | 01:18 | replica of the bin we just saw.
| | 01:20 | So, this is an exact replica of
the farm picking and pruning. Okay?
| | 01:25 | But as you can see, here, we
don't really have any information yet.
| | 01:31 | You might have something that has a
bunch of information about the clips.
| | 01:36 | In fact, if you come into the Fast menu and
go to Choose Columns, there is over 100 pieces
| | 01:44 | of data that you can add
about all of your clips.
| | 01:47 | So it can be really, really overwhelming,
all of the quantitative data that's available.
| | 01:53 | But it's really through the qualitative data,
again, how much you like it, the shot composition,
| | 01:57 | description, keywords, that sort of thing
that you can really dig deep and see what
| | 02:02 | the clips are all about.
| | 02:04 | So, depending on what you have here, we are going to
just go to Custom, and that should clear it all out.
| | 02:12 | And you can just click up
here, and just type Rating.
| | 02:18 | And you can also type Shot Composition, and
it actually cuts you off after a few letters.
| | 02:24 | I am just going to do Shot Comp.
| | 02:26 | And again, we'll talk
about Process Footage later.
| | 02:32 | But we have some columns here that are of
interest to us, and you can literally just
| | 02:36 | start typing in here.
| | 02:37 | So, if you go through, and you can do this
while you're screening, or you can do it later
| | 02:42 | once you've gone through, and you have named all of
your clips, you can come through and add this data.
| | 02:46 | I usually do it while I am screening, I'll
just name it, and I'll see how much I like it.
| | 02:51 | All right, so you can come in here, and I
think this is going to be useful because I
| | 02:56 | think that these first three have him
picking the lettuce in various focal lengths.
| | 03:03 | So, that's very helpful.
| | 03:05 | So I can come in here, and maybe, I like
all three of those three stars, and a starred
| | 03:10 | system is very useful as
we will find out later.
| | 03:16 | But you can just go through, and if you want
to have a shortcut, if you go through, and
| | 03:19 | you know that maybe all of these get three
stars, you can actually right-click in the
| | 03:25 | bin, and you can say Set
Rating column for selected clips.
| | 03:29 | And this is going to change
based on what column you click in.
| | 03:33 | I can just put three stars,
and they all get added at once.
| | 03:38 | Also, if you--let me just give it a couple
more values here--if I then Option-click or
| | 03:46 | Alt-click on a PC, the values kind of come
up, and I can really quickly choose them.
| | 03:51 | So, if you go through all of this, this is
really useful in assigning this qualitative
| | 03:56 | data to your clips.
I'm going to just close this out.
| | 03:59 | But feel free to go through
yourself and assign this data.
| | 04:04 | But we have kind of an
identical bin in Farm Picking_Pruning.
| | 04:08 | And here we have it all assigned, and
it doesn't take a lot of time to do.
| | 04:12 | Again, if you do it during the screening
process, it's just a little bit of extra time, and
| | 04:16 | then if I come up here, and I double-click
or double-click again, it's going to sort
| | 04:22 | based on alphanumeric order.
| | 04:24 | So, you can kind of see that it's
sorting back and forth through the alphabet.
| | 04:28 | But you can also sort based on rating.
| | 04:29 | So, if I double-click here, I guess
all of the worst shots are at the top.
| | 04:34 | But you can do it again to get all the best
shots, and same thing here, kind of grouped
| | 04:37 | together, all the clips based on
your shot composition, and so on.
| | 04:42 | So, sorting is great.
| | 04:44 | You can also right-click and Sort
on Column, Ascending or Descending.
| | 04:48 | But I think the real power
comes in sifting this data.
| | 04:52 | So, if I come to my Fast menu, and go to Custom
Sift, I have the ability to drill down pretty deep.
| | 04:59 | So if I want to just bring forth all of my
three-star clips and four-star because it
| | 05:06 | contains three-stars--contains means that
four-star clips also contain three-stars--
| | 05:12 | and I will go ahead and move this out of the
way, and I apply, it filtered out the clips
| | 05:17 | that were not three-stars.
| | 05:18 | And I just put the footage that was useful
to me into these bins, so most of the footage
| | 05:22 | is three-stars or more.
| | 05:24 | Now, I just want to find all
of my three-star medium shots.
| | 05:28 | So, I want all of the shots that are at least
three stars and medium shot, and I can come
| | 05:33 | in and like tell it
exactly what column to look in.
| | 05:36 | So, Shot Composition, and I'll say apply that.
| | 05:40 | Now, I want all of the best
medium shots, Process Footage Shots.
| | 05:46 | So, I'll come in here and just type Y in the
Process Footage category and apply that, and
| | 05:55 | we are really, really drilling deep, so we
can figure out exactly what we have and not
| | 05:59 | have to search through it.
| | 06:01 | And a lot of times, you'll have bins
with many, many more clips in it than this.
| | 06:05 | If I wanted to cast my net wider, I could
come down here, and I could say all of my
| | 06:12 | three-star and Long Shot Process Footage.
There we go, that should do it.
| | 06:22 | And there we go. So basically, this will
cast the net wider, basically we are performing
| | 06:28 | an And search because it has to meet this
criteria and this criteria and this criteria.
| | 06:33 | And we are also performing an Or search,
because we're saying 'or' meet this criteria, and
| | 06:39 | this criteria, and this criteria.
| | 06:41 | So, this allows us to really get exactly what
we want, but it does rely upon the fact that
| | 06:47 | we've gone through and put in
this custom data in the first place.
| | 06:51 | So, my advice here is
not to skimp on this step.
| | 06:54 | I would say that most documentary editors
will tell you that frontloading your prep
| | 06:58 | on a documentary project will
ultimately result with a good payoff.
| | 07:03 |
| | Collapse this transcript |
| Looking for stock footage using the Avid Marketplace| 00:00 | One common practice in documentary projects
is using stock footage, which is video that
| | 00:04 | you acquire from a footage library.
| | 00:07 | Many filmmakers use it because it can
often be less expensive and more convenient than
| | 00:11 | shooting brand new material.
| | 00:13 | Stock footage usually falls into two categories.
Rights Managed, which is copyrighted footage
| | 00:18 | that you have to pay for and use within the
parameters of the footage's license, and Royalty
| | 00:23 | Free, which is footage you pay a one-time
price for and don't owe subsequent royalties to.
| | 00:28 | Now, there's a stock footage library maintained
by a company called T3Media, which is a cloud-based
| | 00:33 | service that offers both Rights
Managed and Royalty Free media.
| | 00:37 | Fortunately, you can access it right inside media
composer contained within the Avid marketplace.
| | 00:42 | Okay, so in my menu Bar up here, I have
Marketplace, and I am going to go to Media Libraries.
| | 00:49 | And we have here a T3Media kind of launch
page, and if you don't have an account, you
| | 00:55 | will go ahead and register for one.
| | 00:57 | I do, so I am going to go
ahead and sign in. Okay.
| | 01:00 | So, I am in here, I am ready to search for
some footage, so I am just going to click
| | 01:04 | here, and search for footage.
| | 01:06 | And what I want is to gather some beauty shots
of produce just some really nice looking shots
| | 01:12 | of fruits, and vegetables.
| | 01:14 | So initially, I am just
going to search for produce.
| | 01:17 | And as you can see, here, I have
over 100,000 results, so quite a few.
| | 01:23 | I can filter it further so I can just keep filtering
it down so that I can get to exactly what I want.
| | 01:28 | I am going to just see what's on this first
page and see if there is anything that might
| | 01:32 | match what I am after. Now this is nice.
I can just hover over to play it.
| | 01:39 | And this is something that I would like to
consider, for my beauty shots bin, I can just
| | 01:44 | come down here and click Add.
| | 01:48 | And right now it's adding the
clip to this place called My Clips.
| | 01:53 | And if you come up here to this icon, you
can click on it, and I automatically have
| | 01:59 | this My Clips bin here.
| | 02:01 | So ideally, I just go through, and I
keep adding material to this My Clips bin.
| | 02:07 | But when you are ready, so I am just going
to go ahead and bring this clip into media
| | 02:11 | composer, and I don't have to pay for it.
| | 02:12 | If I wanted to actually go through
and buy it, I could certainly do that.
| | 02:17 | So, let's just say I just want
to use this low-res copy of it.
| | 02:20 | I am going to come over to the left side here, and I
am going to click on Download comps for My Clips.
| | 02:28 | When I click on Download Comps, it brings me
to this screen, and I can download multiple
| | 02:35 | comps, but I just have this one right here.
You notice that there is a watermark on it.
| | 02:40 | So obviously, I can't use it without paying
for it, but I can try it out in my sequence.
| | 02:46 | So, I am just going to download comp, and you
can see down here the progress, it's downloading.
| | 02:53 | And if I just move this out of the way, you can
see that it downloaded it into this open Avid bin.
| | 03:00 | And if I go ahead and load it, you
can see that here is my nice shot.
| | 03:05 | It does have my watermark, so I can't obviously
use it without going through and paying for it.
| | 03:11 | But I can edit with it, I can put it in my
show, and I can make it an entire bin of my
| | 03:16 | beauty shots, and then really determine
later which ones I actually want to pay for.
| | 03:21 | Notice that it is AMA, so it's linking to it.
I haven't created any footage.
| | 03:26 | But it's very, very handy to just be able
to bring it in, use it, and then pay for it
| | 03:30 | later if I want to.
| | 03:32 | And so, if I wanted to actually go through
and buy it, I could just right-click on it,
| | 03:36 | go down to Buy Stock Footage, it brings me
back to the website, and I can go ahead and
| | 03:44 | add it to my cart.
| | 03:46 | You can see here that it's bringing me to the
option to either do High Def, Medium Resolution,
| | 03:52 | or Low Resolution.
| | 03:53 | Let's say I want to go all out and
pay $400 for High Def for this clip.
| | 03:59 | It's going ahead and adding it to my cart.
| | 04:01 | You can see here that my cart now has one item in it,
and I can go through and proceed to check out.
| | 04:08 | Now we haven't provided you with any stock
footage from the Avid Marketplace in your
| | 04:11 | exercise files, but feel free to look around
for any footage you think you might need and
| | 04:15 | then go ahead and buy it if you want, or feel
free to search other stock footage libraries.
| | 04:19 | In the age of the Internet, they are
literally everywhere, because if you are working in
| | 04:23 | documentaries, you're certainly sure
to use stock footage sooner or later.
| | 04:28 |
| | Collapse this transcript |
| Marrying high-quality audio with video| 00:00 | Many times, you'll be working with documentary
interview footage that doesn't contain the best audio.
| | 00:05 | However, perhaps the production team recorded higher
quality audio with a different camera or sound recorder.
| | 00:11 | Let's take a look at how to marry a video clip that
contains poor audio with an audio clip of higher quality.
| | 00:17 | Okay, so I have here a bunch of interviews
of our main documentary subject BD Dautch,
| | 00:23 | and if I go ahead and play this, I'm
going to show you what this sounds like.
| | 00:30 | (BD Dautch: ...certifying organization,
and we grow about 100 different--)
| | 00:36 | Okay, so obviously we can hear it, we could
use it if we don't have anything better.
| | 00:41 | But I was able to locate some audio
that sounds a lot better than this.
| | 00:46 | If I load this one, let's
go ahead and just play this.
| | 00:50 | (BD Dautch: ...and 5 acres in Carpinteria that
we're farming on. It's all certified organic by--)
| | 00:55 | Okay, so I actually pulled this from a
different camera that was on him at that time.
| | 00:59 | So instead of having to edit this into the sequence
kind of haphazardly, let's go ahead and pre-marry it.
| | 01:07 | So this is also just part of our prep phase.
| | 01:10 | So, what I'm going to do is
go ahead and load this in.
| | 01:13 | I'm going to clear my in and out points. You
may or may not have in and out points in your
| | 01:18 | footage here, but I'm going to clear them.
| | 01:20 | And then when he says his first
word, I'm going to mark an in.
| | 01:24 | I'm going to help myself by actually putting
the Caps Lock key on so that I can step through
| | 01:30 | the footage with the left and right arrow
keys and find exactly when he starts talking.
| | 01:35 | Now, sometimes you'll actually have clapsticks and make
this job easier, but you can easily do it with a word.
| | 01:41 | So, I'm going to go ahead and just press
Play and figure out where he starts talking.
| | 01:46 | (video playing)
| | 01:48 | Okay, so he starts saying okay right about there, and so
I'm going to just step forward one frame at a time.
| | 01:57 | I'm going back, and I'm just going to press an in
point where I know that he starts talking. Okay.
| | 02:04 | So, that's basically where he starts talking.
| | 02:07 | I was able to hear it because
I have the Caps Lock key on.
| | 02:10 | I'm going to make an in point there.
| | 02:14 | And now let's go ahead and load the
corresponding audio from a different clip.
| | 02:19 | I'm going to clear my in and out
points here, and let's do the same thing.
| | 02:26 | Okay, now I'm going to go ahead and step forward and
make sure that I get exactly when he starts talking.
| | 02:34 | (video playing)
| | 02:41 | Okay, so right about there, I'm
going to go ahead and mark an in there.
| | 02:44 | It's important that you spend the time to
make sure you have a perfect sync point at
| | 02:47 | this stage, because honestly, tweaking
this later isn't really an elegant solution.
| | 02:51 | So, you want to make sure you get it perfect,
and you do that by stepping back and forth
| | 02:56 | through your footage at an exact moment with
the Caps Lock key on so that you can hear
| | 03:00 | the specific digital hits of audio.
| | 03:03 | This is usually pretty easy to do when you
line it up at the beginning of a word or sound.
| | 03:06 | If you don't get it exactly
right, you'll need to do it again.
| | 03:10 | So I can go through all of the
interview clips and do this together.
| | 03:14 | If I wouldn't have already split all of my
interview clips into different portions of
| | 03:18 | the interview, I could just do
this once, and then sub-clip it.
| | 03:22 | So, depending on your workflow, you may
have to do this a couple times or just once.
| | 03:26 | So, what I'm going to do is click on both of these,
so I can just Shift-click so they are both selected.
| | 03:32 | And then I come up to Bin > AutoSync.
| | 03:39 | I want to sync clips using in point, and
I'm just going to use A1 to A1 and A1 to A1.
| | 03:49 | So basically, what this is doing is saying I
need to replace this audio on A1 with this one.
| | 03:57 | So, this is kind of overwriting here. Okay.
So I'm all set. I'm going to say OK.
| | 04:03 | I have a new sub-clip, and it says .sync.01.
| | 04:07 | So, I'm going to just load this,
and let's see how he sounds.
| | 04:14 | (BD Dautch: And we've got about 10 acres in Ojai and
5 acres in Carpinteria that we're farming on. It's all--)
| | 04:20 | All right, so we have the high quality audio
married with the video that it's associated with.
| | 04:26 | And as you can see, this is a sub-clip.
| | 04:28 | If I burrow down into my Assets and take a
look at my interviews, you can see that all
| | 04:35 | of these are sub-clips because I've
already done this with the footage.
| | 04:39 | Okay, so it's all set to go.
| | 04:41 | You can definitely practice on your own if
you like. Everything is here, ready to go.
| | 04:45 | But this is a really great way to associate
higher-quality audio if you have it with video
| | 04:51 | clips that contain poor audio.
| | 04:56 |
| | Collapse this transcript |
| Using the Find tool and PhraseFind to search the audio in a clip| 00:00 | Once you have gone through and organized
your entire project, you may still find that it
| | 00:04 | might be difficult to find what you need.
| | 00:06 | However, if you've taken the time up front
to intelligently name your clips as well as
| | 00:11 | add custom data to your clips, you will be in luck
when you need to find exactly what you are looking for.
| | 00:17 | That's because Media Composer contains a really
nice Find tool which has capabilities to search
| | 00:21 | for both the written and spoken word.
| | 00:24 | So you can find the Find tool from the Edit
menu or just press Command+F, and up here
| | 00:32 | at the top is where you're going to
put in your initial Search criteria.
| | 00:37 | Before you do that, however, you want to look
down here in the Bin Index, and if you use
| | 00:42 | PhraseFind, which we'll take a look at in a second,
you want to make sure that these are fully green.
| | 00:47 | When you open up a project for the first time,
it actually has to go through all of your
| | 00:50 | bins and analyze all of the clips and get
it all logged, it might take a little bit
| | 00:55 | of time, same thing for PhraseFind, it
actually goes through and analyzes the spoken word,
| | 01:00 | so that might take a little time as well.
| | 01:02 | You will also want to make sure that you
have the appropriate language selected.
| | 01:05 | So if you come up here and put in your
first search criteria, for example, let's say we
| | 01:10 | want to find a clip that I was looking at the
other day, and it's of BD, the documentary's
| | 01:16 | subject and talking to his friend Jonathan.
| | 01:20 | So I am just going to type in BD, and right
now we just want to press Find, and you can
| | 01:26 | see here that it found 59 instances of BD.
| | 01:31 | So I can go through and try to find the one
that mentions Jonathan as well, or just come
| | 01:37 | right down in here and filter it further,
and I am just going to type Jonathan, and
| | 01:42 | you can see that I've got it,
it automatically filters it.
| | 01:45 | So it found 59 and then
ultimately came up with one result.
| | 01:50 | I cannot drag this anywhere.
This is just a result list.
| | 01:55 | So it's not like you can use this to bring
footage from bin to bin, but what you can
| | 02:01 | do is load this into the Source
Monitor and here we go, okay.
| | 02:09 | So basically, Find is pretty easy. You could
also filter on a specific column, if you wanted
| | 02:17 | to make sure that you were searching for columns
of information that you input or one of Avid's
| | 02:23 | own columns, you can certainly
dictate that in this pulldown menu.
| | 02:27 | Okay, so that's the Find
tool, it's fairly intuitive.
| | 02:32 | Right now we are looking through Clips and
Sequences, which means that we're looking for
| | 02:36 | all of the clips and sequences in our Bins.
| | 02:38 | We are going to take a look at Script Text
later where we actually import digital scripts
| | 02:43 | and search for words on those scripts, and
we'll also take a look at Timeline and Monitors
| | 02:48 | later, once we have actually edited
something and have something in our Timeline.
| | 02:52 | But I do want to also go over the PhraseFind.
Now PhraseFind is $500.
| | 02:58 | So it's an extra $500, but it sometimes just
can make or break your experience, especially
| | 03:04 | with documentary editing.
| | 03:06 | So it actually will go in
and analyze the spoken word.
| | 03:10 | So that's really great if you don't have the
money to send a way to do transcripts, you
| | 03:15 | can actually have Media Composer go in,
analyze every clip, and when you put in a keyword
| | 03:21 | here, it's going to bring up the moments in
all of those clips that match that keyword.
| | 03:26 | Let's go ahead and say that we want to find some
clips where they're talking about Santa Barbara.
| | 03:32 | We really want to focus in on the parts of
the documentary where we're talking about
| | 03:36 | how Santa Barbara is the up-and-coming region
for farmers markets, so I'm going to just
| | 03:41 | type in Santa Barbara, and this
time I am going to press PhraseFind.
| | 03:48 | So, it's going to go through and find all of
the instances in which it found Santa Barbara
| | 03:56 | being spoken, and you can
see that there is only two.
| | 04:00 | Now look, here it says
Found: 68, after filtering: 2.
| | 04:04 | The reason for that is
because Jonathan is still in here.
| | 04:08 | So we want to take him out, so he says
Santa Barbara twice--ah, here we go.
| | 04:12 | So here we have all 68 results of people saying
Santa Barbara, and if you take a look in this
| | 04:21 | column here, the Score column, this is basically
Media Composer's guarantee that it got it right.
| | 04:26 | So here it says that I'm about 98% sure
that right now he's saying Santa Barbara.
| | 04:33 | So if I go ahead and load
this, let's just check it out.
| | 04:38 | (BD Dautch: ...Santa Barbara, the first one--)
Yup, that worked out fine, and I'll keep going.
| | 04:45 | (BD Dautch: ...the Santa Barbara, the first one--)
| | 04:47 | And that actually is from the same
moment, and you can kind of go down.
| | 04:52 | (BD Dautch: ...Santa Barbara market--)
| | 04:54 | All right, so I would say that pretty much
anything above 80% is really, really accurate.
| | 04:58 | If we come down here, let's just pick something
more towards the cusp. Let's do here 81% sure
| | 05:07 | that this says Santa Barbara.
