IntroductionWelcome| 00:04 | Hi, I'm Ashley Kennedy, and welcome to
Narrative Scene Editing with Avid Media Composer.
| | 00:09 | In this project-based course, we'll be
exploring the creative art of scene construction and
| | 00:15 | editing three separates
scenes within a narrative film.
| | 00:18 | Before diving into editing, we'll become
acquainted with the setup and organization of
| | 00:22 | our project, and then we'll learn the basics
behind some important traditional editing conventions.
| | 00:28 | Then we'll explore the full end-to-end workflow
for constructing a traditional dramatic dialogue
| | 00:33 | scene starting with the digital script and
going through the rough-cut and refining phases.
| | 00:38 | Next, we'll take a look at how to cut a creative
montage to show the passage of time, combination
| | 00:44 | of ideas, and the projection of emotion.
| | 00:47 | We'll then combine both traditional and
creative editing techniques to edit a flashback scene
| | 00:52 | being sure to give it a nice stylistic flair.
| | 00:56 | And finally, we'll explore the concepts
behind larger issues of scene flow and story arc,
| | 01:01 | as well as how to conduct feedback sessions,
make revisions, and bring together the final
| | 01:06 | elements in the process of finishing the film.
| | 01:09 | Now let's get started with Narrative
Scene Editing with Avid Media Composer.
| | 01:14 |
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| 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 | Now your main exercise files download contains two
folders: Avid MediaFiles and Castles_Narrative_Editing.
| | 00:18 | This folder contains media for the three specific
scenes that we're going to use to edit in this course.
| | 00:23 | Optionally, you can download a second download
of media which covers extra material so that
| | 00:29 | you can practice editing the entire movie.
| | 00:31 | This download contains seven extra scenes
of media so that you can go beyond what we
| | 00:36 | actually cover in this course.
| | 00:37 | I'm going to close this for now, and let's just
take a look at the main exercise files download.
| | 00:44 | So first things first, you need to place the
Avid MediaFiles folder in the correct location,
| | 00:50 | and that is at the root
directory of your Media Drive.
| | 00:53 | Now if I open up my Media Drive A, you can see
that there isn't an Avid MediaFiles folder here.
| | 00:59 | So it's as simple as just dragging this and
placing it at the root directory, which means
| | 01:03 | it's at the top level not
inside any other folders.
| | 01:07 | The other possible scenario is if you already
have an Avid MediaFiles folder if you're working
| | 01:12 | in other Avid projects.
| | 01:14 | In this case, just go inside the MXF folder,
and you'll see a folder called 104. Then,
| | 01:21 | if you go inside the Avid MediaFiles
folder on your Media Drive, there is also an MXF
| | 01:25 | folder, and there is always a numbered
folder here, it's most likely going to be 1.
| | 01:31 | So all you need to do is just take the 104
folder and drag it right next to the 1 folder,
| | 01:37 | it can live right along side of it.
| | 01:40 | The reason this folder is called 104 is that
this is the structure we've used in several
| | 01:44 | other lynda.com courses, so you could
essentially work with all of the courses side by side,
| | 01:49 | and we named those 101, 102, 103, and so on.
| | 01:54 | So again, just to review, you would only
do one or the other of these operations.
| | 01:59 | You would either place the entire Avid
MediaFiles folder at the root directory of your media
| | 02:03 | drive, or if your media drive already
contains a media folder then you would burrow in and
| | 02:08 | use the numbered folder like I showed you.
| | 02:10 | Let me go head and close these out, and I'll
eject this drive because we won't be needing it.
| | 02:17 | All right, I'm going to go
ahead and open up Extra Media.
| | 02:21 | You can see that the folder
inside of Extra Media is called 105.
| | 02:25 | So if you would like to use this Extra Media, you
just need to place it right alongside the 104 folder.
| | 02:34 | Okay, so our Avid MediaFiles
folder is in the correct location.
| | 02:39 | The other folder is the Castles_Narrative_Editing
which is the Avid project, this can live anywhere.
| | 02:45 | You can leave it in this exercise files
folder on your Desktop, you can place it in your
| | 02:49 | Documents folder, you can place it
on another drive, wherever you like.
| | 02:53 | So let's go ahead and launch Media
Composer and take a look at what we have inside.
| | 02:59 | Once you get to the Select Project window
just click on this button here, and then navigate
| | 03:03 | to your project folder.