(BD Dautch: ...Santa Barbara, a slow growth area--)
| | 05:13 | Yeah, so pretty good. And let's
pick something way down the list.
| | 05:22 | (BD Dautch: ...come to the market, rather than--)
See, didn't exactly work there.
| | 05:25 | So my experience is that if you pick from the top
of the lot there, it will work out really well.
| | 05:31 | And again, this is really, really nice if
you don't have the opportunity to send away
| | 05:35 | for transcripts and match your
Master clips to your transcripts.
| | 05:39 | This is really great because you can sift
through the spoken word, and it's doing that for you.
| | 05:44 | So both Find and PhraseFind are tremendous
time-saving tools when you need to immediately
| | 05:49 | find a specific shot of B-roll or that perfect sound bite.
| | 05:53 | I really think you'll find that you use them often,
especially in documentary projects like Farm to Table.
| | 06:02 |
| | Collapse this transcript |
| Understanding transcoding| 00:00 | So I did want to address one note before we
launch into other parts of this course, it's
| | 00:04 | half housekeeping and half logistics.
| | 00:07 | As we saw when we brought in our AMA media
we have instant access to work with this media.
| | 00:12 | Now if you like you can work via AMA
through the entire duration of the project.
| | 00:16 | There is a chance that your system
performance could suffer a little bit, but by and large
| | 00:21 | my experience working with
QuickTime AMA is a very good performance.
| | 00:25 | However, sometimes it become necessary to
transcode the media to Avid's native file type of MXF.
| | 00:32 | For example, for this course, I had to
transcode all AMA media to a very low resolution MXF
| | 00:38 | file so that I could fit everything
within the limit of the exercise files.
| | 00:42 | So I want to show you how to do that.
| | 00:44 | So here is all of the AMA clips, at least for
the interviews, and again, we have total access
| | 00:51 | to this, we can work with it, look at it, edit it,
name it whatever, and I can continue to do that.
| | 01:00 | Here are some sub-clips based on those AMA
clips, I'm just going to take a look at these,
| | 01:06 | these still point to those AMA files.
| | 01:09 | You can see that they are still looking in that
Footage folder and these are still basically QuickTime.
| | 01:14 | So I can continue working in this way if I
want to, but I want to transcode, basically
| | 01:19 | you select the clips that you would like to
transcode and then you right-click and choose
| | 01:26 | Consolidate/Transcode and Transcode is
actually going to change it into another resolution.
| | 01:33 | So like I said I need to make all of the
files in this project very, very low resolution
| | 01:39 | so that we can fit them in the exercise files,
we're basically going from 430 plus gigabytes
| | 01:44 | down to 4, so a lot of compression here.
I'm going to choose my Drive.
| | 01:49 | I've taken great care in making sure that
I have enough handle or extra media to the
| | 01:53 | left and the right of my in and out
points, so I'm going to select zero here.
| | 01:58 | And then in Target Video Resolution, I have
all of the available HD resolutions to me,
| | 02:03 | and the reason I had HD resolutions
available to me and not Standard Definition is that
| | 02:09 | I am still in an HD project.
| | 02:12 | So in my case, because I would like to
actually transcode it to standard def I'm going to
| | 02:17 | need to change my project Format, which is
right now at the 1080p/23.976, to just the
| | 02:24 | standard definition 23.976.
| | 02:27 | So that now when I select these files and
right-click and choose Consolidate/Transcode,
| | 02:34 | I'll choose Transcode and drive, zero Handle length
and here are my standard definition resolutions.
| | 02:45 | So like I said, I really, really compressed
these files, and this would not be something
| | 02:49 | that you would normally do during any regular
workflow in working with the documentary most
| | 02:53 | likely, but what I did was I compressed most
of them to a 14:1, and you also need to convert
| | 03:01 | your Audio Sample Rate, you can do that on
the fly during the transcode process and then
| | 03:05 | I just click Transcode, okay and then basically
new media files, MXF media files were created.
| | 03:13 | And as you can see, I kind of already done
this as we have seen throughout the rest of
| | 03:18 | this chapter, but I have everything
organized and transcoded in each of these bins.
| | 03:27 | So as you can see, if I kind of go through
here, it's not the best resolution, but it
| | 03:35 | can certainly work, as we're going through
we can still see everything pretty well, we
| | 03:41 | can hear everything, we can still edit our
documentary, it's just we're at a either 14:1
| | 03:46 | or 28:1 resolution.
| | 03:48 | So it's up to you, leave the files linked as
AMA if you like, or if you want to transcode
| | 03:54 | to Avid's native file type of MXF if it makes
sense in regard to your performance or your workflow.
| | 04:00 |
| | Collapse this transcript |
|
|
4. Script IntegrationPreparing a script for script integration| 00:00 | Most documentaries contain many interviews, and it
can often be a challenge to find that perfect bite.
| | 00:06 | But when you do, it can truly make a scene glow.
| | 00:09 | Now before the age of digital editing with
script synchronization, editors relied upon
| | 00:14 | their copious handwritten notes with exact
timecode linked to every single major sound
| | 00:18 | bite that they took
during the screening process.
| | 00:21 | Fortunately, we now have the ability to immediately
find any sound bite anytime through the incredible
| | 00:27 | practice of Digital Script Integration.
| | 00:30 | This is a very powerful tool, but it
doesn't come without some prep work.
| | 00:34 | In this movie, we will take a look at how to set up
your script in preparation for script integration.
| | 00:38 | Before I do that, though, I just
want to show you this in practice.
| | 00:42 | In the Transcripts bin I have everyone that
was interviewed for this documentary, and
| | 00:47 | I am going to go ahead and open
up the BD interview transcript.
| | 00:51 | This is the main documentary subject, and
this is about a 30-minute interview, and you
| | 00:56 | can see that I've gone through, and I have
made selects, basically those parts of the
| | 01:02 | transcripts that I felt were the strongest
and what I would add to my documentary.
| | 01:07 | So I can click on any one of these Script Marks,
and it would basically link to this line.
| | 01:13 | So if I double-click on this script mark...
(BD Dautch: ...sell to caterers, schools, restaurants--)
| | 01:19 | So as you can see, the written word is synched
directly to the spoken word. Very, very powerful thing.
| | 01:26 | So that's just clicking on a script mark, but mostly
you would use this in conjunction with the Find tool.
| | 01:32 | So we know that the Find tool is accessed
via Command+F, and this time I am just going
| | 01:38 | to go to Script Text and then type in here.
| | 01:42 | I want to basically bring up
something about Santa Barbara.
| | 01:46 | I know he talks about the
Santa Barbara Farmers Market.
| | 01:48 | So I am just going to type in Santa Barbara
and Enter, and he talks about it quite a lot,
| | 01:55 | so I can use this to really
narrow down exactly where he does.
| | 01:58 | But if I click on any of these and I go over
to the script, you can see that it finds it.
| | 02:04 | Now this doesn't have a Master clip linked
to it, so if I just continue, here we go.
| | 02:10 | So if I just double-click on this script mark...
| | 02:14 | (BD Dautch: ...market in Santa Barbara,
the first one. And so we--)
| | 02:19 | So again, every line is synched to one of
these script marks which in turn is synched
| | 02:25 | to the Master clip, a very, very
powerful thing in documentary editing.
| | 02:31 | So I am just going to close this out, and
let's talk about how to bring the script in,
| | 02:36 | and we'll go ahead and minimize Media Compose,
and I'm going to go and get my transcript.
| | 02:41 | I have it inside the Transcripts_Titles
folder, and in Transcripts, and I just want to open
| | 02:47 | up the BD interview document.
It's a Microsoft Word document.
| | 02:50 | You will notice that my margins are fairly
wide, and I've done that on purpose so that
| | 02:55 | I have more lines to sync.
| | 02:58 | It's just a case of simple math. The more
lines you have, the more sync points you can
| | 03:02 | have, which is very good for script integration.
| | 03:06 | So we just need to save this into a
format that Media Composer can read.
| | 03:09 | So I am just going to go to Save As, and we
need to save it as a Plain Text document and
| | 03:16 | then when we click Save, we're going to choose Other
encoding, Western (ASCII), and Insert line breaks.
| | 03:24 | Now if you're in Word, great. If you're in
another Word Processing program, Final Draft
| | 03:29 | or something else, you just want
to make sure that get this right.
| | 03:32 | You need a Plain Text document, a .txt, with
the Western (ASCII) encoding and line breaks,
| | 03:37 | and I will say OK.
| | 03:39 | And here it's saved there right
inside that Transcripts folder.
| | 03:43 | What I have done is I have provided you a
folder full of already formatted transcripts,
| | 03:48 | so you can go ahead and practice on the Word
documents if you want or just pull them straight
| | 03:53 | from here. Or in Media Composer I have
actually also imported all of them and they are ready
| | 03:58 | to go and they also are all synched.
| | 04:01 | So depending on what you want to do, you have
various levels of practice that you can perform.
| | 04:06 | But basically now that we have our
transcripts ready to go, in the next movie we are going
| | 04:10 | to take a look at exactly how to get them
into Media Composer and ultimately how to
| | 04:15 | sync them to our Master clips.
| | 04:20 |
| | Collapse this transcript |
| Syncing a script using ScriptSync| 00:00 | Once you've gone through the steps in setting
up your script for entering into Media Composer,
| | 00:05 | it's time to bring it in and then
sync it to the associated Master clips.
| | 00:09 | So I just go to File > New Script and then
in the Transcripts formatted folder I've gone
| | 00:16 | through, and I've prepared and made them all Plain
Text documents so that you can bring those in.
| | 00:21 | So I'm just going to click BD interview.txt, and
I'll click Open, and here it comes into the software.
| | 00:29 | And you can see this is just a 30-minute interview,
and we're going to sync our master clips to
| | 00:35 | this using ScriptSync.
| | 00:38 | So here I have six interview selects, and
I've basically gone through and chosen the
| | 00:44 | parts of the interview that I felt
would work best for the documentary.
| | 00:48 | So what you need to do is actually find the moments
in the script that match with these Master clips.
| | 00:54 | I'm just going to load this into the Source
Monitor and play it so that I know what part
| | 00:59 | of the script this covers.
(BD Dautch: My name is BD Dautch.)
| | 01:04 | All right, so the beginning and then we come
to the end here, and I'm going to play and
| | 01:08 | see how far it goes.
(BD Dautch: ...in the community.)
| | 01:13 | And I'm just going to back up a little bit
and play a little bit more just to make sure.
| | 01:17 | (BD Dautch: ...so it's all staying in the community.)
| | 01:20 | Okay, great! So I'm going
to come back here. Okay.
| | 01:24 | My name is BD Dautch, and it goes to,
"So, it's all staying in the community."
| | 01:29 | And I'm going to just lasso this, you can
see it just becomes a light gray color, and
| | 01:35 | you just drag the clip from the Bin and
release it within that lassoed section, like so.
| | 01:42 | So we have six more to go. You could
definitely go through and again just test what section
| | 01:48 | it is, lasso it, and then drag it, and so on.
| | 01:52 | I do have kind of a finished version here in the
4.2 folder, and I'll just show you this here.
| | 02:01 | So here we go, we have all of these clips just synced
to these moments, that's the longer one, and so on.
| | 02:11 | So we have six moments synced to this script.
| | 02:14 | Again, a lot of times it's the entire clip
synced to the entire script, but for this we
| | 02:19 | do have some sections of this interview.
| | 02:22 | So what I'm going to do is just click in the script
and press Command+A so all of them are selected.
| | 02:28 | Basically, you're looking for this little
take box right here to be highlighted, and
| | 02:32 | you can see that when I do that, all of the
take boxes are highlighted, so we're ready to go.
| | 02:39 | And if I come up to Script > ScriptSync,
we have this ScriptSync dialog box.
| | 02:45 | Now ScriptSync does not come
without a hefty price tag.
| | 02:49 | This used to be included in the price of
the software for several years, the licensing
| | 02:53 | ran out, and now it is $1,000.
| | 02:56 | So a lot of post houses will have like one
station that has ScriptSync enabled, and that
| | 03:01 | becomes the syncing station, because you can use
synced scripts on any version of Media Composer.
| | 03:07 | So as long as you have one station that has
ScriptSync enabled, you can do that, and boy is it worth it.
| | 03:13 | Okay, so you come in and enable the Language
and then the Tracks that the audio is on that
| | 03:20 | you're going to sync.
| | 03:21 | And this is nice because I'm able to Skip
lines that only contain CAPITAL letters, which,
| | 03:26 | as you can see, are my speakers.
| | 03:28 | You can also skip things in parentheses or
brackets or before a colon, so this is all
| | 03:32 | set up to basically ignore
stuff that you don't want synced.
| | 03:37 | You can also come in and say Select Dialog
and then basically select a line of dialog,
| | 03:42 | and it's going to know that this indentation
level is going to be the dialog and anything
| | 03:47 | at a different indentation
level is not going to be there.
| | 03:51 | All right, so we were ready to go.
| | 03:53 | I'm going to just go ahead and press OK, and
it's going through, and it's going to sync
| | 03:57 | those six clips to the script.
Again, this is very, very fast.
| | 04:02 | You can do a 30-minute interview or a 2-hour
interview in just a matter of seconds, and
| | 04:08 | let's go ahead and just choose one of our
script marks, and we'll double-click and play.
| | 04:16 | (BD Dautch: ...certifying organization,
and we grow about 100--)
| | 04:21 | So you can see that, that worked perfect.
| | 04:23 | Now we'll try one more. I just
like to spot check it a little bit.
| | 04:28 | So we're looking for the still of the morning.
| | 04:31 | (BD Dautch: ...the still of the morning. It's a time,
a contemplative time, and a good time to really--)
| | 04:37 | So, a really tremendous way
to find exactly what you need.
| | 04:42 | Again, you can use this with the Find tool.
Just press Command+F and type in a few keywords,
| | 04:47 | find that moment on the script, and then double-click
the script mark and then load it and then work with it.
| | 04:53 | Really, really fast, really, really easy,
and if you have a station that has ScriptSync
| | 04:58 | enabled, again it is $1,000, but if you have
one station that has that, you can go for it,
| | 05:03 | and it is included on the
trial version of Media Composer.
| | 05:06 | So at the very least, you can try it out.
| | 05:11 |
| | Collapse this transcript |
| Manually syncing a script| 00:00 | If you watched the last movie, you saw how
incredibly fast it is to automatically sync
| | 00:05 | your master clips to your script
using the power of ScriptSync.
| | 00:09 | However, if ScriptSync's $1,000 price tag is
too high, or if you need to correct a couple
| | 00:14 | of sync marks from a ScriptSync script,
then you'll need to learn the manual way.
| | 00:19 | Let's take a look.
| | 00:21 | So I am going to open up my keyboard, and I
am just going to go to Settings and Keyboard
| | 00:27 | and then I am going to press Command+3
to open up the Command palette.
| | 00:32 | What we need to do is map the Add
Script Mark button to our keyboard.
| | 00:38 | So that's contained in the other tab,
and here's the Add Script Mark button.
| | 00:43 | We want a button to button Reassignment.
| | 00:47 | I am just going to map this
to Shift+S for Script Mark.
| | 00:51 | So I am just going to drag this over,
and you can map it anywhere you like.
| | 00:59 | And I have my script right here, and I've
already kind of attached the master clips to it.
| | 01:05 | It doesn't have the Script Marks yet,
but I am going to do that the manual way.
| | 01:10 | So I'm just going to load
this into the source monitor.
| | 01:12 | You can load this clip into the source
monitor simply by double-clicking, and I am going
| | 01:17 | to just get rid of that end point
and come to the beginning here.
| | 01:22 | What we need to do is actually manually
map the spoken word to the written word.
| | 01:28 | So I'm going to find the first
line, and then I am going to pause.
| | 01:34 | (BD Dautch: Okay, my name is--)
| | 01:37 | All right, so I had it lined right
before he says okay, right here.
| | 01:42 | Then I am going to come to that line, and I am
going to click right here right on this line.
| | 01:47 | So I have the intersection of the line, and
I've clicked on this Script Mark line, and
| | 01:54 | I am ready to make the mark.
| | 01:56 | So all I do once I've lined everything up,
I have the spoken word ready to go, and I
| | 02:02 | have the written word all ready to go.
| | 02:04 | I am just going to press my
keyboard shortcut, so it's Shift+S.
| | 02:08 | And as you can see, I've added a Script Mark.
| | 02:12 | And it gets really, really
tedious if you go line by line by line.
| | 02:16 | So you can just kind of skip a few lines.
Some people actually go straight to the next
| | 02:21 | paragraph, but I am going to go ahead and just
skip a couple more lines to about right here.
| | 02:27 | So I am going to find when he says different herbs,
and then I'm going to map another Script Mark there.
| | 02:36 | (BD Dautch: I have Earthtrine Farm, and we've got about 10 acres
in Ojai and 5 acres in Carpinteria that we're farming on.
| | 02:44 | It's all certified organic by CCOF, which is
a certifying organization. And we grow about 100 herbs--)
| | 03:00 | Okay, so right here is where he is
about to say different herbs.
| | 03:05 | Again, I'm going to come up to this line,
intersect, I'll press right here, and then
| | 03:13 | I'm going to press on the Script Mark
button, Shift+S, and I've got another one.
| | 03:18 | So every few lines go ahead and add one.
Again, this is a lot more tedious.
| | 03:23 | I mean we could have synced multiple
scripts with ScriptSync in the amount of time that
| | 03:27 | it took us to just do those two marks.
But it still does work.
| | 03:31 | Again, if you do not want to pay the ScriptSync
price tag, but you do want this, this is the
| | 03:36 | manual way, and every so
often ScriptSync misses a line.
| | 03:39 | So you'll need to actually
do this manually anyway.
| | 03:42 | So if I click on this right here. And here.
| | 03:51 | (BE Dautch: ...about 100 different herbs,
vegetable, flowers, fruits--)
| | 03:56 | And you can see that I'm not
as accurate as ScriptSync.
| | 03:59 | I got right before a hundred
rather than right before different.
| | 04:02 | So that will happen, that's fine as long as
you get just some spot checking of each one
| | 04:09 | of these clips, and you can basically use
the Find tool, find the text that you would
| | 04:14 | like, and then find the nearest
by Script Mark that's mapped.
| | 04:19 | So maybe every few lines you would have one.
| | 04:21 | Then double-click on it and then use
it just like you would with ScriptSync.
| | 04:25 | It's just that you don't
have as many points of sync.
| | 04:28 | So while this process is quite a bit more
arduous than the automatic way, sometimes
| | 04:33 | if you don't have access to ScriptSync, it's
certainly worth it to put in the effort up front
| | 04:37 | to sync your script so that you don't spend
too much unnecessary time breaking the flow
| | 04:41 | of your creative energy as you're
actually cutting the piece together.
| | 04:46 |
| | Collapse this transcript |
|
|
5. Story and Scene Construction: Telling the Story in the Rough CutAn overview of the rough cut process| 00:00 | So we have gone through all the steps of evaluating the
approach that we want to take in creating this documentary.
| | 00:06 | We have done all the legwork in setting up
our entire project in an organized way so
| | 00:10 | that we can easily and
effectively find our raw material.
| | 00:13 | We are finally ready to start editing.
But how should we begin?
| | 00:18 | While there isn't any one right way to
start out an edit, there are several approaches
| | 00:22 | that many editors take.
| | 00:24 | Let's lay out the basic process that
we'll take in editing this documentary.
| | 00:28 | Believe it or not, you may not want to dive
immediately into the edit in Media Composer.
| | 00:33 | Many editors prefer to attack the general
structure and flow of the edit first on paper,
| | 00:37 | which is why this stage
is called the paper edit.
| | 00:41 | Once you've worked out on paper how your scenes will be
arranged, it's not a bad idea to pre-create your sequences.
| | 00:47 | It can become overwhelming to start
editing an entire documentary in one sequence.
| | 00:51 | So tackling one scene at a time is often a
great way to limit your construction of ideas
| | 00:56 | to a manageable chunk.
| | 00:58 | Then you can combine the sequences later
once each is fleshed out to your liking.
| | 01:03 | As you can see, here, I have six sequences,
which represent my six scenes, and then a master
| | 01:09 | sequence where I will later
combine them all together.
| | 01:14 | Then it's time to tackle a sequence.
| | 01:17 | I'd recommend that you focus on
settling your audio track first.
| | 01:21 | This pass therefore is called the radio edit.
| | 01:24 | When you create your radio edit, you are
not worrying about how the video works.
| | 01:28 | That can always be changed later on.
| | 01:30 | But by focusing on audio, which is made up
mostly of interview footage, but can also
| | 01:35 | be narration or verite footage, you can begin
building a solid backbone for the documentary.
| | 01:41 | We'll take a look at exactly how
to go about this in the next movie.
| | 01:44 | If you take a look right here, I have a radio
edit where I have just my Interview footage.
| | 01:50 | I've really concentrated on what I want him
to say, but there is no video B-roll yet.
| | 01:56 | That will come later.
| | 01:58 | Once you get your radio edit worked out, you
can begin adding supplementary video or B-roll
| | 02:03 | to accompany the main audio.
| | 02:05 | This part is fun because once you have
worked out what you want your documentary to say,
| | 02:10 | you now have the opportunity to guide your viewers
in exactly what you want your documentary to show.
| | 02:15 | It's this play between audio and video that truly
makes the art of documentary design so dynamic.
| | 02:20 | You can get creative, artistic, and really
dive into the viewer's subconscious in ways
| | 02:25 | that only documentarians can do.
| | 02:28 | If you take a look at the Radio Edit, I
have just the Interview footage, but if I take
| | 02:33 | a look at the Radio Edit plus the supplementary
B-roll, I now have all of this gorgeous video
| | 02:40 | footage to help tell my story.
| | 02:43 | We'll definitely take a
look at that later as well.
| | 02:47 | Once your main audio and video elements are
laid down, you can really begin playing around
| | 02:51 | in adding similar creative elements.
| | 02:53 | This is where you can add montages and
parallel editing and process footage editing.
| | 02:59 | We'll take a look at each of these
design techniques a little later.
| | 03:02 | Finally, once you have laid down everything,
and you're sure of your cut, you're ready
| | 03:07 | to show your rough cut to a captive audience.
| | 03:10 | It's important to show your rough cut to as
many people as you can, both to people invested
| | 03:14 | in the film as well as to those who have
no stake in your film's success whatsoever.
| | 03:20 | In this sense you want to make sure that you
deliver a product that is true to the vision
| | 03:23 | of the director and other stakeholders, but also
deliver a product that makes sense to the new viewer.
| | 03:30 | So that's just a high-level overview of how
you can go about putting together your rough cut.
| | 03:35 | Let's take it one step at a time
and begin editing our documentary.
| | 03:40 |
| | Collapse this transcript |
| Making the paper edit| 00:00 | Making a paper edit is often a good idea,
because it forces you to comb through your
| | 00:04 | materials and chunk your main
ideas into tangible decisive pieces.
| | 00:09 | Then you can begin arranging this not only
in your head, but prior to the edit you
| | 00:13 | can start working it out on paper, either with
paper and pen or like I like to do on no cards.
| | 00:18 | We'll simulate this process now.
| | 00:21 | Let's just start writing down
the main ideas in any order.
| | 00:24 | So, we've got a lot of material on understanding who BD
Dautch is and why he thinks local growing is so important.
| | 00:31 | We were introduced to life on his farm, and
we see how he invites classes full of school
| | 00:36 | children on to the farm to
learn about sustainability.
| | 00:40 | We get a sense of what it's like
to prepare for the farmers market.
| | 00:43 | And we get to see how they transport
everything and begin selling the produce.
| | 00:48 | We get a great look at the
vitality and vibe of the marketplace.
| | 00:51 | And we get to talk to several customers to see
how important local growing is to the community.
| | 00:56 | And finally, we get an intimate look into the relationship
between the growers and the local restaurants.
| | 01:01 | So, let's take some time to start arranging
these main ideas in a structured order and
| | 01:07 | see where we end up.
| | 01:10 | Okay, so we know we need a
structured intro and conclusion.
| | 01:14 | Then we've got all the rest of these
ideas that come into play in some way.
| | 01:19 | First is there anything that doesn't belong,
anything that doesn't serve the mission stated
| | 01:24 | within the creative brief.
| | 01:25 | Well, the only thing I think I take out
completely right off the bat is the stuff of the kids
| | 01:30 | learning about farming.
| | 01:32 | It's great stuff, but we don't have much time,
and that might take us on too much of a tangent.
| | 01:36 | So, we'll get rid of that.
| | 01:38 | Now, let's figure out how the rest
of the materials can now fit together.
| | 01:43 | I think first we need to learn about BD.
| | 01:45 | It will humanize the Farm to
Table movement very well.
| | 01:49 | Then I think we need to get to know the farm.
| | 01:51 | This will bring as a back to the
importance of agriculture and local growing.
| | 01:56 | Then let's explore the market itself,
its vitality, and energy, and its purpose.
| | 02:00 | This is going to be really big.
| | 02:02 | Finally, we need to hit
on the restaurant angle.
| | 02:05 | This will go perfectly at the end, since
the chefs shop for their food at the farmers
| | 02:09 | market, and we'll have just covered that.
Then we're left over with a few extra topics.
| | 02:14 | I think we can fit these into our main ideas.
| | 02:17 | The importance of local growing
has to go with BD, no question.
| | 02:22 | And all of it, it takes to get prepared for the
market can go with the explanation of farm life.
| | 02:27 | That does go hand-in-hand.
| | 02:28 | And the market setup and the customer angle
should go along with the umbrella topic of
| | 02:34 | the market itself.
| | 02:36 | Most of this can be accomplished by intelligently
combining good sound bites with good B-roll.
| | 02:40 | And then our restaurant
bit and then the conclusion.
| | 02:44 | So, while this may have been grossly oversimplified,
you will need to go through the process yourself
| | 02:49 | in real time. And as you can see, being able
to organize your ideas on paper can be a great
| | 02:54 | way to actually see how a
documentary is going to come together.
| | 02:57 | Remember, there can exist literally hundreds or
thousands of stories in the raw material of a documentary.
| | 03:04 | It's your job to find the best story.
| | 03:06 | So, it's important to start
out with the best approach.
| | 03:11 |
| | Collapse this transcript |
| Using a two-column script| 00:00 | Once things are looking good on paper, you
may want to get started with your Radio Edit,
| | 00:04 | working out the audio foundation for each
scene in your documentary. And that's fine.
| | 00:10 | If you're someone that just needs to get started,
then by all means do so and skip to the next
| | 00:14 | movie in this chapter.
| | 00:15 | However, as you've no doubt caught on by now
organization and preparation are a common theme
| | 00:21 | for effective documentary editing.
| | 00:23 | So I thought I'd throw one more big thing
your way in case you wanted to really get
| | 00:27 | everything inline for your edit.
| | 00:30 | I'm talking about writing a script,
specifically a two column script.
| | 00:35 | This is common practice if you have
transcripts of all of your interviews.
| | 00:39 | Now a two-column script is a documentary
script with the left column tells us what we see
| | 00:44 | and the right column tells us what we hear.
| | 00:46 | Now this is just one possible format, but it's
the one that we'll be exploring in this course.
| | 00:51 | So based on the Paper Edit we know we're
going to need an intro and a conclusion and the
| | 00:56 | four main scenes in-between.
| | 00:58 | So you can build your two column
script to include that main structure.
| | 01:02 | Now let's just take the
first section, the introduction.
| | 01:05 | After screening and organizing all of the
footage, I am imagining a sort of audio montage
| | 01:10 | of interview subjects praising the main
principles of the Farm to Table movement.
| | 01:15 | Then I'm imagining the visuals to basically
take us through the entire movement starting
| | 01:19 | with a single piece of fruit and then we'll
get bigger and bigger, and we'll see the orchard
| | 01:24 | and the farm, the workers,
the market, and so on.
| | 01:28 | Now I don't have to write
out specific shots here.
| | 01:31 | I mean you can, some editors do, but I just
like to work with visual generalities that
| | 01:36 | I can later flesh out.
So I just keep going like this with each scene.
| | 01:41 | Again, because I have my transcripts, I can
just go through them and find my favorite
| | 01:46 | sound bites and then include them in the script
just pasting ideas together and forming conclusions.
| | 01:51 | Then I can decide later how I'd like the
visuals to play into everything that's being said.
| | 01:57 | Now I'll just quickly show you the entire
script scene by scene so you can briefly see
| | 02:01 | what I'm thinking.
| | 02:03 | Scene one is where we meet BD and learn
about his ideas and get an intro of the farm and
| | 02:10 | scene two is where we get a sense of the
importance of the farm in a local growing movement and
| | 02:15 | where we focus on what it takes to
get ready for the farmers market.
| | 02:20 | And scene three is the big one, we are at
the farmers market, and we not only talk to
| | 02:24 | BD, but with all of his workers as well as
with the customers, this is sort of a culmination
| | 02:29 | of everyone's efforts to make
the Farm to Table movement happen.
| | 02:32 | So this'll kind of be the largest scene.
| | 02:36 | And scene four is where we get to explore the relationship
between the growers and the restaurant owners and chefs.
| | 02:42 | And finally, the conclusion is short, just a sound bite
by BD, but I think it sums up everything pretty well.
| | 02:49 | So, again, the two column script is a great
idea for documentary editors that have the
| | 02:54 | luxury of transcripts for each of the
interviews, because it just basically becomes a matter
| | 02:59 | of copying and pasting the moments
that tell the story you want to tell.
| | 03:03 | It gives you a chance to imagine the visuals,
but again this part is slightly less important
| | 03:07 | since you can always change the visuals later.
You really need to see that to make it work.
| | 03:13 | So again these are just generalities, but
the part where you can really get specific
| | 03:17 | is with the audio.
| | 03:19 | It gives you a chance to lay an excellent
groundwork for how you'd like to tackle the
| | 03:23 | documentary, and if you'd like to check out
this editing script that I've assembled for
| | 03:27 | this documentary, you can check it in the
exercise files if you're a lynda.com Premium Subscriber.
| | 03:36 |
| | Collapse this transcript |
| Assembling the radio edit| 00:00 | Okay, we've got the
documentary looking good on paper.
| | 00:04 | We've even taken the time to create a two-column
script that details the specific audio foundation
| | 00:09 | and basic visuals that will
define our plan of attack.
| | 00:13 | We've set up six playing
sequences for each of our scenes.
| | 00:16 | We're ready to go.
| | 00:17 | Let's start with the first scene and take
a stab at putting together a radio edit.
| | 00:21 | So I am going to load my blank Intro
sequence here, and let's take a look at our script
| | 00:28 | and remind ourselves how this is starting off.
| | 00:30 | So we have an audio montage, we have basically
four different speakers talking about various
| | 00:36 | things in the Farm to Table movement.
| | 00:38 | Starting with BD, there's
definitely a movement happening.
| | 00:41 | So again, we're just
concerning ourselves with audio.
| | 00:44 | We'll deal with visuals later.
| | 00:45 | We need to find this moment,
there's definitely a movement happening.
| | 00:50 | So I could go into my Assets into my Interviews,
and you know try to find it through here, or
| | 00:56 | better yet I could come into my Transcripts,
because I am using Transcripts and look in
| | 01:02 | my BD Interview, and you
know try to find it in here.
| | 01:06 | But we already know through previous chapters that
Media Composer has some really great searching techniques.
| | 01:13 | So I am going to use that.
| | 01:14 | I am just going to open up the Find window,
Command+F or Ctrl+F on a PC, and because we're
| | 01:20 | using Transcripts, I can click in Script
Text and just type a little bit of that line.
| | 01:27 | There is definitely a movement.
That's probably enough.
| | 01:32 | I'll go ahead and press Enter.
| | 01:35 | So my search results, I am going to go
ahead and just double-click here, and it brings
| | 01:39 | up my transcript, it highlights the line.
| | 01:42 | Then I have a Script Mark here, and the
reason that I have these Script Marks is--as we've
| | 01:46 | learned in previous chapters--we use ScriptSync to
basically map the spoken word to the written word.
| | 01:53 | So if I double-click on this Script Mark,
we have this moment, and I am going to go
| | 01:59 | ahead and play this to make
sure it is the right location.
| | 02:04 | (BD Dautch: Yeah, there's definitely a movement happening. It's not
just here, it's worldwide. In a way, like I said, it's a renaissance.)
| | 02:12 | All right, I think that is kind of where we
should stop, because if we look at the script--
| | 02:17 | let me go ahead and just
minimize this and put it side by side--
| | 02:22 | It's worldwide, and in a way it's a renaissance.
| | 02:26 | Then I have a like a different moment
kind of pieced together after that.
| | 02:29 | So many people now are aware that getting it
directly from the producer is the way to go.
| | 02:33 | If you take a look at the transcript, in the
interview he goes on and starts talking about
| | 02:38 | refrigeration and how people used
to eat versus how they eat now.
| | 02:42 | He doesn't actually say this until down here,
directly from the producer is the way to go.
| | 02:48 | So this is what the radio edit is all about.
| | 02:51 | It's about finding these moments and piecing
them together to build this audio foundation.
| | 02:56 | There is going to be lots of
jump cuts, but that's fine.
| | 03:00 | We're going to fix that later.
| | 03:02 | So I think I've got everything kind
of--let me minimize this and this.
| | 03:07 | I am going to just splice this in.
| | 03:09 | I am going to press V, and then
let's go ahead and find that next part.
| | 03:16 | So many people now are aware they're
getting it directly from the producer.
| | 03:19 | I am going to go ahead and double-click on
this Script Mark, and I am going to play until
| | 03:26 | I get to the correct word.
| | 03:28 | I am just going to use J, K, L, and then as
soon as I hear the right words I am going
| | 03:32 | to reach up and press I
and O to mark my in and out.
| | 03:37 | All right, I think that's it.
I am going to go ahead and just go forward.
| | 03:41 | (BD Dautch: So many people now are aware that getting it
directly from the producer is the way to go.)
| | 03:50 | All right, so good enough.
| | 03:51 | Let's go ahead and splice that in and next up is
Justin, I don't know how I'd run my restaurant.
| | 04:00 | So again, I am going to come in
to here and type that in, I'd run.
| | 04:09 | Now again, having transcripts is great
because you can find these exact moments.
| | 04:14 | If you don't have transcripts, then you may
want to sub-clip your master clips into very
| | 04:19 | individual sound bites so that you can
easily search for them when you need them, or you
| | 04:23 | can add markers to define exactly
where your specific sound bites are located.
| | 04:28 | So I can show you how I would
do that once I find this moment.
| | 04:30 | Again, I am going to double-click here,
I don't know how I'd run my restaurant.
| | 04:34 | I am going to go ahead and just load
this into the source by double-clicking.
| | 04:40 | (Justin West: I don't know how I'd run my
restaurant without all these farms, that's for sure.
| | 04:42 | This is where the magic starts.)
| | 04:44 | All right, and then just a
little bit further back.
| | 04:47 | (Justin West: I don't know how I'd run my restaurant--)
| | 04:53 | All right, we can kind of fix that later in the timeline,
but I can go ahead and just put a marker here.
| | 04:59 | So say, for example, I didn't have a transcript,
and I needed to find this moment later on,
| | 05:04 | so because I couldn't search through the
transcript, I could just put a marker and say I don't
| | 05:10 | know how I'd run my restaurant.
| | 05:16 | Now I have this moment that's tied
to this part where he says that.
| | 05:21 | So again, you don't really need markers so
much when you're using transcripts because
| | 05:25 | you can find the exact moment that you
want simply by using your find tool.
| | 05:30 | But if you're not using
transcripts, markers can be your friend.
| | 05:33 | Anyway, I think I have this marked correctly.
| | 05:35 | So I am going to go ahead and edit that in
with a splice, V. And next up we have Owen,
| | 05:44 | eating local is the way we should be
eating, and you just keep doing this.
| | 05:47 | So, eating local is the way, like this is
it so go ahead and double-click, and I am
| | 05:56 | going to build this into the source.
(video playing)
| | 06:01 | All right, I think this is it,
go ahead and mark an in.
| | 06:04 | (Owen: Eating local is the way we should be eating.)
| | 06:07 | All right, short and sweet, very good! And we'll go
ahead and splice this in, and so on and so forth.
| | 06:13 | So you just keep following the
script, laying in the audio foundation.
| | 06:18 | When laying down the radio edit, you're mostly
concerned with getting it in there, but once
| | 06:22 | you've done that you can begin timing it out.
| | 06:24 | You can add pauses in the
appropriate places, you can tighten gaps.
| | 06:28 | It is a good idea to work on that timing at
least a little bit before you begin adding
| | 06:32 | your video B-roll, but this is the
main part is getting in your main audio.
| | 06:37 | Again, it's a lot easier when you do
have those transcripts, and you can search.
| | 06:41 | But if you don't have them and you just want
to find these moments, then you're just going
| | 06:44 | to be laying it in using other strategies,
using sub-clips, using markers, finding those
| | 06:49 | moments in a different way.
| | 06:51 | But I do have a couple of finished radio
edits here and some Radio Edit Examples.
| | 06:58 | I have the Intro here, so you can kind of
see that when it's done, and I also have the
| | 07:02 | second scene, Meet BD.
| | 07:04 | So I have basically a bunch of his
talking heads edited, ready for B-roll as well.
| | 07:09 | So definitely practice this out, and it's a
great thing to start laying in your audio
| | 07:14 | foundation, because that's the first step.
| | 07:19 |
| | Collapse this transcript |
| Building scenes with B-roll| 00:00 | Once you have laid out your main audio foundation
in your scenes, it's time to begin supplementing
| | 00:05 | video footage to help tell your story.
| | 00:08 | This supplemental video footage or
B-roll serves multiple purposes.
| | 00:12 | Not only does it enhance your narrative,
but it also helps to both cover up and smooth
| | 00:17 | out the jump cuts and chopped up audio that
inevitably results from the construction of your radio edit.
| | 00:24 | Now you want to make sure that when you use
B-roll, it helps set the scene, that it adds
| | 00:29 | further detail and enhances your story.
| | 00:32 | Don't use it to just show
exactly what's being said.
| | 00:35 | This gets monotonous and
uninteresting pretty fast.
| | 00:38 | So try to work to engage the viewer,
rather than spoon-feed the viewer.
| | 00:43 | So I have my radio edit of my Introduction.
| | 00:46 | This beginning part right here is where BD is
talking about this growing, changing, exciting
| | 00:52 | movement, basically the farm to table
movement and then we have a few talking heads at the
| | 00:57 | farmers market and in
restaurants talking about it as well.
| | 01:00 | So I think I'll probably allow this last part
to stay as talking heads, and we want to just
| | 01:06 | have B-roll really tell the
story and enhance the story here.
| | 01:10 | And if you take a look at the script what
I'm thinking is that we kind of underscore
| | 01:15 | what he is saying by starting with a single
piece of fruit or vegetable and then just
| | 01:20 | backing out getting bigger and bigger.
| | 01:23 | So it's an idea, it's a spark and then you get
bigger and bigger, picking, we are packaging
| | 01:29 | it and then we get to the farmers
market, and it's this big important thing.
| | 01:33 | And I think this is going to be engaging enough
to really hold the audience's interest especially
| | 01:38 | since this is the introduction, the
first scene that they are going to see.
| | 01:42 | So I am going to climb into my
Assets folder and my B-roll.
| | 01:49 | And we need to find the
footage that we are going to use.
| | 01:52 | So we are going to start on the Farm, we are
going to open up the Farm Orchards bin, as
| | 01:57 | well as probably Farm Picking_Pruning.
| | 02:02 | So I can literally just read through these,
I can load each one and take a look at them.
| | 02:07 | I have already screened it all.
| | 02:08 | So I have a good sense of what this stuff
is, but I want to quickly find what I need.
| | 02:14 | I don't want to lose my creative energy.
| | 02:17 | So one thing I can do is just change to Frame
view and take a look at the thumbnail version
| | 02:24 | of what all of these clips are.