| | 03:05 | Again, I kept mine in this exercise files
folder, and it's called Castles_Narrative_Editing.
| | 03:10 | If you place it somewhere else, you
would just need to navigate to that location.
| | 03:13 | And I'll press Open and the project will open.
| | 03:16 | Also, just so you know, I'm on a Mac right now, but
if you are on a PC the workflow is exactly the same.
| | 03:21 | You place your Avid MediaFiles folder at the
root directory of your Media Drive, and then
| | 03:26 | when you launch the software
just navigate to your project.
| | 03:28 | Okay, so once the project is open you can
go ahead and just twirl down and look inside
| | 03:33 | your exercise files folder and follow along.
| | 03:36 | So if you are in Chapter 3 and movie 2 you
can just twirl that down and open up your
| | 03:41 | Bin and load it and follow
along with the movie as necessary.
| | 03:46 | Now if you're not a Premium subscriber to
lynda.com, you don't have access to the exercise
| | 03:51 | files, but you can follow along
from scratch with your own assets.
| | 03:55 | Now, let's get started.
| | 03:59 |
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| Looking at the full cut of the final film| 00:00 | (music playing)
| | 00:03 | female speaker: Sensation no more, once award-winning
architect fails to deliver on his downtown music hall.
| | 00:08 | Mr. Dalton: Joseph is our most gifted architect.
He takes risks. We all know it.
| | 00:13 | I stand behind any and all
of his designs, and that's that.
| | 00:26 | Mr. Dalton: Did you finish it?
| | 00:31 | You know, I'm taking a big risk putting you
on this Columbia project.
| | 00:36 | Firm could be on the line here.
Six p.m. tonight, simple deadline, meet it.
| | 00:45 | Joseph: That's it, 6 p.m., huh?
| | 00:50 | And if I'm a risky choice,
then don't use me.
| | 00:54 | We all know what risky decisions lead to.
| | 00:56 | Look, the company's in free-fall,
and you want to take risk again?
| | 01:01 | It's a creative approach.
| | 01:07 | Mr. Dalton: My creativity has
nothing to do with this.
| | 01:11 | I did my time.
| | 01:13 | My job now is to wear this suit, please clients, and make sure
you do your job, nothing more, nothing less, understand?
| | 01:25 | Six p.m., deliver.
| | 01:49 | (Clears throat).
| | 01:52 | Patton: Mr. Dalton sent me to
collect a design, is it ready?
| | 01:58 | Well, 6 p.m.
| | 02:03 | Joseph: Is he sending you in here with
scripted-out dialogue and everything?
| | 02:08 | MS: He suggested words, yes, and to come every hour,
but I decide whether I come before or after the hour.
| | 02:15 | Joseph: Oh, I see.
Patton: Oh, I'm also supposed to tell you that--
| | 02:18 | Joseph: You know, Patton,
hang on a minute, bud.
| | 02:20 | Um, I want to get the boss man on the horn here
so we can all have a little chit-chat, all right?
| | 02:30 | Mr. Dalton: Yes?
| | 02:31 | Joseph: Hey, yeah, I'm here with Patton, and
he's telling me that, um, you want him here
| | 02:37 | every hour on the hour, checking in on me?
Mr. Dalton: Patton, you there?
| | 02:41 | Patton: Yes, Mr. Dalton, I'm here,
and I never said on the hour.
| | 02:46 | I just told him that I decide
before or after the hour.
| | 02:49 | Mr. Dalton: No matter, just
continue to do as I requested.
| | 02:53 | Oh, and Patton, did you let
Joseph know about the other details?
| | 02:58 | Joseph: What other details?
| | 03:00 | Look, I don't have--
(Phone Clicks)
| | 03:06 | Patton: So, the other details.
| | 03:11 | The boss man decided to put Leavitt and Myron
from 42 Designs on the project as well.
| | 03:17 | They've been working on concepts all week.
| | 03:22 | The Columbia tower board meeting is after
the end of the day, and if they like any of
| | 03:26 | the concepts, then, well,
we'll all keep our jobs.
| | 03:34 | Joseph: All right, I see.
Patton: I'll see you in an hour.
| | 03:49 | Joseph: Nuts! I can't believe this!
| | 04:08 | (music playing)
| | 04:33 | Joseph: How's it stick together, dad?
Joseph's father: The sand?
| | 04:36 | Well, the water and sand mix, chemistry stuff.
But that's not the exciting part.
| | 04:42 | The exciting part is the lines.
| | 04:44 | Joseph: The lines?
Joseph's father: Yeah, the lines.
| | 04:46 | Here, let me show you.
You want strong lines, unique lines, fun lines.
| | 05:01 | Joseph: Can I try?
| | 05:02 | Joseph's father: All right, kiddo.
Get in there. Let's see it.
| | 05:06 | (music playing)
| | 05:38 | Patton: Here are the copies of the Bell contract
you asked for, and I grabbed you a coffee.
| | 05:43 | Mr. Dalton: Thanks.
Patton: I thought you could use it.
| | 05:46 | Oh, and you forgot this in the bullpen.
I need to get back to work.
| | 05:52 | Mr. Dalton: Oh yeah, I've been asking earlier,
trying to figure out who had this thing made
| | 05:56 | up for me for my birthday last week.
| | 05:58 | Patton: Actually, that was a gift from Joseph.
As far as I know, no one else was in on that.
| | 06:05 | Mr. Dalton: I see.
| | 07:49 | (music playing)
| | 08:45 | Joseph: Hey, dad.
Mr. Dalton: Hey, kiddo.
| | 08:51 | So, you got a design for me?
| | 08:58 | Joseph: Yeah, I think so.
| | 09:00 | Mr. Dalton: Good.
| | 09:06 | Joseph: Thanks for the message.
Mr. Dalton: Just doing my job.
| | 09:11 | (music playing)
| | 09:15 |
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|
1. Getting OrganizedEvaluating the major goals of the project| 00:00 | Editing a narrative film is an exciting and worthwhile
adventure, full of creative judgments and structural decisions.
| | 00:07 | As you edit you'll have the opportunity to
assess the perfect angle of the perfect take
| | 00:12 | for every line of your film, making sure your
story is told in the way that best meets the
| | 00:17 | film's vision and intent.
| | 00:19 | You'll be able to perfectly control the
timing and pacing of your shots, which will in turn
| | 00:23 | affect the pacing of your scenes and
ultimately the flow of your film, and you'll be able
| | 00:28 | to combine different editing styles to
give your film just the right flavor.
| | 00:33 | In this project, which is a film called
Castles, we'll explore many of these concepts, as we
| | 00:38 | build scenes to tell the story of a
frustrated architect down on his luck.
| | 00:42 | If you watched the previous movie, then
you saw the film in its completed state.
| | 00:46 | While we won't be able to edit every scene,
we'll be able to focus on scene construction
| | 00:51 | for three different types of scenes.
| | 00:53 | A dialogue scene, a montage scene, and a
flashback scene, each of these different scenes combines
| | 01:01 | different editing techniques, and various
stylistic considerations to make the best possible film.
| | 01:07 | Now in order to start out right, we'll first get
acquainted with the structure and organization of our project.
| | 01:13 | Then we'll go over some important editing
conventions and rules so that we can get grounded
| | 01:17 | in traditional narrative editing techniques so
that we can both follow the rules and break them.
| | 01:24 | Then we'll attack each of the three scenes
in detail, first the dialogue scene, then the
| | 01:29 | montage scene, and finally, the flashback scene.
| | 01:32 | As I said earlier, each of these scenes will
require different considerations and stylistic
| | 01:36 | techniques, so we'll have a lot to keep
track of in the construction of our narrative.
| | 01:41 | And finally, we'll take a step back from
scene construction to determine how it fits in the
| | 01:45 | larger art of editing an entire narrative film.
| | 01:50 |
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| Looking at the project structure and organization| 00:00 | Good project organization is an important
part of knowing exactly what material you
| | 00:04 | have so that you can make the best decisions
for each shot in your film. This will allow
| | 00:09 | you to construct the most engaging
scenes possible one shot at a time.
| | 00:14 | The last thing you want to have happen is
to lose your creative energy, because you
| | 00:17 | are spending all your time
looking for the perfect shot.
| | 00:19 | Now, fortunately for us, our project is already
largely organized, so we won't be going through
| | 00:24 | all the introductory steps
in setting everything up.
| | 00:27 | If you are lucky enough to have an assistant editor,
chances are you'll have everything set up for you too.
| | 00:32 | Either way, however, it's important to know where
everything is so we can start the creative process out well.
| | 00:38 | So, here are our exercise files, and
inside of there, all of the chapters, and all of
| | 00:43 | the various things we'll need to
complete the exercises throughout this course.