The same thing here.
| | 02:29 | I am looking for a single piece of fruit,
I have probably I want to stay here in the
| | 02:36 | Farm and Orchards bin.
So I am going to go back to Text view.
| | 02:38 | What I would like to do is actually use the
qualitative data that I added to these clips
| | 02:44 | in a previous movie and use that to
figure out exactly what clip to use here.
| | 02:50 | So I'm going to Custom Sift.
I am going to go up to Custom Sift here.
| | 02:55 | I already have some data there,
and I am going to clear that out.
| | 02:57 | Let's see, right here I want a good shot.
| | 03:00 | So I want something that
contains three stars or more.
| | 03:04 | So four stars also contains three stars.
Then I want that close up.
| | 03:09 | So I want to just type in close-up, and I want
that to be on the Shot Composition column and OK.
| | 03:18 | Now this I really helpful,
because now we have just two shots.
| | 03:23 | Let's go ahead and take a look
at them, okay, and our Produce box.
| | 03:31 | Well, I think that this is
the winner. This is perfect.
| | 03:36 | This is exactly what I'm thinking.
Let me start small.
| | 03:39 | So I'm going to just mark an in
and out right before that zoom out.
| | 03:50 | I am going to just patch V1 to V2, turn off
my audio, we are going to get some probably
| | 03:56 | nat sound in there a little bit later.
| | 03:57 | So I am just going to make this a
video-only edit and overwrite B.
| | 04:02 | And I am going to go ahead and play through
it and just remind us what's right after this.
| | 04:06 | (BD Dautch: There's definitely a movement happening. It's not
just here, it's worldwide, and it's a renaissance.)
| | 04:12 | All right, so I am going to just Command-click
to snap to that edit point.
| | 04:17 | Let's unsift this.
So go to Show Unsifted.
| | 04:23 | I think there is a couple
more orange Orchard shots here.
| | 04:27 | Yes, Orange grove solar flare.
That's pretty lovely, I think that might work.
| | 04:34 | Now the second shot.
Let's just try this one too. Not as lovely.
| | 04:39 | So we will say that this is our second shot, and I
want to get I think that solar flare right there.
| | 04:48 | So I am going to mark an in, I am going to
go ahead and play and just mark in out where
| | 04:53 | I feel edit makes sense.
Okay, so I have here a 3-second shot.
| | 05:02 | I am going to just edit this in, again we
are going to tweak this later, we are going
| | 05:06 | to probably do some trimming and
making sure that everything works out well.
| | 05:10 | But I am going to edit this
in video only and overwrite B.
| | 05:17 | Next up is a shot that does something like we
are picking the fruit, we're bringing the fruit
| | 05:23 | from the Orchard, something that is
getting us closer to that farmers market.
| | 05:28 | So if I--I think I am going to use my frame view
for this one, and we have BD here carrying a box,
| | 05:36 | and this is not quite right.
| | 05:39 | Now this is better, because he
is walking out from the orchard.
| | 05:43 | This has actually work out pretty well
composition wise, start close-up, and then medium shot
| | 05:49 | and then more of a long shot here.
So I think that would work well.
| | 05:52 | Let's just make sure there is nothing better.
And we have the loading.
| | 05:58 | So I think that's a little bit too far along.
This one probably would work fine as well.
| | 06:07 | The shot composition doesn't work quite as well as
the long shot and then we have unloading as well.
| | 06:15 | So I think that's a
little bit too far along too.
| | 06:17 | So let's go ahead and
grab this shot right here.
| | 06:25 | That's okay I think, and
let's overwrite this in B.
| | 06:30 | Anyway, I am going to grab this
unloading shot for my fourth shot I think.
| | 06:38 | I think that's probably, yeah, I think right here
set an in and out around that area right there.
| | 06:47 | Okay, so 2 seconds 23 frames, overwrite that in,
and it's probably a little bit too long.
| | 06:57 | I want to make sure that I get my
farmers market shot in the end here as well.
| | 07:01 | So I might have to come in and
do a little bit of trimming.
| | 07:06 | So go over to trims to
make room for everything.
| | 07:11 | So I am going to be doing some tweaking,
and that is just part of the process.
| | 07:15 | You definitely need to make sure that what
is being seen make sense over what's being
| | 07:20 | heard, and that everything is concise and tight
or that it breathes and that we have enough room.
| | 07:26 | I have kind of a finished version of this.
| | 07:29 | Well, a version that's a little bit further
along, B-roll examples, and here is the intro.
| | 07:37 | You can see here to build a little bit
more room I have the video starting first.
| | 07:40 | And there is going to be music under here
as well as nat sound, but for now I am going
| | 07:45 | to go ahead and play through this
so that we can see how it's working.
| | 07:47 | (BD Dautch: There's definitely a movement happening.
It's not just here, it's worldwide, and it's a renaissance.
| | 07:53 | So many people now are aware that getting it
directly from the producer is the way to go.)
| | 07:59 | (male speaker: I don't know how I
would run my restaurant without--)
| | 08:01 | All right, so it's doing what I wanted.
| | 08:03 | We have you know the shots telling a story
so we kind of have the audio telling a story,
| | 08:08 | and we have the video supplementing that and
then adding to it and enhancing the story.
| | 08:13 | One thing I would do kind of right away is
add some long dissolves here, effects work
| | 08:18 | usually comes later, but one thing that
strikes me right away is that dissolves while they
| | 08:23 | can be used to sort of smooth out transitions,
they can also be used to juxtapose images and ideas.
| | 08:29 | What I would like to show is that basically
all of the shots of the producer all the same
| | 08:35 | goal, the same angle were
approaching the same basic idea.
| | 08:38 | So I am going to just
quickly add some dissolves here.
| | 08:43 | I am going to mark an in and out around the
range where I would like my dissolves added
| | 08:47 | and quick transition, and 24 frames, or 1-second
dissolves, I am going to just apply to
| | 08:55 | all transition between
in and out and add those.
| | 09:00 | And so I am just going
to play through a couple.
| | 09:03 | (BD Dautch: Yeah, there's definitely a movement happening.
It's not just here, it's worldwide, and it's a renaissance--)
| | 09:07 | Okay, so I do like that. I think the long dissolve is
working out really well to sort of enhance my ideas.
| | 09:14 | So I am going to leave it
just like that for right now.
| | 09:17 | So once you are happy with the way your
audio and video are coming together, you are one
| | 09:20 | step closer to a solid rough cut.
| | 09:22 | There are a few more tools you may want to
use in creating some deeper and more personal
| | 09:27 | editions which we will
explore in the next few movies.
| | 09:32 |
| | Collapse this transcript |
| Editing process footage| 00:00 | Once you have used B-roll to enhance your
scene, you might want to consider adding some
| | 00:04 | deeper and more connective visual elements to
your documentary in the form of Process Footage.
| | 00:10 | Process footage at its most basic level is
footage that shows a person completing a task
| | 00:15 | in clean continuity.
| | 00:17 | It's kind of like B-roll, and it's kind of
like cinema verite, but at its heart process
| | 00:22 | footage is footage that draws the viewer
into the documentary subject's own experience.
| | 00:28 | To understand how to edit process footage, I want
to first show you a little bit of footage here.
| | 00:33 | I am going to just go into Assets and B-roll, and I
am going to open up the Farm Picking_Pruning bin.
| | 00:41 | I am going to take a look at these last few
clips here, Wrapping herbs sunny 2, 3, and 4.
| | 00:50 | So here is a guy and he is picking these herbs
and he's cutting them and then he's wrapping
| | 00:56 | them and then he throws them in a box.
So that's all shown in a long shot.
| | 01:00 | Here, the same thing, picking, cutting, throwing
in the box in both a close-up and then a medium
| | 01:06 | shot and then this one here, same thing.
| | 01:13 | So we get them in basically four different
frame compositions, which is really helpful.
| | 01:20 | This footage is of a repetitive task, and
the frame was reconstituted many times, giving
| | 01:25 | us close-ups, medium shots, long shots, and
so on, and this allows us to seamlessly cut
| | 01:30 | back and forth between these various shots,
thereby creating a sort of fluid scene.
| | 01:35 | Additionally, what it does is it lets us create
an intimate glimpse into this person's process,
| | 01:42 | and this type of continuity editing is
naturally built into narrative footage where you have
| | 01:47 | multiple takes and multiple angles, and in
documentary, however, this creation is more
| | 01:52 | complicated, more intricate.
| | 01:55 | Process footage is most often material in
which the subject is filmed doing a task that
| | 01:59 | is usually wholly central to his or her
profession or personality or environment.
| | 02:06 | So if you take a look at sort of the after,
once this has been edited, I have this here
| | 02:14 | to show you, and we have the shots together,
and it's right after this bit of B-roll.
| | 02:20 | So I am just going to play this whole thing
and then we have the process footage at the
| | 02:24 | end and hopefully it sort of slows
you down and makes you kind of watch.
| | 02:30 | (BD Dautch: And we grow about 100 different herbs, vegetables,
flowers, fruits, and we sell mostly at the farmers market, and
| | 02:40 | also we sell to caterers, schools, restaurants. We try
not to do any shipping. We try to keep it all local.)
| | 02:51 | (video playing)
| | 02:57 | As you saw, you know I
kind of let it linger there.
| | 02:59 | I tend to do that with process footage so
that some of it does have some narration or
| | 03:05 | interview underneath it, but some of it
is just kind of there for you to watch.
| | 03:10 | And I am using this as a sort
of element of my film grammar.
| | 03:13 | So we talked about film grammar before, how we
build in some constructs that define this film.
| | 03:19 | This is one of mine in this film.
| | 03:21 | I have a lot of these parts where we are
watching someone do something, and I really feel that
| | 03:27 | it enhances the documentary viewing experience.
So let's just practice some right now.
| | 03:33 | If I go back to this here that needs a
little bit of process footage, I am going to just
| | 03:40 | find some if I climb into my Assets, and I
am going to go to Farm Picking_Pruning, and
| | 03:47 | I have here BD picking lettuce, and here I
am doing the same thing in the long shot and the
| | 03:57 | same thing in the medium shot.
| | 04:01 | As you can see, I already
have my in and out points here.
| | 04:05 | If you don't, you can go ahead and lay them
in wherever you like, but I'm going to start
| | 04:09 | with his hands and go ahead and patch A1 to
A2 so maybe we can get a little bit of sound
| | 04:19 | of his picking the lettuce, and let's go
ahead and Overwrite, B, and I am going to play.
| | 04:27 | (BD Dautch: ...Earthtrine Farm,
and we've got about 10 acres in Ojai--)
| | 04:32 | Okay, and now let's go to his face, okay, I
have set my in and my out, and I am ready
| | 04:40 | to edit, Overwrite, B, and
then finally in the long shot.
| | 04:46 | Okay, great, and Overwrite.
| | 04:50 | All right. I am just going to watch,
and let's just see how we feel about it.
| | 04:57 | (BD Dautch: ...name is BD Dautch, and I have
Earthtrine Farm, and we've got about 10 acres in Ojai
| | 05:05 | and 5 acres in Carpinteria that we're farming on.
| | 05:08 | It's all certified organic.
And we grow about 100 different--)
| | 05:14 | All right, so it's coming along. This one
does not have the process footage by itself
| | 05:19 | like we did before, but I did want to
show one more example of where I do have
| | 05:23 | it, and it hopefully makes the
viewer engaged with the footage.
| | 05:29 | I am going to go back to number 2 here, load it
up, and it's just this bit at the very end here.
| | 05:39 | So we kind of have our B-roll, and I
am going to start playing right here.
| | 05:44 | (BD Dautch: ...time to really get perspective
on the whole farm and the progress, the problems,
| | 05:50 | so when everybody arrives I'm ready to direct them.)
| | 05:58 | Okay, so he is talking about the contemplative nature
of the farm, and then we see him in long shot,
| | 06:05 | we see him in close-up, and then we see him
again in the long shot, and this footage basically
| | 06:11 | has reconstituted the frame
several times, so this works.
| | 06:16 | Process footage, like I said, can be put over
interviews or narration, it can exist alone.
| | 06:21 | Whatever you choose to do with it, I am sure
you will find that working with it is really
| | 06:24 | rewarding and brings another layer of
visual and emotional interest to your documentary.
| | 06:29 |
| | Collapse this transcript |
| Using montage and parallel editing to manipulate time and ideas| 00:00 | As you're working to build an effective
narrative for your documentary, you will inevitably need
| | 00:04 | to figure out ways to both compress and
expand time, both for logistical reasons--like to
| | 00:10 | fit a lot of information in a short period of time--
and also to engage the audience in more exciting ways.
| | 00:16 | Now as you do this it's also nice to be able to
combine different ideas and make that work for your film.
| | 00:22 | Now there are a few ways you can
tackle time and idea manipulation.
| | 00:26 | Here we're going to take a look at two,
Montage editing and Parallel editing.
| | 00:31 | Now in the last movie we took a look at
Process Footage editing, which is basically editing
| | 00:35 | with continuity, where we see a task that
is actually not filmed in real time, but we
| | 00:40 | present it as if it were.
| | 00:42 | So here we have our guy wrapping the herbs
and here we have him in close up and then
| | 00:50 | we cut out to him in a medium shot and then a
long shot and everything is matched on action.
| | 00:56 | So we have him basically holding the herbs
like so, in both of these shots, and we have
| | 01:03 | him cutting the herbs in
both of those shots, all right.
| | 01:08 | Now, this is something that was filmed over
several minutes, and we are basically condensing
| | 01:13 | it into a few seconds.
| | 01:15 | Okay, so we are not trying to really manipulate
time in this way. We're trying to kind of
| | 01:19 | recreate reality, all right?
| | 01:22 | So we're going to do something
slightly different with Montage Editing.
| | 01:26 | When we edit Montage, we're taking multiple
separate shots and combining them one after another.
| | 01:32 | Now this is often used to convey a
passage of time or a convergence of ideas.
| | 01:37 | Here I have a montage. I am just going to go ahead
and play it so you can see what I am talking about.
| | 01:41 | (video playing)
| | 01:59 | So all of these events happened in the same
general time period, in the same general space,
| | 02:03 | but the shots are totally separate.
| | 02:05 | When we combine them, we see something that
happened over a period of about an hour condensed
| | 02:10 | into a period of about 15 seconds.
Now montage can be used as B-roll.
| | 02:15 | So this isn't much different than
when we were talking about B-roll.
| | 02:18 | However, the very nature of B-roll is that
it is supplementing the A-roll, which in our
| | 02:24 | case is the interview footage.
| | 02:26 | So if it's not supplementing the primary audio,
then video like this can be combined as a
| | 02:31 | stand-alone montage like we see here.
| | 02:33 | The only thing that's really
underneath it is music, all right?
| | 02:37 | So we have basically a time condenser in the form of
these separate shots coming together to form one idea.
| | 02:45 | Now I want to take a look at Parallel Editing,
and so parallel editing, or crosscutting, is
| | 02:52 | another way to manipulate time.
| | 02:54 | This is where you edit two or more storylines so
that each scene advances forward in isolation
| | 03:00 | while visually interacting with the other.
| | 03:03 | So often use Parallel editing when you want
to show a convergence of subjects or ideas
| | 03:08 | that are simultaneously occurring.
| | 03:10 | Usually it not only serves the purpose of
bringing together these ideas, but it also
| | 03:14 | effectively condenses time, letting you sort
of dynamically show multiple ideas in less
| | 03:19 | time than if you strung them end to end.
| | 03:22 | All right, so here I have our farmers market
scene as well, so I have the same basic shots.
| | 03:29 | But they are sort of occurring right
in between this scene of BD driving.
| | 03:36 | So I won't play the whole thing, but I want to
give you a sense of what I'm talking about here.
| | 03:40 | Here he is talking about the farmers market,
and then we cut to the farmers market.
| | 03:43 | Then he is going to be talking about the farmers
market, and then he cuts to the farmers market,
| | 03:47 | so that when he actually drives up, we already have
a sense of what the farmers market is all about.
| | 03:53 | All right, so let's go ahead and play this.
| | 03:55 | (BD Dautch: The Santa Barbara markets
are some of the best in the world.
| | 04:05 | The vibe of market, everything about it is--it's
just so personal, there's such direct contact,
| | 04:12 | so many people--interested people and interesting people.)
| | 04:20 | All right, this is, you know, an example.
These events aren't happening at the same time,
| | 04:25 | but you have basically the idea of the
farmers market, then you see it, then you talk about
| | 04:30 | it, then you see it.
| | 04:31 | So this is you know one
example of what I am talking about.
| | 04:34 | I have here another example where we basically
have one subject that is present in both scenes,
| | 04:42 | but the scenes occur in different times in
different places, and we're going to talk
| | 04:45 | about some strategies about how
to make this more interesting.
| | 04:48 | (video playing)
| | 05:03 | So here we have the guy with our herbs, and
here we have a girl with the same herbs, but
| | 05:09 | now she is at the market preparing them for
sale, and then we cut back to him and then
| | 05:13 | back to her, you know sort of underscoring
the idea that this comes from the earth, it
| | 05:19 | is farm to table, so it really kind of
cuts back and forth between these two scenes.
| | 05:23 | Now, right now it's not as good as it could be.
| | 05:26 | I have a few strategies that can help this
out and make it a little bit more interesting
| | 05:30 | and help these ideas come
together a little bit more.
| | 05:33 | Here she comes, and we
definitely have different sounds.
| | 05:36 | I am going to make that work for us, all right?
| | 05:39 | So I am going to just get into Trim mode,
press U, and I am going to just trim--Dual-Roller
| | 05:46 | trim--over about this much so that we actually
hear her scene before we see it, all right?
| | 05:53 | So this is a J cut--a J cut because it looks
like a J--and we've basically split the edit.
| | 05:59 | And let's go ahead and play this
out, and you'll see what I mean.
| | 06:03 | (video playing)
| | 06:12 | So, sometimes this can work when you have
two scenes, and you want to basically make
| | 06:18 | sure that these ideas are linked,
this is one way to do that.
| | 06:23 | Another way which I really
love doing is matching on action.
| | 06:27 | We have here he's throwing the herbs in the
box, and she's putting the herbs in the box,
| | 06:32 | and I think we can cut this so
that it actually is one fluid motion.
| | 06:36 | All right, so I am just going to get into
Trim mode, and I want to do an A-side trim.
| | 06:42 | And I am just going to rock back with J-K-L
so that we find the moment right before it
| | 06:51 | gets into the box, right
there, and I'll release.
| | 06:54 | And then the same thing over here we want
to make sure that we get the moment right
| | 06:58 | before it enters the box.
| | 07:00 | So...
(video playing)
| | 07:07 | About right there. Okay, I am going to try
that, and let's go ahead and play around the
| | 07:15 | edit, I'll press spacebar.
(video playing)
| | 07:21 | All right. I am going to just give this just
one more or two more frames of room, okay.
| | 07:30 | And now I am going to play
it and see how that works.
| | 07:33 | (video playing)
| | 07:37 | All right. I think that works, so as you can
see, just a little visual change here really
| | 07:44 | kind of brings those ideas together even more.
| | 07:47 | And these are things that you can do not only when
parallel editing, but also with continuity editing.
| | 07:52 | But when you do it with parallel editing,
it's kind of little bit stronger because we
| | 07:57 | have these two places, these two locations,
these two subjects kind of performing a similar
| | 08:03 | motion so that we basically see
that come together on screen.
| | 08:07 | So there are other editing devices that can
help you manipulate time, but Montage Editing
| | 08:11 | and Parallel Editing are certainly
several good tools to try out.
| | 08:15 | Used in conjunction with other methods, they
can certainly help to engage the viewer in exciting ways.
| | 08:19 |
| | Collapse this transcript |
| Adding natural and environmental sound| 00:00 | When editing a documentary, you are often
working with footage that was not shot with
| | 00:04 | the quality or the consistency
of audio as its highest priority.
| | 00:08 | Unless the material was shot with a dedicated
sound recorder in the field, the sound from
| | 00:13 | any non-interview shots were most likely
just recorded with the onboard camera mic.
| | 00:19 | Interviews of course are probably recorded with more
care, and with a lavalier or a directional handheld mic.
| | 00:25 | Now, sometimes rather than cutting in a lot
of disparate audio from individual shots,
| | 00:31 | you may want to find some blanket, natural,
or environmental sound and use that instead.
| | 00:35 | All right, so here I have my intro, and it's the
radio edit plus my B-roll, so it's coming along.
| | 00:45 | It's almost maybe at the rough cut stage.
But we need some audio here.
| | 00:51 | It's totally quiet when this starts out.
| | 00:55 | (BD Dautch: There's definitely a movement happening.
It's not just here, it's worldwide.)
| | 00:59 | And the birds you hear there were actually
squawking in the background of his interview.
| | 01:06 | So, we also need to find something that
goes with that as well, knowing that, that was
| | 01:11 | one of the challenges
they had at the interview.
| | 01:13 | All right. Just so you know, the audio that was
recorded with this, just a lot of different stuff.
| | 01:18 | I mean there was like loud squawking crows
in back of this shot, and something that was
| | 01:24 | very different here, and then
this one was very, very quiet.
| | 01:28 | So I mean, we need something that kind of just is a
background blanket audio bed underneath everything.
| | 01:35 | So, I'm just going to climb into some of my
B-roll so that I can try to create this,
| | 01:42 | and I might not even have
to go to a sound library.
| | 01:45 | So, I am going to go into B-roll, and then I
am going to go to that Farm Bin, Farm Orchards,
| | 01:51 | and I am showing tracks.
| | 01:54 | If you need to show tracks, so you can see
which ones contain audio, you can just right-click
| | 01:59 | up here, choose Columns, and then just make sure that
Tracks is selected so that you have that information.
| | 02:07 | All right, so I probably don't want to pick
anything where people are walking or carrying
| | 02:13 | things or unloading, that's probably going
to have some clicks and footsteps and things
| | 02:19 | that I'm not really going to want.
| | 02:21 | If I want just some background environmental
sound, I am going to choose something like
| | 02:26 | Field mountain in background.
That sounds like a good candidate.
| | 02:29 | I am going to go ahead and play this.
(video playing)
| | 02:41 | All right, well, there was definitely some
clicking, like some camera noise right around
| | 02:45 | here, but that's not to
say I can't use any of this.
| | 02:48 | I can just put an in and an out
around the part that I do want to use.
| | 02:53 | (video playing)
| | 02:59 | Okay, and it's not the best, but at least I'll
have it in my library, and I can always get rid
| | 03:06 | of it later if I find something better.
| | 03:07 | But I have some sound started in this
natural and environmental sound bin.
| | 03:14 | I am just going to drag this over, and I am just
going to call this Quiet farm presence distant birds.
| | 03:27 | Okay, then we'll just try one more.
Go ahead and get my flowers here.
| | 03:37 | (video playing)
| | 04:01 | Okay, so I'm starting to hear some like
crunching and footsteps right here.
| | 04:05 | I'll just mark an in and an
out around that area there.
| | 04:08 | It's about 21 seconds of okay, and that sound,
again, this is going to be very, very low-level
| | 04:15 | audio underneath my principal video.
| | 04:17 | So it doesn't have to be perfect, just
something that kind of gives it that presence.
| | 04:22 | This is much more chirpy, a
little bit more immediate presence,
| | 04:24 | so I am just going to say
Field presence with chirps.
| | 04:33 | So let's go ahead and close
this up, and we have a bin started.
| | 04:39 | We can go ahead and just make sure that you
are patching your audio down to A2 and A3,
| | 04:47 | or if you want to, let's see, Command+U to
add an audio track if you want your that sound
| | 04:53 | to be on A3 and A4.
Just patch appropriately.
| | 04:56 | I think I am going to have mine on A2 and
A3 for now, and I need to basically get it
| | 05:04 | probably right before the farmers market because
I'll have a different type of ambience at the farmers market.
| | 05:12 | So I am going to just mark an in and an out
around this area, and I am going to go ahead
| | 05:18 | and try my Field presence with chirps.
| | 05:19 | I just need to turn off my video,
and I'll overwrite, so press B.
| | 05:26 | And now we should have some presence underneath
our B-roll here, and I'll probably need to
| | 05:31 | lower it just a little bit,
but at least we have something.
| | 05:35 | (BD Dautch: There's definitely a movement happening.
It's not just here, it's worldwide, and it's a renaissance,
| | 05:41 | and many people now are aware that getting it
directly from the producer is the way to go.)
| | 05:47 | Okay, so again, I'll probably need to
come in there with the Audio Mixer.
| | 05:50 | I might need to keyframe when he starts talking
and just sort of lower that just a little bit.
| | 05:55 | But we have some blanket natural sound
underneath our principal video at least to start with,
| | 06:01 | and we can continue on, find some other stuff,
and really kind of just build a patchwork
| | 06:06 | of audio throughout our piece, and we might
not even have to go to an audio library at all.
| | 06:11 |
| | Collapse this transcript |
| Correcting audio| 00:00 | Once you've got good solid scenes, you want
to make sure to go through all of them with
| | 00:04 | a fine-toothed comb, and make
sure you've got a good audio mix.
| | 00:07 | Now, even though this is the rough cut and an
audio mix will be performed on the sequence
| | 00:12 | later in the post-production workflow, you still
want to make sure that everything is sounding good.
| | 00:17 | Now, for a fuller explanation on audio editing, you can
see my Media Composer Essentials course on lynda.com.
| | 00:23 | But here, I'll go through a basic overview
of making sure you have got a good sound mix.
| | 00:27 | All right, so I've got the second scene here,
my Meet BD scene, and I want to play it.
| | 00:33 | But first I am going to open
the Audio Editing Workspace.
| | 00:38 | And as I play this, I want you
to notice where it's peaking.
| | 00:42 | I will tell you that normal sounds, so the
human voice or BD's voice, should peak right
| | 00:48 | between -20 and -14 here on the digital scale,
or between 0 and 6 here on the analog scale.
| | 00:54 | Loud sounds can peak higher in this region, and
quieter sounds or background sounds can peak lower.
| | 01:01 | We of course don't want anything to distort,
so we'd have to fix that.
| | 01:05 | But in general, the levels
need to be in this general area.
| | 01:09 | All right, so I am going to go ahead and play, and
let's just try to notice where things are peaking.
| | 01:15 | (BD Dautch: My name is BD Dautch, and I have
Earthtrine Farm, and we've got about 10 acres in Ojai
| | 01:23 | and 5 acres in Carpinteria that we're farming on.
| | 01:26 | It's all certified organic, and we grow about
100 different herbs, vegetables, flowers, fruits--)
| | 01:36 | General observation is
that he's peaking too high.
| | 01:39 | He was between -14 and -8 and
occasionally peaking up here to -4.
| | 01:45 | So, we are going to need to bring that down.
| | 01:47 | Other things like the nat sound, the presence,
as well as my sync sound here sounded just fine.
| | 01:54 | So, let's adjust the interview audio first, and
then we can make further adjustments later if needed.
| | 01:59 | All right, so I am soloing A1 here.
| | 02:02 | This is basically going to solo it here as
well, and I am going to mark an in and an
| | 02:07 | out around just the short region, and that's because
this is going to loop when I do an audio play loop.
| | 02:14 | And then I am going to make an adjustment,
and then when the loop goes over again, it's
| | 02:17 | going to reflect that adjustment.
| | 02:19 | So, I want this to be a relatively
short period of time in this loop.
| | 02:24 | The Audio Loop Play is right here.
| | 02:25 | So, I am going to go ahead and press it,
and then I am going to make an adjustment and
| | 02:28 | then take a look over here on my Levels, and
then make further adjustments as necessary.
| | 02:35 | (BD Dautch: ...and we've got about
10 acres in Ojai and 5 acres in--
| | 02:40 | ...and we've got about
10 acres in Ojai and 5 acres in--
| | 02:45 | ...and we've got about
10 acres in Ojai and 5 acres in--)
| | 02:50 | All right, so I've lowered the levels by 6.8
decibels, and things are looking good.
| | 02:57 | It's peaking properly.
| | 02:59 | Now, BD's audio is on A1 throughout this
entire sequence, and this is how you should do it.
| | 03:06 | You want to make sure to incorporate all
of your interview audio on the same track.
| | 03:10 | I have my sync sound on another track,
I have my nat sound on another track.
| | 03:15 | This is going to really help me out because
once I've made this one adjustment--let me
| | 03:18 | just go ahead and remove my in and out
points--I can make this a global adjustment.
| | 03:23 | So, my position indicator has
parked right here, I have A1 selected.
| | 03:28 | Just come up to the Fast menu, Set Level On
Track - Global, and then now take a look down
| | 03:33 | here at this -6.8 number because everything on
this track has now been adjusted by that amount.
| | 03:41 | Otherwise, it's just a clip-based adjustment,
and it just affected this clip and nothing else.
| | 03:45 | But we've made it a global adjustment.
| | 03:47 | All right, so this is basically how you
should do it, adjust it in isolation, then listen
| | 03:52 | to it with the Mix, so I am going to unsolo it.
| | 03:54 | We are going to go ahead
and play through it again.
| | 03:57 | Make sure things sound good with the
mix, and then move on down the line.
| | 04:00 | Now, audio is additive.
| | 04:02 | So you'll occasionally need to do some tweaking
even after you've adjusted individual audio elements.
| | 04:07 | That's why it's important to make the adjustment and
then make sure to listen to it in the context of the mix.
| | 04:14 | (BD Dautch: My name is BD Dautch, and I have
Earthtrine Farm, and we've got about 10 acres in Ojai
[00:04:22 .53]
and 5 acres in Carpinteria that we're farming on.
| | 04:25 | It's all certified organic, and we grow about
100 different herbs, vegetables--)
| | 04:32 | All right, so things are sounding good.
| | 04:35 | Again, I would make further adjustments, make
further tweaks going on down the line in this
| | 04:39 | general way, but so far so good, and you
want to do this for each one of your scenes.
| | 04:45 | You want to make sure that even though this
is the rough cut that everything is sounding
| | 04:48 | good and you're able to screen it properly
so that no elements are drowning out others.
| | 04:53 | Now, I do want to mention one thing, organizationally-
speaking, if I was to have adjusted this interview
| | 05:00 | before I even edited it into the
timeline, that's a pretty smart thing to do.
| | 05:04 | So I am just going to match frame--
so right-click, Match Frame Track--
| | 05:08 | and this brings up the actual
source clip for the interview.
| | 05:12 | And if I make the adjustment here, then basically
any time I edit this in from now on, the adjustment
| | 05:18 | will be made, and I don't
have to make it in the timeline.
| | 05:21 | But you do it in the same basic way.
| | 05:22 | You just want to make sure to click in the
Source Monitor, because when you click in the
| | 05:26 | Record Monitor or the Timeline, it's the
timeline-based adjustment that's being made.
| | 05:30 | So I am going to just
click in the Source Monitor.
| | 05:32 | You can see that there is only one track of
audio, one track of audio, and I am going
| | 05:36 | to mark an in and an out.
| | 05:39 | And let's go ahead and again Audio Loop Play and...
| | 05:43 | (BD Dautch: ...acres in Ojai and 5 acres in Carpinteria--
...acres in Ojai and 5 acres in Carpinteria--
| | 05:50 | ...acres in Ojai and 5 acres in Carpinteria--)
| | 05:54 | There we go! Okay, so it's peaking properly.
I have made the adjustments in the source clip,
| | 05:59 | therefore whenever I edit this into the
timeline from now on, the adjustment will be made.
| | 06:04 | So essentially, if you can do that before you make
any edits, it's probably the smarter way to go.
| | 06:09 | All right, so that's
basically all there is to it.
| | 06:12 | Again, first make the adjustments in isolation,
then unsolo and make sure it sounds good against
| | 06:17 | the mix, that's all there is to it, and you
will be able to screen the rough cut in confidence.
| | 06:22 |
| | Collapse this transcript |
| Putting it all together: Completing the assembly edit| 00:00 | Okay, by now you've laid out the entire audio
foundation for each scene in your documentary.
| | 00:06 | You've added supplementary B-roll
to help advance your narrative.
| | 00:09 | You've included additional visual elements
that help deepen your story, like montage
| | 00:14 | editing, parallel editing, and process footage.
| | 00:17 | You've established a structured film
grammar to define your film style.
| | 00:22 | Now it's time to bring the scenes together
and add finishing touches for the rough cut.
| | 00:26 | Now logistically, combining your scenes is
as simple as just editing them together.
| | 00:31 | You just need a master sequence, and you need
this to contain as many tracks as your scenes do.
| | 00:37 | So I think the most number of video tracks
that I have is at least one more, maybe two.
| | 00:43 | So I'm just going to press Command+Y twice, or
Ctrl+Y on a PC, and I think the most number
| | 00:49 | of audio tracks I have in any one scene is
four, so I'm just going to press Command+U
| | 00:54 | twice more, or Ctrl+U on a PC, and instead of
double-clicking on the sequence to load it,
| | 01:02 | I'm just going to drag it into the source
monitor, make sure everything is patched correctly,
| | 01:08 | and then splice, and just keep
doing that on down the line.
| | 01:13 | You want to make sure that the playhead is
at the very beginning, and there is no in
| | 01:17 | or out points in the sequence that you are
editing into your master sequence, so I'm
| | 01:22 | just going to keep going.
Okay, everything is looking good.
| | 01:32 | All right, so I'm going to definitely I'm
going to watch this a lot, I'm just going
| | 01:38 | to run my position indicator over everything
just to make sure that everything is there,
| | 01:45 | everything is looking good.
| | 01:46 | All right, so now once I've combined them,
it is time to watch and watch carefully.
| | 01:53 | If the scenes work well separately, do they
work well together? Spend a lot of time making
| | 01:58 | sure that the structure actually works,
you'll no doubt had to do quite a bit trimming and
| | 02:03 | extracting material to make sure all the scenes
flow well together. You'll also no doubt need
| | 02:08 | to add transitions between scenes.
| | 02:11 | Now these can be just straight cross dissolves,
or you can imply some creative transitions
| | 02:16 | like L or J cuts that we
explored in a previous movie.
| | 02:20 | But bottom line, you want to make
sure that the rough cut is really solid.
| | 02:24 | After all this is what's known as the
Editor's cut, so you want to show your best work.
| | 02:29 | All right, so again this is about this 6 minutes,
so we won't have a chance to go through
| | 02:34 | and watch and watch and watch as we should,
but you definitely, definitely should do that
| | 02:40 | in order to make sure that we have the best
product to present to the producer, the director,
| | 02:45 | and other stakeholders.
| | 02:47 | So also, once you've laid everything in and then
have one master sequence, you may want to
| | 02:51 | tackle the idea of laying in some temp music.
| | 02:54 | Most likely, you'll need to do some
research about the type of music you'll ultimately
| | 02:57 | want to include in the film and then plug
it into your sequence in the location that
| | 03:01 | you expect the music to go.
| | 03:03 | We won't have time to do it for the entire
sequence now, but I just want to show you
| | 03:07 | the music that I am going to be working
with for my temp music, right here just so you
| | 03:13 | can see kind of where I'm headed.
| | 03:16 | This Silent charm, here, is going to be for
the first part, and I'm thinking just like
| | 03:20 | a general music bed underneath everything, so I'm
just going to kind of show you what this sounds like.
| | 03:26 | (music playing)
| | 03:38 | And then I have this piece of music that I was
thinking of bringing in at the farmers market scene.
| | 03:43 | (music playing)
| | 03:56 | All right, so again, this sort of sets
everything up when we're talking about
| | 03:59 | BD, we're talking about the farm, we're
talking about preparing for the farmers market.
| | 04:03 | This is we're here, we're ready to go.
| | 04:05 | It's a little bit more upbeat,
and it gets us to the end.
| | 04:08 | So I want to show you kind of how
this looks in the finished assembly.
| | 04:16 | All right, so like I said,
it's just a general bed.
| | 04:19 | There weren't a lot of edits that I made since
it is just a background music, but there were
| | 04:23 | a few, and I did kind of bring it up in a
couple of places, and I just want to show
| | 04:28 | you just in general how this
starts out, how it starts to sound.
| | 04:33 | (BD Dautch: There's definitely a movement happening.
It's not just here, it's worldwide, and it's a renaissance,
| | 04:40 | and there's so many people now are aware that getting it
directly from the producer is the way to go.)
| | 04:46 | (male speaker: I don't know how I'd run my
restaurant without all these farms, that's for sure.
| | 04:49 | This is where the magic starts.)