| | 00:46 | I am going to close that up, because I
want to take a look at the Project Assets.
| | 00:50 | As you can see, there are ten
scenes in this film, and some B-roll.
| | 00:54 | We are going to be focusing on Scenes 2, the
dialogue scene, Scene 3, the montage scene, and
| | 01:02 | Scene 4, the flashback scene.
| | 01:05 | For your convenience, the important footage
from these key scenes has been duplicated
| | 01:09 | into this group of folders here.
| | 01:12 | We've also got a Bin called Production Audio,
which has additional audio elements like,
| | 01:17 | off screen camera, voice over, and room tone.
| | 01:20 | Finally, we've got a folder called Scripts,
and inside here you can see it's got several
| | 01:24 | scripts from some of the
scenes that we're editing.
| | 01:27 | All of the master clips have been synced to the
script by a very cool process called ScriptSync,
| | 01:32 | which maps the spoken word to the written word.
| | 01:34 | We'll learn more about the usefulness
of digital scripts in the next movie.
| | 01:37 | Okay, so we've got a relatively good idea
where everything lives in our project.
| | 01:42 | With this knowledge, plus a few additional
tips we'll learn, we're almost on our way to
| | 01:46 | starting the creative
process of scene construction.
| | 01:48 | Again, we are going to just basically keep
most of this shut and work within the exercise
| | 01:53 | files for the duration of this course.
| | 01:58 |
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| Working with digital scripts| 00:00 | The process of Narrative Editing is
greatly enhanced by the use of digital scripts.
| | 00:05 | This is for several reasons.
| | 00:07 | One, you can search for any shot that you want,
because each line of dialogue is synchronized
| | 00:12 | to the script. And two, you can very quickly
and efficiently analyze the best performance
| | 00:17 | of a given line or set of lines.
| | 00:20 | Without a digital script you would have to
manually load one take after another to find
| | 00:24 | the best material, which is
obviously a little slower.
| | 00:27 | So let's see here, we'll take Scene 2 and,
as you can see, all of the clips have been
| | 00:33 | mapped appropriately to the lines they cover.
| | 00:36 | Now already this is super useful because we
can immediately find any line that we want.
| | 00:40 | However, the real kicker with Narrative
Editing is the ability to very quickly review lines
| | 00:46 | in succession to analyze the best performance.
| | 00:49 | Now first of all, if you'd like to learn the proper
workflow for how to format, import, and synchronize
| | 00:53 | a digital script you can check out that
workflow in detail in my lynda.com course Documentary
| | 00:59 | Editing with Avid Media Composer.
| | 01:01 | The process is the same in setting everything up,
whether you are working in Documentary or Narrative.
| | 01:06 | However, the actually use of digital scripts
is quite a bit different for narrative films,
| | 01:11 | so I thought I'd show you all about that now.
| | 01:13 | All right, so you can see here that the
shots are mapped with these script marks, and if
| | 01:18 | I want to just find this line of dialogue, I
would just double-click right here on the
| | 01:22 | script mark, and he is going to
deliver his line, I'll press Play.
| | 01:27 | (Mr. Dalton: So, how's the coffee?)
| | 01:30 | Okay, so great. However, if I want to
basically review every single time that he says this
| | 01:37 | line to see which performance is the strongest
then I am just going to lasso all of the script
| | 01:43 | marks that cover this line, and
now I am going to press Play again.
| | 01:47 | So I'll press Spacebar, and we'll go from
one performance to the next, both when
| | 01:52 | Mr. Leavitt is on screen and then also when he
is off screen when we are looking at Joseph.
| | 01:57 | Okay, we'll press Play.
| | 01:59 | (Mr. Dalton: So, how's the coffee? How's the coffee?
So, how's the coffee? So, how's the coffee? How's the coffee?)
| | 02:13 | All right, so as you can see, this is a tremendous
Timesaver. We are able to see every single time that
| | 02:18 | line is said so we can make
the best decision possible.
| | 02:22 | Now it doesn't just have to be for one line.
If I want to see the exchange between
| | 02:26 | Mr. Leavitt and Joseph, I
would just lasso both of those.
| | 02:29 | Okay, so you can see that we are covering
basically this expanse of the script, and
| | 02:34 | I do the same exact thing.
| | 02:36 | So just lasso the number of script marks
that you want to have included, and I am going
| | 02:40 | to press Spacebar to play, and we'll
go through both of those lines together.
| | 02:44 | (Mr. Dalton: So, how's the coffee?)