(male speaker: Eating local is the way we should be eating.)
| | 04:54 | Once I've gone through, once I've made sure
that everything is flowing okay, I've made
| | 04:58 | my trims, I've made some extractions, I might
have moved some stuff around that's totally
| | 05:03 | fine, I've put in my temporary music, we're
getting very, very close to the finished rough cut.
| | 05:08 | After you are pleased with the layout of your
rough cut, there are a few effects that you
| | 05:13 | might want to add to enhance and
correct your shots in the documentary.
| | 05:17 | I will cover some popular
ones in the next chapter.
| | 05:20 | And then the following chapter covers screening
the rough cut which is a very, very important
| | 05:25 | step in the process and
then on to picture lock.
| | 05:30 |
| | Collapse this transcript |
|
|
6. Using Documentary Effects: Repairing and Enhancing FootageDealing with multiple formats in a project| 00:00 | Documentaries are complex,
structurally yes, but also technically.
| | 00:04 | As the documentary editor, you often live
under the I'll take what I can get mentality,
| | 00:09 | and it's up to you to tell the best story
possible, using the materials you can acquire.
| | 00:13 | Therefore, many times material will be shot
on multiple cameras, with varying formats.
| | 00:19 | Let's take a look at a couple of format discrepancies
scenarios and talk about some ways to deal with them.
| | 00:23 | All right, so here is my Intro scene and
everything is looking great and just kind of serving
| | 00:32 | everything's, ah, when I get to this shot
and he looks a little stretched and squeezed
| | 00:37 | definitely, not the correct shape we have these
three people in a row and he definitely stands out.
| | 00:44 | So he's at the wrong aspect ratio.
| | 00:45 | I can always check if I right-click on my
Record Monitor here and say Project Aspect
| | 00:50 | Ratio, 4 x 3 now he looks okay, when I'm in 4 x 3
and everyone else looks stretched and squeezed.
| | 00:58 | So with documentaries, this is so, so common,
you are always working with either archival
| | 01:04 | footage that is shot 4 x 3 or just footage
from another camera that's at a different
| | 01:08 | Aspect Ratio, but you will have to deal with it,
you can't output it with the varying aspect ratios.
| | 01:15 | So I'm going to go back to 16 x 99
because that's what the rest of my show is at.
| | 01:20 | And let's go ahead and take a
look at how to deal with this.
| | 01:23 | Okay, I go into my Effect
palette and the Reformat effect.
| | 01:29 | The first thing that I could
do is apply a 4 x 3 sidebar.
| | 01:32 | So if I just apply a 4 x 3 sidebar, this is
actually going to reformat it, so it's not
| | 01:38 | just a mask, but it actually resized this image,
so that it basically shrunk in and stretched it.
| | 01:45 | So that now I'm at a correct 4 x 3 Aspect
Ratio, and it's pillar boxed on the left and
| | 01:50 | the right in order to make that happen.
| | 01:53 | Now this isn't the best solution because
nothing else in the show is pillar boxed, this would
| | 01:58 | really stand out, okay.
| | 02:01 | So while it does fix the problem
aesthetically, it doesn't look that great.
| | 02:05 | So I'm going to remove that, and
let's take a look at a better solution.
| | 02:09 | The Pan and Scan effect, if I apply that,
you can see that nothing happens initially,
| | 02:16 | but when I open up the Effect Editor, this
will allow me to choose my source video, which
| | 02:21 | is 4 x 3, and my Target, which is my
sequence which is 16 x 9 Anamorphic.
| | 02:29 | Now when I do that nothing happens regarding
reformatting immediately, but what happens
| | 02:34 | is I get this wireframe and so if I close
the Effect Editor you can see it fixes
| | 02:40 | it, it basically reformats it so that it
fits in the 16 x 9 video frame appropriately.
| | 02:47 | Now it doesn't look that great
because the top of his head is cut off.
| | 02:50 | So you do have some flexibility with this.
| | 02:52 | If I go back into my Effect Editor I
can basically use any part of this frame.
| | 02:59 | I have all of this down here to play with,
and I have all of this down here to play with.
| | 03:04 | So if I move up with my vertical position
and sort of just have that be the portion
| | 03:11 | that I show and then I'm going
to go ahead and close it out.
| | 03:15 | You can see that now his Aspect Ratio is fixed,
and we're not cutting off the top of his head.
| | 03:20 | So I think that's how I would like to keep it.
| | 03:24 | Now if I open up the Effect Editor one more
time, you'll see that I can also keyframe
| | 03:29 | it over time if I need to.
| | 03:31 | So if this was a very active shot, and I had
some important information down here to begin
| | 03:35 | with, I could keyframe it here and then
we'll just move this over, so you have access to
| | 03:41 | it, and then I can move that down there and
then let's just have it move up to the top
| | 03:51 | over the course of the shot, this would be
obviously possible, and if I close that you
| | 03:57 | can see what's happening, and
kind of an added camera movement.
| | 04:01 | Now this is not that practical for the shot,
this is a lockdown shot and obviously unnecessary,
| | 04:08 | so I'm just going to delete those keyframes
and have it be the way it was, so I'll move
| | 04:14 | that back up to the top.
| | 04:17 | Okay, obviously we also
have some scaling parameters.
| | 04:19 | So if you wanted just a portion of it, if
I wanted to have a super close-up I could
| | 04:23 | do that and then really zoom into any
portion of this video frame, but again, I do want
| | 04:29 | it to be all the way zoomed out and up here
at the top so that he is fully included,
| | 04:36 | and I'm just going to move that down just a
bit so that I include him fully, and we'll
| | 04:41 | close this, and it looks
like it's okay, all right.
| | 04:47 | So he's in the correct Aspect Ratio, the Pan and
Scan has fixed it for me, and I'm ready to go.
| | 04:52 | So again, this is a really, really common
thing you'll have to do with documentaries
| | 04:55 | when working with various aspect ratios, but
fortunately it's very easy and very flexible.
| | 04:59 |
| | Collapse this transcript |
| Adding movement to static images| 00:00 | Adding still images to your documentary is a
really nice way to advance the story, even
| | 00:05 | when it's among lots of footage.
| | 00:06 | Here I have my conclusion, and I have lots
of nice footage to help sell my story, and
| | 00:12 | I have this shot of BD at the market, and
it's surrounded by a lot of movement, but
| | 00:18 | it is so still itself.
| | 00:20 | Now, if I applied a resize to this, it
really wouldn't be the best solution because what
| | 00:25 | I have done is I have imported this image
into my project and therefore I've converted
| | 00:31 | it to the video
resolution that I'm working with.
| | 00:34 | So here is the image that I've imported,
and we know that we are working in a standard
| | 00:39 | definition project for the purposes of this
course, and so we are at 720x486 pixels.
| | 00:44 | Well, I'll tell you that this image was shot on a
Canon 5D Camera at more than 5000x3000 pixels.
| | 00:54 | If we look at it exactly, we can see that
we have it at 5616 pixels by 3600 pixels,
| | 01:05 | so a very, very large image, and we want to take
advantage of every single one of those pixels.
| | 01:12 | So, if we did a resize effect, it would get really
soft, really fast, and that's just not what we want.
| | 01:18 | So I'm thinking that we can just stay
zoomed out to begin with and then slowly zoom in
| | 01:25 | on BD as we are talking about him.
| | 01:27 | Instead of applying a Resize effect to my
image here, I'm going to apply what's called
| | 01:33 | an Avid Pan & Zoom Effect, and that's going
to allow me to link to the original source
| | 01:38 | image and allow me to access
every single one of those pixels.
| | 01:42 | So, in the Image category, Avid Pan & Zoom, I am
going to go ahead and drag that onto the effect.
| | 01:49 | You can see that it immediately goes dark, that's what
happens when you add the Avid Pan & Zoom effect.
| | 01:54 | This clip was more or less just a placeholder.
| | 01:57 | You can put the Avid Pan & Zoom effect on
any clip or any space in your timeline.
| | 02:04 | As you can see, you can also put it
on just blank filler, and you could do the
| | 02:08 | same thing that we are about to do.
I am going to undo that and go back over here.
| | 02:13 | You just need a
placeholder with some boundaries.
| | 02:17 | So I'm going to go into my Effect Editor, and
I am going to click on Import image, because
| | 02:22 | we need to go find that very large image,
okay, our 5616 pixel by 3600 pixel image.
| | 02:31 | I am going to go ahead and open.
| | 02:32 | By default, it starts off looking a lot like
it used to, but when we start zooming, you
| | 02:38 | will see how different it really is.
| | 02:40 | So I am going to add a couple of keyframes,
one at the beginning, and one at the end.
| | 02:47 | And like I said, we want to start zoomed
out, like it is now, and then zoom in on him.
| | 02:53 | So I am going to increase the zoom factor,
and you can see that I get this box zoom in,
| | 02:59 | and I can choose where it is that I am going to zoom
in while still taking a look at the entire image.
| | 03:06 | So I'm going to make sure that it goes just
right over his face, like so, and let's see
| | 03:14 | how that looks, okay.
| | 03:19 | And then I'm going to just choose both
keyframes, I am going to click on one and then press
| | 03:22 | Command+A to select both of them, and I'm going
to kind of get rid of that Ease In and Ease Out.
| | 03:30 | I am going to just do a Linear Motion from
keyframe to keyframe, and I've got a Linear
| | 03:36 | Path, and I think, I like that a little
bit better than that dip that was happening.
| | 03:43 | Okay, so let's go ahead and take
a look at what this looks like.
| | 03:46 | I'm going to switch over from Source to Target,
and I am going to go ahead and play through here.
| | 03:52 | (BD Dautch: ...to economy, to community--)
| | 03:57 | All right. You saw that it was dropping frames.
| | 04:00 | The reason for that is that this image is
so incredibly large, so I am going to need
| | 04:04 | to render it, but I do like this motion, I
think that will work really well for my sequence.
| | 04:12 | So I am going to render it.
| | 04:14 | You first need to choose a render method, and you
most certainly want to change it from Triangle.
| | 04:22 | These first few are not good enough quality.
| | 04:25 | I will recommend that you choose Gaussian,
I think it's kind of a sweet spot between
| | 04:31 | a very nice quality render and
super, super long render times.
| | 04:35 | If you choose one of these, it's just
going to be very, very long renders.
| | 04:39 | These are very high quality, but
this is I think good and fast enough.
| | 04:45 | So I'm going to choose this, and as long as
you like your animation, and you think it
| | 04:51 | works well in your sequence,
you can go ahead and render it.
| | 04:55 | So I have changed my Filter.
| | 04:56 | You can see that there's other parameters down
here as well, so feel free to experiment with those.
| | 05:01 | But I'm going to go ahead and render, and I am
rendering to my Farm to Table drive, let's say OK.
| | 05:09 | Okay, not too bad, and let's go ahead
and play through and see how we like it.
| | 05:16 | (BD Dautch: ...to economy, to community. I mean--)
| | 05:23 | Okay, so again, I might want to tweak that just a
little bit, maybe I want it to hold at the
| | 05:27 | very beginning and very end than I would go
in and just tweak those keyframes, but you
| | 05:31 | can see that you can zoom in quite a bit.
| | 05:34 | I really don't have it as much as it could,
I could really just zoom in straight on his
| | 05:39 | eyes, and it would still be as clear as day
because I am zooming in on that 5000x3000
| | 05:46 | pixel image rather than
converted video resolution to 720x486.
| | 05:50 | So, if you are working with high-resolution
still images, definitely use the Avid Pan
| | 05:56 | & Zoom effect instead of importing the images,
you won't be sorry you did because you will
| | 06:00 | be able to take advantage of every
single pixel in those original images.
| | 06:05 |
| | Collapse this transcript |
| Stabilizing shaky footage| 00:00 | With the spontaneity of documentary
shooting comes a fresh, exciting approach.
| | 00:04 | However, it also comes with
inevitable shaky footage.
| | 00:08 | Hitting that perfect shot to fit into scene may
require that you spend some time stabilizing your footage.
| | 00:13 | So take a look at how to do that.
| | 00:15 | All right, so I have here the main farming
sequence, and I have a shot of BD driving
| | 00:22 | to the farmers market.
| | 00:23 | I'm just going to play it for you so
you can see that it just pretty shaky.
| | 00:28 | (video playing)
| | 00:31 | Okay, so let's try to smooth that out.
| | 00:36 | I'm going to go to the Effect palette and in
the Image category, I'm going to just choose
| | 00:41 | the Stabilize effect and apply it right on top.
| | 00:44 | Now this is an automatic effect, the tracking
window opens, and you can see lots of little
| | 00:49 | green points, and basically they're just attaching to
places within the field of view and locking those down.
| | 00:57 | And by default, I have something called Auto-Zoom
on because what it's going to do is actually
| | 01:04 | zoom in as it reverses the direction that each
of those points is taking during the entire shot.
| | 01:11 | So it's saying this data, you can see this
little white squiggle here, that's the tracking
| | 01:16 | data that is basically all of the places that
the shot has moved during the duration, and
| | 01:23 | it's going to say basically reverse all of
that so that you can lock the shot down and
| | 01:28 | allow it to be as smooth as possible.
| | 01:30 | So I'm going to turn off Scaling, which is
basically going to disable that Auto Zoom
| | 01:34 | or just not show it.
| | 01:36 | And I'm going to show you kind of what's
happening on the outside and then I'm going to enable
| | 01:41 | scaling so you can see you know how that helps.
| | 01:48 | All right, so you can see that the truck is
now fixed in the middle of the frame but you
| | 01:53 | definitely have all of that compensation
happening along the outside, but when I come in and
| | 01:58 | enable Scaling and let that Auto Zoom function,
you can see that we're zoomed in a little
| | 02:03 | bit but the truck is not
bouncing all over the place.
| | 02:06 | It is in the center of the frame.
| | 02:10 | All right, so I should mention that by default,
the Stabilize effect uses an engine called the FluidStabilizer.
| | 02:23 | There are some other stabilizing engines,
the FluidTracker, the Correlation Tracker.
| | 02:28 | We will take a look at the Correlation
Tracker in the next movie doing something slightly
| | 02:31 | different, but I do want to mention that if
it doesn't come out quite as you had planned
| | 02:36 | you may want to change the tracking engine
that it's using, you also may want to Disable
| | 02:42 | Steady Glide and Enable Smoothing.
| | 02:45 | Basically what Steady Glide does is it
maintains any inherent camera movements so if there's
| | 02:51 | some pens and tilts, it will keep
that while still stabilizing the shot.
| | 02:57 | So occasionally, you'll want to
uncheck Steady Glide and check Smoothing.
| | 03:02 | It's not going to maintain that camera movement,
but it's going to apply smoothing nonetheless.
| | 03:08 | So those are some parameters that you might
want to adjust if it doesn't come out the
| | 03:12 | way you like it, but in general it is as simple
as just applying the Stabilize effect, letting
| | 03:18 | it analyze the image, and then
it stabilizes usually pretty well.
| | 03:23 |
| | Collapse this transcript |
| Changing and fixing portions of the video frame| 00:00 | As we've been talking about throughout this
chapter we're often presented with footage
| | 00:04 | that is less than ideal.
| | 00:06 | Sometimes you'll need to correct a portion of
your video frame, whether that means fixing
| | 00:10 | scratches or color correcting and
underexposed or overexposed area, or blurring faces for
| | 00:16 | people that didn't grant
their image to be released.
| | 00:18 | All of this can be done quite
easily with the Paint Effect.
| | 00:22 | Now for a full explanation of the capabilities
of the Paint Effect you can feel free to take
| | 00:26 | a look at one of my other lynda.com courses,
Editing with Compositing and Effects in Avid Media Composer.
| | 00:32 | But here we'll just visit some of the most
commonly used documentary centric Paint Effects.
| | 00:36 | All right, so I have my scene here of the
farmers market, and I have a piece of footage
| | 00:43 | here near the end where I think the sky is
a little blown out, it's just bright white,
| | 00:49 | and there's little blue
tinges around the leaves.
| | 00:52 | So what I'd like to do is just make the sky,
in general, just a very light blue, I think
| | 00:57 | that would look better.
| | 00:58 | All right, so I can do this with a Paint
Effect, I can just go into my Effect palette, and
| | 01:03 | it's in the Image category,
Paint Effect, go ahead and apply it
| | 01:09 | and open up the Effect Editor, and what I want
to do is just draw a shape right around here,
| | 01:16 | and I am going to include the leaves because
I'll be able to cancel those out using one
| | 01:20 | method, so I am just going
to zoom out just a tiny bit.
| | 01:23 | And I have my shape drawing tools over here,
I am just going to grab the Curve tool and
| | 01:29 | just trace an outline around
this general area, like so.
| | 01:38 | And we've got a bright red shape, and that is
because in my mode menu I have Solid selected,
| | 01:46 | and it's also because the Color is red.
| | 01:49 | So I have a lot of options in here that are
good for color correcting, as you can see,
| | 01:55 | most of them are color correcting options.
| | 02:00 | Before we actually choose one, what I am going
to do is I am going to change this to Outline
| | 02:07 | and all that does is just make a general
outline around so I can look at the video underneath.
| | 02:12 | I'm going to choose this white color,
because I want to say that anything that is white,
| | 02:18 | I want to turn blue.
| | 02:19 | So I do have a few things that I want to
ignore, and I do that with the Magic Mask.
| | 02:25 | So I'm just going to use my eye dropper and
click, and without releasing the mouse I am
| | 02:30 | going to come over here and sample the
white and then I'll release the mouse.
| | 02:35 | And so now Magic Mask is enabled, I have white
elected, and now I'll come back into the mode
| | 02:40 | menu, and I am going to choose subtract.
| | 02:44 | Now subtract basically subtracts the color
from the shape that I have selected, so I'm
| | 02:50 | going to choose subtract and then go into
Color, and I am going to take a look at my color wheel.
| | 02:56 | So this is the general area where I want
the blue sky to be, and I am right here right
| | 03:01 | now, so I am just going to
move this up a little bit.
| | 03:03 | Got that orange and the opposite of orange
is blue, so it's going to take away orange
| | 03:10 | from this area, and it's quite dark right
now, so I am going to just come into mode
| | 03:15 | and dial it down may be to right there, and I
am going to click away to show you one more thing.
| | 03:23 | It's a very stark edge, so I'm going to select
the shape, come over to Feathering and increase
| | 03:31 | the Horizontal and Vertical parameters under
Feathering, so it's sort of blending the shape
| | 03:36 | into the background, and then I am going
to decrease my Bias a little bit, okay.
| | 03:42 | So here's my new sky.
| | 03:44 | It might be a little obvious to you, since
we just worked on it, but go ahead and look
| | 03:47 | away and then look back and look at
obviously our subjects, and it's not so noticeable.
| | 03:54 | We'll do before and after,
I have a dual split here.
| | 03:57 | Here is before, and I have my white triangle
is all the way over here, it probably is going
| | 04:02 | to open up for you just in the middle here.
| | 04:05 | To do it before and after you can just drag
that all the way to the right and here's before
| | 04:10 | and here's after, all right.
| | 04:12 | So looks pretty good, I'll keep it and any
other overexposed or under exposed areas I
| | 04:18 | can draw a shape around.
| | 04:20 | And do a little bit of
experimenting about what works.
| | 04:23 | I tried Colorize before but I did like the
results with subtract a little bit more, so
| | 04:27 | that's why I chose that.
| | 04:29 | So, there's a lot of options but I did want
to show you one more thing before we stopped,
| | 04:35 | it's on this shot here.
| | 04:37 | Let's imagine that this woman saw us taping
and then came over and said you know I really
| | 04:42 | don't want to be on film, I don't grant permission for
you to use my image, so we've got to blur her out.
| | 04:50 | Do the same basic thing, if I click on the
Paint Effect and drag that over, I am going
| | 04:55 | to open it up.
| | 04:56 | And I am going to go to the first frame, and
I just, I am going to take the Oval tool
| | 05:02 | and draw a shape around her face.
And there's too obstruction commands in here.
| | 05:09 | One is Blur, so she'll look like that and
the other is Mosaic which I like a little bit better.
| | 05:15 | All right, but as I move through, she
obviously walks out of her Mosaic, so we need to have
| | 05:22 | it move with her.
| | 05:24 | I can add keyframes and do it, but I want
to show you how to do this via the Tracking tool.
| | 05:28 | All right, so we've seen the
Tracking tool before in a previous movie.
| | 05:33 | This time I am going to open it right here,
this button opens up the Tracking tool.
| | 05:37 | And I have the tracker, and what I want to do is
just place it right on an area of high contrast, okay.
| | 05:47 | So it basically works best when you have an
area where it is dark and where it is light
| | 05:53 | right over the X.
| | 05:54 | The inside box is where it's going to focus
and the outside box is basically where you're
| | 05:59 | saying don't go out of here
when you're looking for it.
| | 06:01 | So, initially, I always start my track just
in the default mode, and here we're using
| | 06:06 | the Correlation Tracker engine.
| | 06:08 | What you want to do is just make sure that
the yellow X sticks onto this place as she's
| | 06:12 | walking through the frame.
So I am going to start my track.
| | 06:16 | All right, so it probably is
going to be fine, it sort of moved.
| | 06:25 | You'd like it to stick a little bit more than
that, but let's go ahead and try this tracking
| | 06:28 | data, this yellow part right here is the
tracking data, and it's not too much movement, but
| | 06:33 | I think it'll work fine.
If not, we'll go ahead and redo the track.
| | 06:37 | Okay, so I am going to come back here, select
my shape which it is selected and then I am
| | 06:44 | going to twirl down tracking and then
just attach the tracking data to it.
| | 06:48 | So now when I go through you can see
that the Mosaic shape goes with it.
| | 06:54 | Now she is walking towards us, so she's
actually getting larger, which means that the shape
| | 06:59 | needs to get larger.
| | 07:00 | So I'm going to just click on this last
keyframe and just increase the size of that shape and
| | 07:07 | then now, not only will it move through
space, but it's also going to grow in size.
| | 07:13 | Okay, so I am just going
to play it in the Timeline.
| | 07:13 | (BD Dautch: ...so many dimensions to it, way beyond simply
feeding people. It becomes a celebration of--)
| | 07:24 | Okay, so there is our two Paint Effects.
| | 07:26 | Obviously for this one what I probably would
do instead of destruct her face is just use
| | 07:31 | a different crowd shot and not have her on it
all, but sometimes you can't do that, sometimes
| | 07:37 | you have no choice, you need a shot and so
you need to Blur or Mosaic somebody out of out.
| | 07:42 | So it's quite easy to do, once you've drawn
the shape and have changed your mode you might
| | 07:46 | have to add a track to it.
| | 07:48 | And as long as the track is
successful, it's a really nice quick fix.
| | 07:52 | So this type of editing is called inter-frame
editing, because we're literally climbing
| | 07:56 | inside of the frame to make visual adjustments.
| | 07:59 | This type of quick fix can be extremely valuable
in documentary editing and can mean the difference
| | 08:03 | between scrapping a shot and saving a shot.
| | 08:08 |
| | Collapse this transcript |
| Compressing and expanding time in video and audio| 00:00 | If there's one thing about documentary editing,
it's that you're constantly dealing with trying
| | 00:04 | to compress or stretch time.
| | 00:06 | Almost never are you dealing strictly in real-time,
and we've already learned some great techniques
| | 00:11 | for dealing with larger time issues like montage
editing and parallel editing and process footage editing.
| | 00:17 | Here however, we'll take a look at a very
powerful speed tool called the Timeshift plug-in,
| | 00:22 | and that allows us to make
more minute speed changes.
| | 00:25 | All right, so I have here, the portion of
the documentary that deals with BD on his
| | 00:31 | farm and here he's driving to the farmers
market and he's chatting about what the farmers
| | 00:36 | market means to him, but he's a little poky, he is not
really spitting it out fast enough and kind of lags.
| | 00:43 | I'm not going to play the whole thing, but
I will play a sample of it for you can see
| | 00:47 | what the main issue is. And by the way, we do
hear the truck we will I send that to sound
| | 00:52 | design and make sure that we get some noise
reduction here, but just take a look and hear his words
| | 00:58 | and see how the pace is feeling to you.
| | 01:01 | (BD Dautch: ...something bigger than your
compost pile, bigger than your ego, and
| | 01:10 | definitely bigger than your
bank account, but the rewards--)
| | 01:15 | All right, so it would be great if he
was just talking a little bit faster.
| | 01:19 | I don't have any B-roll to put over
him to just start slicing this up.
| | 01:22 | So I just like this to happen
faster, maybe 25% to 30% faster.
| | 01:28 | All right, so what I'm going
to is first affect my video.
| | 01:32 | If I come over to my Effect palette, and
I'm going to go to the Timewarp category, and
| | 01:38 | I'm going to choose Trim To Fill.
I'm just going to place that on my video.
| | 01:44 | And you can see I'm just going to zoom in here,
that I'm at a 100%, and if I start trimming
| | 01:51 | like so, it's going to start making it faster.
| | 01:57 | So if I trim to about 130% I would like to
try that out, I think that making it that
| | 02:03 | much faster will improve it.
But when I play it you'll see what happens.
| | 02:09 | (BD Dautch: ...bigger than your ego, and
definitely bigger than your bank account.)
| | 02:14 | All right, so I'm out of sync
| | 02:16 | obviously, my video is at 130%
and my audio is still at a 100%.
| | 02:21 | So I just want to enable A1 and then go up
to Tools and AudioSuite, and as long as I'm
| | 02:28 | parked here, and I have A1 selected, I'm just
going to come into this menu and choose Time
| | 02:34 | Shift and the plug-in gets deposited
automatically, but nothing has changed until I activate the
| | 02:41 | plug-in and then this window comes up, and
I'm just going to change from poly to mono.
| | 02:48 | And I come here, and this is the speed.
| | 02:51 | So I can work this dial going slower or
faster and they key is that it's going to make it
| | 02:59 | faster without increasing pitch, so he's not
going to all of a sudden sound like a chipmunk.
| | 03:03 | And this is key, I need to be able to still
know that it's him and make it go faster.
| | 03:11 | So it's sort of compressing the space in
between the words, but it's not changing the pitch
| | 03:16 | of his voice unless I came down here and started
messing with pitch as well, which we're not going to do.
| | 03:21 | So I'm just going to just type in here 130.
| | 03:25 | So now I'm at 130% on audio and 130% on video,
and there are some other parameters that I
| | 03:34 | can change, but I think this is
going to be just fine for what I want.
| | 03:38 | So I'm just going to preview it
and make sure that he sounds okay.
| | 03:42 | It's just analyzing really quick.
| | 03:46 | (BD Dautch: ...something bigger than your
compost pile, bigger than your ego, and
| | 03:53 | definitely bigger than your bank account.)
| | 03:55 | Okay, so he still sounds like himself, I'm
fine with that, let's go ahead, I'm going
| | 03:59 | to go back in and Render and OK, and you can
see that I'm showing my wave form, it ends
| | 04:09 | at about the right location.
| | 04:10 | Let's go ahead and play
it and see, how it works.
| | 04:15 | (BD Dautch: ...bigger than your ego, and
| | 04:18 | definitely bigger than your bank account,
but the rewards are just like--)
| | 04:24 | All right, so I might want to tweak it a
little bit, he might be going just a tad, tad fast
| | 04:30 | but visually it's okay, I mean, it doesn't seem
like he's driving really, really, really fast.
| | 04:36 | So visually it's fine.
| | 04:38 | Audio wise, again I think it's just a tiny
bit fast so I might slow that down, but when
| | 04:43 | I do, I'm all set.
| | 04:45 | I have shifted the video, I've shifted the
audio I can then just come in and extract
| | 04:51 | this part right here at the end, I'm just
going to lift, press Z, and there we go.
| | 04:57 | I have increased the speed of both video and
audio to 130%, and he's spitting out his words
| | 05:03 | just a little bit faster. So as you can see, this
is an easy thing to fix, it's also fairly common.
| | 05:10 | You may not use it in awful lot but especially
in documentary editing when you need something
| | 05:14 | to last just a little bit longer or tighten it
up just a little bit quicker, it can certainly
| | 05:20 | become very useful in certain circumstances.
| | 05:25 |
| | Collapse this transcript |
| Repairing jump cuts using the FluidMorph plug-in| 00:00 | As we learned previously, stringing together
multiple talking headshots and then covering
| | 00:04 | the resulting jump cuts with B-roll is a
standard way of working when editing documentaries.
| | 00:10 | Most of the time, this works out just fine.
| | 00:12 | You're able to cover up the jump cuts with
the appropriate footage without any problem.
| | 00:16 | Sometimes however, either because you don't
have the right B-roll, or because you don't
| | 00:20 | want to introduce a weird flow of too much
B-roll in a certain area, you may just want
| | 00:25 | to include two talking headshots
edited one right after another.
| | 00:28 | Fortunately, you can usually do this without the
audience noticing by using the FluidMorph plug-in.
| | 00:34 | Let's take a look.
| | 00:35 | All right, so this is the conclusion of the
documentary, BD is talking about how much
| | 00:40 | he loves his life and his profession.
| | 00:42 | I've got a lot of B-roll here, and I just
want him saying as a talking head right here
| | 00:49 | I don't want any B-roll over this area.
| | 00:51 | So I want him talking throughout this cut.
| | 00:53 | So I'm going to go ahead and just play through
the cut so you can see what I'm talking about.
| | 00:57 | (BD Dautch: ...the luckiest person in the world,
to be able to do what you feel is your calling.)
| | 01:02 | All right, so what I want to do is just smooth that
out, and so I'm going to apply the FluidMorph plug-in.
| | 01:07 | I'm going to come over to the Effect palette,
and I'm going to go to Illusion FX and FluidMorph,
| | 01:13 | and I'm going to just make sure to
put that right on the transition.
| | 01:17 | You want to make that it's on the transition
and not on the segment, or it will look like
| | 01:21 | his face is melting.
| | 01:22 | So, I'm parked on there, I'm
going to open up the Effect Editor.
| | 01:26 | And right away, it comes in at 1 second,
as do all transition effects.
| | 01:31 | You want to change that.
You want to make it about 8 frames or so.
| | 01:35 | So, I'm just going to type 8,
Enter, and now we're at 8 frames.
| | 01:40 | I'm just going to play through it, so you can see
kind of what's happening through these 8 frames.
| | 01:45 | Again, this is the A side.
| | 01:46 | So, this clip right here, and by the time we're
finished with the 8 frames, we'll be to the B side.
| | 01:52 | All right. Not bad.
| | 01:56 | Could you tell where it morphed? It's
literally happening throughout this transition.
| | 02:03 | So, it's pretty hard to tell,
and it's doing a pretty good job.
| | 02:07 | I'm going to go ahead and render it,
and then we'll play it in real-time.
| | 02:11 | So I'm going to Render Effect, okay, and I'm going to
go ahead and play through, and let's see how it works.
| | 02:20 | (BD Dautch: ...in the world, to be able to do
what you feel is your calling. I mean, I just--)
| | 02:25 | All right, well, you might have noticed
just a tiny bit of a morph as you kind of look
| | 02:31 | at his hair and the side of his face.
| | 02:33 | I promise you though, if you were just
watching it, and you didn't know that it was there,
| | 02:37 | it really would not be noticeable.
| | 02:39 | Now this is not really possible if the
background changes significantly or if the position of
| | 02:44 | his face or body would change significantly.
| | 02:47 | But for an interview where the subject is
usually situated in the same general area
| | 02:52 | and the background is unchanging,
this is a really nice solution.
| | 02:56 | Now, I'm going to go back into the Effect
Editor, and I want to talk about a couple
| | 03:00 | of other parameters.
| | 03:01 | If this doesn't work, you'll probably want to come
down to this pulldown menu and change the combination.
| | 03:08 | Now, everything on the left represents the A side,
and everything on right represents the B side.
| | 03:14 | So right now, we're still
on the A, still on the B.
| | 03:18 | All this means is that this is the last
frame of the A side clip, and the first frame of
| | 03:24 | the B side clip, and
that's what's being morphed.
| | 03:27 | The stream is just the stream of video leading
up to the cut on both the A side and the B side.
| | 03:33 | And then basically it breaks it down from
there, the stream of video on the A side with
| | 03:36 | the still image on the B side and vice-versa.
| | 03:39 | So, a lot of times if it doesn't work with
Still->Still, I'll go to Stream->Stream
| | 03:44 | and see how that works.
So that's always a possibility.
| | 03:47 | You also have the option
of enabling Feature Match.
| | 03:51 | So basically, the way this works is it
matches up the general Luma values of the face as
| | 03:57 | it detects it on both the A and the B side.
And so usually that's fine.
| | 04:01 | But Feature Match goes a step further and
takes a look at the features on the face and
| | 04:06 | matches those up as well.
| | 04:08 | So again, if you're not happy with the
FluidMorph, you can come in and enable Feature Match,
| | 04:13 | and then re-render it and see how it works.
| | 04:15 | Okay? So, that's basically what I would
recommend, change the way that the morph is happening
| | 04:22 | throughout this dropdown menu, and then also
enable Feature Match, and you're usually going
| | 04:27 | to end up with something
that looks pretty good.
| | 04:30 | All in all, I am pretty happy with this one.
| | 04:32 | Again, I don't think you can tell very
much if you don't know that it's there.
| | 04:35 | So, I'm going to leave it as it is.
| | 04:38 | So as you can see, the FluidMorph plug-in
allowed us to include multiple interview shots
| | 04:42 | without the need for B-roll
to cover up the jump cuts.
| | 04:45 | Now, while it won't work all the time, it's
a great little tool to fix most small issues
| | 04:49 | of this nature.
| | 04:54 |
| | Collapse this transcript |
|
|
7. Picture Lock and FinishingGetting feedback, making adjustments, and receiving approval| 00:00 | So, you've combined and trimmed
your scenes to complete the rough cut.
| | 00:04 | Once you've screened the film for yourself
many times to make sure everything is working,
| | 00:08 | you're prepared to show it to others.
| | 00:11 | This is because while you've been editing the film,
you've been working in somewhat of a vacuum.
| | 00:15 | Now you're ready for fresh eyes and ears
to tell you what's working and what isn't.
| | 00:20 | Truly, holding a screening in front of an
audience teaches you a whole lot about your work.
| | 00:25 | Sometimes screenings are
exciting and sometimes they're hard.
| | 00:29 | But you should try your best to get as much
out of them as possible, so your project can
| | 00:33 | continue to improve.
| | 00:35 | A few things about this very important phase,
like I said previously, you need to screen
| | 00:39 | it for people who are both invested in the
film and for those that have no stake in the
| | 00:43 | film's success at all.
| | 00:45 | You want to make sure you get the sort of
feedback that lets you know how your cut compares
| | 00:49 | with the vision of the
director and ultimately the client.
| | 00:52 | But also you need to make sure that the film
works for the general public, since that's
| | 00:56 | going to be the majority of
the audience that sees it.
| | 00:59 | Prior to each screening, make sure
the screening room is ready to go.
| | 01:03 | Ensure the video looks good on your monitor,
and the speakers are broadcasting the audio
| | 01:07 | at the correct level.
| | 01:09 | Make sure the lighting in the room is just
right, and that no one in the room will have
| | 01:11 | an obstructed view.
| | 01:12 | Now, you can also upload the rough cut online and
ask people to watch and comment on it that way.
| | 01:18 | Sometimes, when you're not in the room at all,
you can make it the most honest feedback.
| | 01:22 | If possible, start out the screenings with a
small audience, and try to read their expressions.
| | 01:28 | Keep your eyes on them
more than on your screening.
| | 01:31 | Try to gauge their level of attention
at each section of the documentary.
| | 01:35 | After the screening, begin asking broad
questions, and then get more specific.
| | 01:40 | Try to get a strong sense for the
audience's understanding interest and emotion.
| | 01:45 | Sometimes, negative feedback might be vague.
| | 01:48 | In this case, you need to try your best to
figure out what exactly is working, and what
| | 01:52 | isn't by asking good, and specific questions.
| | 01:56 | You won't remember everything, so
be sure to take plenty of notes.
| | 02:00 | Be sure not to argue with your audience.
| | 02:03 | Try not to be defensive even
though that might be difficult.
| | 02:06 | The point of the screening is to
figure out what's working and what isn't.
| | 02:09 | After all, no one says you have to
listen to everything everyone says.
| | 02:13 | But that's why you should screen the
film for as many audiences as possible.
| | 02:17 | If you consistently get similar negative
feedback, there may be something to it.
| | 02:21 | Once, you've gained valuable feedback,
it's time to make changes to the film.
| | 02:26 | You will be collaborating heavily with the
director during subsequent edits, and for
| | 02:30 | this reason, the phase is
often called the Director's Cut.
| | 02:34 | You're essentially aligning your vision of the
film with that of the director during this phase.
| | 02:39 | You might be making small trims, or you might be
moving entire scenes around or deleting scenes.
| | 02:45 | Going through this phase can be difficult, but it's
often necessary and usually makes the film better.
| | 02:50 | You will continue to screen versions of the
working edit until feedback finally filters
| | 02:55 | down to a trickle.
| | 02:57 | And eventually, you will
get the official blessing.
| | 03:00 | Once you finally reach this phase,
you have reached picture lock.
| | 03:04 | Picture lock means that no further edits
can be made and the film is ready to send for
| | 03:08 | titling, audio mix, and color correction.
| | 03:11 | We'll discuss these phases of the
post-production process in the next few movies.
| | 03:16 |
| | Collapse this transcript |
| Creating multiple titles and lower thirds| 00:00 | Once your documentary is ready
to go, you'll want to add titles.
| | 00:03 | Now, by far, the most common type of title
for a documentary is the lower-third, which
| | 00:08 | is a title that identifies a speaker.
| | 00:11 | Depending on your workflow, you may send
your titles to be created by a motion graphics
| | 00:15 | expert who might use a third-party program
like Adobe After Effects, and then you just
| | 00:19 | import the titles during the final
phase of the edit, and that's fine.
| | 00:23 | However, there is a nice titling and graphics
program right insight Media Composer called
| | 00:28 | Avid Marquee that allows you
to mass create your titles.
| | 00:31 | So that's what I want to show you.
| | 00:32 | All right, so I have my sequence here, and
it's ready for titles, and I want to open
| | 00:39 | up marquee, so I'm going to go to Tools > Title tool
Application, and there are Two Title Tools in Marquee.
| | 00:45 | There is the Title Tool, it's very, very basic
rudimentary editor, and then there's Marquee.
| | 00:50 | So I'm going to choose that.
| | 00:53 | And I can create my title from
scratch, that's totally okay.
| | 00:56 | If you want basic marquee instruction, you can
check out my Media Composer Essentials course.
| | 01:01 | However, I'm just going to load a predefined
Avid template to edit and then I'm going to
| | 01:07 | show you AutoTitler, which is going to
allow us to mass create those titles.
| | 01:11 | All right, so here in the Templates Library, I
want to choose Templates and then Avid Templates,
| | 01:17 | and then Lower Thirds.
| | 01:20 | And here are just a couple templates that
I can use, and then modify if I want to.
| | 01:25 | I can come in and grab it, and then modify it.
| | 01:29 | I'm going to need to press Command+Z,
or Ctrl+Z, to get rid of that. Okay.