Joseph: It's cold.
| | 02:51 | (Mr. Dalton: How's the coffee?)
(Joseph: It's cold.)
| | 02:57 | (Mr. Dalton: So, how's the coffee?)
(Joseph: It's cold.)
| | 03:03 | (Mr. Dalton: How's the coffee?)
(Joseph: It's cold.)
| | 03:08 | All right, so you get the idea, this is a
great way to instantly zero in on the part
| | 03:14 | you are editing and figure out
which performance best tells your story.
| | 03:18 | This is an important part of staying effective
in the creative process during scene construction.
| | 03:23 |
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2. Knowing and Understanding Your FootageUnderstanding coverage, shot composition, and camera movement| 00:00 | There are several important conceptual things to
understand before starting to edit our first scene.
| | 00:05 | The first thing I would like to address is
scene coverage, which explained simply, is the
| | 00:10 | practice of covering a scene
multiple times from multiple angles.
| | 00:14 | This results in the maximum amount of seamless
editing possibilities because of the complete
| | 00:20 | overlapping coverage of the same exact action.
| | 00:23 | You can literally piece together these moments in time, or
shots, from each of the camera angles to reconstruct reality.
| | 00:30 | Now scene coverage allows us as editors to have the
most possible options when constructing our narrative.
| | 00:36 | Now these building blocks, or shots, not
only have a different look, but most come with
| | 00:41 | an implication, emotion, or intention.
| | 00:44 | You can truly use shots as items
in the recipe of film language.
| | 00:48 | Let's take a look at some common camera angles.
| | 00:51 | Now, long shots typically mean that the editor
wants to show the subject in its environment,
| | 00:56 | either to show the relationship to the surrounding
space or in a relationship to other subjects in the frame.
| | 01:01 | So in general our long shots are generally
are tools to give physical or emotional context.
| | 01:08 | Medium shots are, for lack
of a better word, normal.
| | 01:11 | Most shots in films are typically medium shots
of one type or another as they show the subject
| | 01:16 | as the prominent part of the video frame, but they
also give a basic context for space and environment.
| | 01:22 | Obviously, the closer you punch in, the more
emotional impact the subject makes and the
| | 01:27 | less the surrounding environment means.
| | 01:30 | Close-up shots show the subject as the
dominant part of the frame. We use close-ups when we
| | 01:34 | want to focus on a subject
either physically or emotionally.
| | 01:38 | Coming in that close on the subject means
that your focus shifts away from any inclusion
| | 01:42 | of the environment, and you're often zeroing
in to hide in some type of emotional intensity.
| | 01:48 | In general, editors start by editing a scene in
some type of long shot to give the scene context.
| | 01:53 | Then punch in closer to medium shots
and then use close-ups when necessary.
| | 01:57 | However, these rules can always
be amended to fit the specific scene.
| | 02:01 | There are also a couple of
other shots I want to talk to you about.
| | 02:05 | Point-of-view shots give the viewer an intimate
seat in the film, since you're basically being
| | 02:09 | shown what it's like
through the character's eyes.
| | 02:13 | Point-of-view shots are most often used me
when you want to deeply connect the audience
| | 02:16 | to the character, usually during points of
searching and discovery within the narrative.
| | 02:22 | Cutaway shots give the viewer important
information about the relationship between the subject
| | 02:26 | and some other thing, or person, in a scene.
| | 02:29 | If the editor chooses to cutaway to
another shot you can better believe it represents
| | 02:33 | something significant to the scene.
| | 02:35 | Okay, so that's a basic rundown of the
intention and emotional impact of shot composition.
| | 02:41 | Now each of these shots can be
stationary, or they can have movement.
| | 02:45 | Lens and camera movement typically promise
the viewer that they will get a new piece
| | 02:49 | of information or a new
understanding by the end of the movement.
| | 02:53 | Otherwise, it's an unmotivated
move and can cause confusion.
| | 02:58 | You as the editor must make the decision
about whether reconstituting the frame by way of
| | 03:03 | lens or camera movement is a better way to tell the
story than by simply cutting from one shot to another.
| | 03:09 | Let's take a look at some lens and camera
movements that we will be exploring in this course.
| | 03:13 | Zooming is increasing or decreasing the
focal length of the camera lens which enlarges or
| | 03:19 | decreases the closeness of the image.