| | 01:35 | I'm just trying to find one that I
think would be a good base, simple one.
| | 01:40 | All right, so I think I'm going to use this
one, and then just modify it just a tiny bit.
| | 01:45 | I can grab the color of this purple line
and make it more of maybe a blue, and then I'm
| | 01:54 | going to grab this highlight color,
and make it more of maybe an icy blue here.
| | 02:00 | Okay, so these are very basic
modifications, you can go nuts if you want to.
| | 02:04 | I do want to call out just a
couple of things. This is a layer.
| | 02:09 | And if I take a look in Layers, you
can see that it has four objects.
| | 02:12 | It has two text boxes.
| | 02:15 | So if I click on Text Box 1, that's associated
with this, Text Box 2 is down here, and then
| | 02:21 | I have my Purple Rule and my gradient.
| | 02:25 | This must be named Text Box 1, and this must be
named Text Box 2 in order for AutoTitler to work.
| | 02:32 | I'm going to show you the document that I'm
going to be bringing in, so this makes just
| | 02:36 | a little more sense.
| | 02:38 | I'm just going to minimize this, and this,
and go into transcripts and titles, and my
| | 02:45 | credits, and I just have six credits here.
| | 02:48 | I just want to show you that this line
corresponds to Text Box 1, and then you just press Enter
| | 02:54 | once, and this line corresponds to Text Box 2.
| | 02:57 | And then you press Enter
twice and then you do it again.
| | 03:00 | This is the structure.
| | 03:01 | This can be again 6 titles or 600, it doesn't
matter just as long as it's structured like
| | 03:08 | this, and it's saved as a
plain text document, so a .txt.
| | 03:12 | All right, so I go back into Marquee, and we
want to now that we have created the template
| | 03:20 | or actually used the template and just
modified it slightly, and we've made sure that these
| | 03:24 | are named correctly, I just go to File >
AutoTitler, and I find that Credits list, and open, and
| | 03:34 | Starting Title Number 1
is fine. So we'll say OK.
| | 03:36 | And as you can see, those six titles were
created super fast, here, they are all available
| | 03:44 | in the Windows menu.
| | 03:45 | You can kind of see them
here, and pretty good, huh?
| | 03:51 | So, I'm going to go ahead
and save these to the bin.
| | 03:54 | So I'm going to go to File, and I can just
Save to Bin if I just want the one that's
| | 04:00 | loaded Save to Bin, or Save All
to Bin if I want them all to go.
| | 04:05 | So just creating the titles,
creating the Alpha channels.
| | 04:12 | There was an untitled one,
which is what I started with.
| | 04:15 | I'm going to not save that
one, we don't need that.
| | 04:18 | But here they all are.
| | 04:19 | They are just as I want them, and I can
just edit them right into the sequence.
| | 04:26 | So basically, I would just find my first instance of
BD being on screen, which is not in the introduction.
| | 04:35 | Actually, we'll just grab, well we
probably won't identify them in the intro.
| | 04:39 | So, I'm going to go get BD right here.
| | 04:44 | So, I'll just mark an in and an out, patch
V1 to V3, and I'm just going to overwrite B.
| | 04:56 | And there we go! And I probably should
have paid attention to who I was overwriting?
| | 05:01 | I need to get BD's title.
| | 05:03 | So, I'm just going to
quickly get him and overwrite.
| | 05:08 | There we go! That's the right
guy just full resolution there.
| | 05:16 | So, as a result of me using the template,
this is probably not the best design for
| | 05:20 | the titles, but you get the idea.
| | 05:23 | You can certainly go in, you can make it look
however you want and then just using the AutoTitler,
| | 05:28 | you can create them all in mass.
| | 05:30 | Again, whether you have 6 or 600, it's really
created in the blink of an eye, and it's really,
| | 05:35 | really convenient for creating lots of
Lower Third titles for your documentary.
| | 05:40 |
| | Collapse this transcript |
| Understanding the finishing process| 00:00 | Once you have locked your picture, and have
either sent away for titling or completed
| | 00:04 | them yourself, you're ready to tackle other
finishing stages of the post-production process.
| | 00:08 | We are going to talk about two of these right now,
the professional audio mix and color correction.
| | 00:14 | Now, these phases of the process are extremely deep,
and we won't be going through them step-by-step,
| | 00:19 | but I did want to at least
get you acquainted with them.
| | 00:22 | Let's first address audio.
| | 00:23 | Now, you have probably already done a
general level of acceptable work in Media Composer
| | 00:28 | regarding general correction of level and pan,
and you may have addressed some corrective
| | 00:33 | work via audio suite plug-ins, but by and large,
most major audio corrections are typically
| | 00:38 | done outside of Media
Composer, most often in Pro Tools.
| | 00:42 | Whether the audio mix is completed in Media
Composer or exported to Pro Tools, there are
| | 00:47 | several issues that should be addressed
in a general workflow by the audio mixer.
| | 00:51 | The level and pan must be
adjusted to balance the mix.
| | 00:54 | Then the dialog, and in our case the interview
audio, must be emphasized and all other supplementary
| | 01:00 | audio must be mixed appropriately.
| | 01:03 | Room tone or ambiance must be used to repair
sections of audio that need to be replaced or re-edited.
| | 01:09 | EQ should be adjusted to eliminate
unwanted frequencies and enhance desired ones.
| | 01:15 | EQ adjustments should also be made to
match audio quality between interviews.
| | 01:20 | All attempts to eliminate or reduce unwanted
background noise must be made and finally,
| | 01:25 | damaged or distorted audio
should try to be recreated.
| | 01:29 | There are of course countless other adjustments
that the mixer will make, but this is at least
| | 01:34 | a high-level understanding of the process.
| | 01:36 | If you're interested in learning how to mix
audio, there are several Pro Tools audio mixing
| | 01:41 | and mastering courses on lynda.com.
| | 01:44 | To export your audio for Media Composer for
Pro Tools, you will need to ask the sound
| | 01:48 | designer how you should deliver it.
There are a couple of options.
| | 01:52 | If you have a fairly small sequence, like
less than 20 minutes, you can do an AAF export
| | 01:57 | and choose to consolidate and embed the media.
| | 02:01 | This results in a single file
containing the edit and the media.
| | 02:05 | Your Pro Tools Editor can then import that
file into a Pro Tools session and all your
| | 02:10 | cuts in media will be translated appropriately.
| | 02:13 | If your sequence is larger, you might want to
copy all audio media from your Avid MediaFiles
| | 02:18 | folder onto a portable drive, export your
sequence as an AAF, and just choose "link
| | 02:24 | to existing" media.
| | 02:26 | The result is a file that only
carries your edit, not the media.
| | 02:30 | Then Pro Tools can link to the copy
of the original media that you supply.
| | 02:35 | Now, after all of this audio work is done,
you will get the audio back from the mixer,
| | 02:39 | and it will be one mixed file, usually a WAV
file that you will bring into your project
| | 02:44 | and edit into your master sequence.
| | 02:47 | Another large and crucial phase of the
finishing process is color correction, which should
| | 02:52 | also only be completed once
picture lock has been achieved.
| | 02:55 | Documentaries especially benefit from careful
color correction since the footage is often
| | 03:00 | been shot under so many
different lighting conditions.
| | 03:03 | The color correction workflow is a deep one,
and if you want to explore the entire process,
| | 03:08 | you can check out my lynda.com course titled
Color Correction: Creating a Polished Look
| | 03:12 | in Avid Media Composer.
This will take you through every stage.
| | 03:16 | Again, here, I'll just give you a
very high-level overview of the process.
| | 03:21 | Color correction starts by analyzing and
correcting shots on an individual level.
| | 03:26 | You first get accurate black and white levels.
| | 03:29 | You then work to remove
any existing color cast.
| | 03:32 | Finally, you improve the general color, the hue
and saturation of your image, paying particular
| | 03:37 | attention to your flesh tones.
| | 03:40 | Once the shots are corrected, your next
job is to establish shot-to-shot correction.
| | 03:46 | You want to make sure as best as possible
that all shots from one scene look like they
| | 03:50 | belong together, and that each
scene fits together visually as well.
| | 03:55 | Finally, once all individual shots are
corrected, and you have made sure that all the shots
| | 04:00 | fit together well, you can apply a broadcast-safe filter
so that everything falls within legal broadcast levels.
| | 04:07 | You can also apply a global look or style to
one or more sections of the film if you like.
| | 04:13 | So let's just go over this very broadly.
I have here a shot that needs to be corrected.
| | 04:19 | It's a shot in one of my scenes.
| | 04:21 | So by setting accurate black and white levels,
removing color cast, and improving the color
| | 04:27 | hue and saturation, it looks like this.
This is correcting a shot on individual level.
| | 04:32 | Then I want to make sure that all of the shots in
this scene look like they belong together, like so.
| | 04:40 | So we're paying attention not only to one
shot, but a little bit more globally to all
| | 04:45 | of the shots from one scene, and this is
establishing shot-to-shot consistency.
| | 04:50 | Then once I've done the work in making sure
that my shots look good and my scenes look
| | 04:55 | good, I can then stylize the film if I like.
| | 04:59 | So I might want to apply a filter, like so,
and you can do this to the entire film, to
| | 05:06 | certain sections, whatever
makes sense for your documentary.
| | 05:10 | Now, you can color correct your film in
Media Composer, or you can send the sequence to
| | 05:15 | a professional colorist that will complete
the online color correction in Avid Symphony
| | 05:20 | or another third-party program.
| | 05:22 | Now, both the professional audio mix and the
color correction phase are just part of the
| | 05:26 | essential steps in finishing your documentary.
| | 05:29 | You may also send away for professional effect
in compositing work or professional titling,
| | 05:34 | but like I said before, these online editing
stages are far too extensive to describe in detail.
| | 05:40 | For now just realize how important they are in
making sure you deliver the best quality product possible.
| | 05:45 |
| | Collapse this transcript |
| Delivering the project| 00:00 | When all finishing stages of the
post-production process are complete, you're going to need
| | 00:04 | to reassemble your finished
elements in a new master sequence.
| | 00:08 | Then you've got to deliver the
sequence to the specifications needed.
| | 00:12 | And really, these delivery requirements are
so important to the post-production process,
| | 00:17 | so most good editors find this information out early
as it can certainly influence your entire workflow.
| | 00:23 | Now, delivery requirements run the gamut,
depending on who you're delivering the product
| | 00:27 | for and what they're going to do with it.
| | 00:30 | You might need to deliver
a high-resolution file.
| | 00:33 | If this is the case, you need to research
the format and codec information that the
| | 00:37 | file needs to be delivered at.
Or you might need to deliver a master tape.
| | 00:43 | Again, you'll need to research format and codec
information, as well as tape stock requirements,
| | 00:48 | as well as leader requisites, like your
bars and tone and slate and countdown.
| | 00:53 | Or you might have to prepare your
project for a full online edit.
| | 00:57 | This is where you deliver the Avid project
folder, along with the Avid media files folder
| | 01:02 | for someone else to perform an online edit.
| | 01:05 | And again, you'll need to do all necessary research
for how you should deliver these project elements.
| | 01:10 | So just a little explanation about this process,
when you're working with low-res files, you're
| | 01:15 | essentially doing the offline edit, making all of
the decisions about how the sequence will be edited.
| | 01:21 | When you've reached picture lock, the low-res
files will either need to be relinked to already
| | 01:26 | existing high-res files, or the sequence
will need to be decomposed and then recaptured
| | 01:32 | or re-imported at a higher resolution.
| | 01:35 | If this is the case, then you would need to
wait on the color correction phase until this
| | 01:38 | was done, then the high-res files would be
color corrected and then ready for delivery.
| | 01:43 | Now, it's impossible to go through all of
these various scenarios for final delivery,
| | 01:47 | but I'll just take you on a very high level
set of options that you may be presented with.
| | 01:52 | Ultimately however, it's up to you to do
that technical research upfront to see how the
| | 01:56 | product should be delivered.
| | 01:58 | All right, so here I am in Media Composer,
I have my final sequence, it has its final
| | 02:03 | audio mix, as well its color
corrected video, I'm ready to deliver.
| | 02:06 | Now, I cover both exporting files and printing
to tape in my Media Composer Essentials course.
| | 02:12 | If you'd like a step-by-step process of
delivering a product using one of these methods, please
| | 02:16 | check out that course.
| | 02:18 | So just very quickly however, if I want to
export a file, I would right-click on my sequence
| | 02:23 | and choose Export, and then if I wanted to
export, for example, a QuickTime movie, I
| | 02:28 | would select that under Export settings.
| | 02:31 | And then under Options I would match up
these options to my delivery requirements.
| | 02:36 | A lot of times you choose Custom, Format Options,
and then under Video Settings you choose the
| | 02:43 | codec that you need to deliver at,
and there are other options as well.
| | 02:47 | We won't go through all of this, there's lots
of things to choose, but ultimately you need
| | 02:51 | to make sure that it matches your deliver
requirements. And again, if you need that
| | 02:55 | step-by-step process just
check out the Essentials course.
| | 02:57 | If I wanted to deliver a master tape, I would
do that through the Digital Cut tool, which
| | 03:02 | is in my Output menu.
| | 03:04 | And again, this process is laid out
step-by-step in that Essentials course.
| | 03:07 | As you can see, I don't have a deck
connected, so I can't go through this process.
| | 03:11 | But as you can see, there are a lot of
options that you need to choose in order to optimize
| | 03:14 | your Digital Cut experience.
| | 03:16 | Now, that last method I mentioned is
something that I haven't covered in another course,
| | 03:21 | and that's preparing a
sequence for an online edit.
| | 03:23 | Let me just briefly show you the files you'll
probably be asked to deliver for an online edit.
| | 03:30 | On my drive here I have my Avid Projects
folder. And again, this is the project where all
| | 03:35 | of my bins are contained, and inside those bins
are all of the clips and all of the sequences
| | 03:40 | that define the decisions that I've
made in putting together this documentary.
| | 03:44 | So I'll definitely need to
deliver my Project folder.
| | 03:47 | I'll also want to deliver
my Avid MediaFiles folder.
| | 03:50 | In this case it's the low-res version of the
files that I have been editing, and I want
| | 03:56 | to deliver that so that the online editor
can make sure that the online edit visually
| | 04:00 | matches the offline edit.
| | 04:02 | So at the very least I need to deliver Avid
MediaFiles as well as Avid Projects, and then
| | 04:07 | any other files that I use that they don't
have, I also want to provide those as well,
| | 04:10 | like Images and Titles and
Effects and all of that sort of thing.
| | 04:14 | Back in Media Composer I want to
take a look at a couple of things.
| | 04:17 | Now, when the online editor gets your project
he or she will do one of a couple of things.
| | 04:23 | May relink your low-res files to the
original high-res files, which they have.
| | 04:27 | So if I right-click on this sequence and
choose Relink, this Relink dialog box is often used
| | 04:34 | to attach offline media
to existing online media.
| | 04:38 | However, if you take a look down here at Video
Parameters, Relink to, I can choose HD video
| | 04:46 | format and Relink method, Highest Quality,
so basically as long as my media files exist
| | 04:53 | in an HD or higher quality format, I'm able
to relink my low-res version to that high-res
| | 04:59 | version, and it's as easy as that.
| | 05:01 | Now, if no high-resolution files
exist, you wouldn't do this, okay.
| | 05:06 | In that case, the online editor would need to
recapture or re-import those at this stage.
| | 05:12 | To do this the online editor will decompose the
sequence, which actually sounds a lot worse than it is.
| | 05:18 | Basically all a decompose does is break down
the parts of the sequence that you edited,
| | 05:23 | so not everything has to be recaptured or
re-imported at a high-resolution just the
| | 05:27 | elements you actually used in the sequence.
| | 05:29 | So here I would just right-click
and say Decompose.
| | 05:35 | And I want both Captured and
Imported clips to be decomposed.
| | 05:38 | I can choose a Handle Length, so if I did
want any flexibility in being able to trim
| | 05:42 | these later I can choose
2-second Handle Length.
| | 05:45 | I am just going to put 0 here.
And you can Create a New Sequence here as well.
| | 05:51 | And I'd want to make sure that Offline media
only is unchecked, because our sequence isn't
| | 05:56 | offline so we want to make
sure to decompose all of it.
| | 05:59 | So I'll say OK and OK, the new sequence
will be reeling to the new decomposed clips.
| | 06:05 | And as you can see, here, I have got Final Delivery,
which is currently loaded, and this is online.
| | 06:16 | And this one, Decomposed,
this is offline, media offline.
| | 06:20 | This is now linked to all of these clips,
so I am just going to open up my Decomposed
| | 06:25 | Bin, and I am going to click and then Shift-click
to get everything in there, move it over,
| | 06:33 | so I have my master sequence
here, and my Decomposed sequence.
| | 06:40 | So here you can see, here is all of
the clips that I used in my sequence.
| | 06:45 | Anything that I did not use
in my sequence is not here.
| | 06:49 | And these are all video clips, my audio is
going to remain my professionally mixed audio.
| | 06:53 | So this is just recapturing my video.
| | 06:57 | And again, I would do that
at the higher resolution.
| | 07:00 | Again, this isn't a process I am going to
go through step-by-step, but I did want to
| | 07:04 | show you how to effectively recapture
or re-import your video via a Decompose.
| | 07:09 | Also just so you know, this was more of a
high-level logistical demonstration, because
| | 07:13 | as I said before, I wouldn't have color
corrected the sequence before performing the online
| | 07:17 | edit, that would come after I up-rest.
| | 07:20 | So don't get confused by the fact that I left
the color correction effects on the sequence
| | 07:24 | in this example, I just wanted
to show you how to decompose.
| | 07:27 | So whatever your delivery method, you need
to make sure that you do your research early
| | 07:31 | so you're not surprised later.
| | 07:33 | Even if you're not delivering the product
for anyone else, and it's just for your own
| | 07:36 | purposes, it's important to know where
you're going, so the journey in getting there is
| | 07:40 | relatively free from technical surprises.
| | 07:45 |
| | Collapse this transcript |
|
|
GoodbyeNext steps| 00:00 | Now that you've finished this course, you should
have a new or renewed understanding into the
| | 00:05 | art of documentary editing in Avid Media Composer.
| | 00:07 | There is a lot to know about how to
effectively organize your materials and your ideas in
| | 00:13 | order to set yourself up for success, and
Media Composer has so many tools that can
| | 00:18 | truly help you out in your adventures to making
interesting, meaningful, and creative nonfiction narrative.
| | 00:24 | Now, if you want to join a community of
other Documentary filmmakers for support, ideas,
| | 00:30 | and collaboration, you might
want to check out doculink.org.
| | 00:34 | I am member and so many Documentary
editors I know are also part of this community.
| | 00:39 | You can connect with people on topics such
as equipments, editing techniques, screening
| | 00:43 | information, funding sources, jobs,
and the state of Documentary filmmaking.
| | 00:49 | To subscribe to the email mailing list, which
is really kind of the heart of doculink.org
| | 00:54 | just click on Subscribe and follow
the steps to join the Yahoo! Group.
| | 01:00 | Also, because this lynda.com course is about
one specific workflow, I frequently referred
| | 01:05 | to other lynda.com courses for more
exhaustive techniques in Avid editing.
| | 01:10 | So if you need further instruction in general
editing or color correction or effects, please
| | 01:16 | feel free to check out my other courses.
| | 01:19 | Good luck as you embark on the exciting world
of Documentary post-production, carving away
| | 01:24 | the one best story in the
mountain of possibilities.
| | 01:29 |
| | Collapse this transcript |
|
|