| | 03:28 | A focus shift is when you adjust the
focus from one focal plane to another.
| | 03:32 | A pan is a side to side motion of a scene
from a fixed point and a tilt is an up and
| | 03:39 | down motion of a scene from a
fixed point. This is a tilt.
| | 03:48 | And a crane shot is when the camera
is lifted and moves through space.
| | 03:57 | Now there are countless more types of shot
analyses that we could do involving framing,
| | 04:02 | shot angle, focal depth, and so on.
| | 04:05 | And well we won't have an opportunity to go
through them all. Hopefully, this short explanation
| | 04:09 | has made you realize that it isn't just what
looks good, instead we has editors use these
| | 04:14 | visual cues as parts of the recipe for designing
an effective and emotionally appropriate scene.
| | 04:21 |
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| Understanding basic editing "rules"| 00:00 | Knowing the emotional indicators
for shot composition is important.
| | 00:04 | However, it's also useful to be aware of some
basic editing rules, not only so we can follow
| | 00:09 | them while editing conventional scenes,
but also so we can break them when we want
| | 00:14 | to create a particular feeling.
| | 00:15 | When discussing these rules, we'll
primarily be talking about maintaining continuity.
| | 00:20 | Continuity editing is the type of editing
that allows editors to reconstruct reality
| | 00:24 | from all of the various shots gathered during
the coverage shooting process. Let's take a look.
| | 00:29 | There are several elements within
continuity editing that are important to consider.
| | 00:34 | Continuity of mise-en-scene is the
French phrase that means put on stage.
| | 00:39 | In the film world, it simply means that
when you edit two shots together, you need
| | 00:43 | to be mindful of shared shot content.
| | 00:46 | This just means that when you're cutting
from a long shot to a medium shot, for example,
| | 00:50 | you'll need to make sure that the
subject's location and positions are similar enough
| | 00:53 | to look like it's from the same moment.
| | 00:55 | You'll also need to make sure that all
costumes, props, and other objects are the same, and
| | 01:00 | you need to make sure to match
continuity of lighting and continuity of sound.
| | 01:04 | Maintaining continuity of
performance is also important.
| | 01:07 | You need to make sure that you're appropriately
matching performance, pacing, and emotional range.
| | 01:12 | Often, actors can change the way in which
they deliver lines, so you want to make sure
| | 01:16 | that the performance matches as you cut from
the medium shot to the close up, for example.
| | 01:21 | Additionally, you need to be aware that
the spectrum of the human voice is very wide,
| | 01:25 | and it can sometimes be tricky maintaining
consistency from shot to shot and day to day.
| | 01:31 | Continuity of spatial orientation, or the 180
degree rule, means you also need to be aware
| | 01:36 | of how objects are oriented
in the frame from shot to shot.
| | 01:40 | This simply means that when you're editing
shots together, you need to make sure that
| | 01:43 | the camera that recorded the scene
is on one side of the axis of action.
| | 01:48 | This means that if a subject is facing left
or right in the long shot, you can't suddenly
| | 01:51 | switch to a shot of him facing
right to left as it confuses the viewer.
| | 01:56 | The one exception to this is if you cut to a
shot of the scene along the axis of action first.
| | 02:02 | Then you can viably cut to a shot on
either side of the 180 degree line.
| | 02:06 | But bottom line, you pretty much want to
orient your subjects all from one side.
| | 02:10 | If you switch back and
forth, it becomes unsettling.
| | 02:12 | The 20 millimeter 30 degree rule means that
when you cut from one shot to another, you
| | 02:17 | need to vary the two shots by a focal
length of at least 20 millimeters and 30 degrees.
| | 02:22 | Now, this can sound confusing, but basically,
this just means that you need to cut between
| | 02:26 | shots that are different
enough in size and angle.
| | 02:29 | That will hide the edit
adequately enough to cut between the shots.
| | 02:33 | This means you can't cut between shots that
are too similar, like between two medium shots.
| | 02:38 | It will feel like a jump
cut and will be jarring.
| | 02:40 | Finally, you want to make sure to
cut on action as much as possible.
| | 02:44 | All this means is that you often want to
begin a certain action in one shot, and then allow
| | 02:49 | the subject to finish the
action in the following shot.
| | 02:53 | This too is a terrific technique to
make the edit as invisible as possible.
| | 02:58 | If you instead cut when the subject is
perfectly still, the edit is more detectable.
| | 03:07 | So, as you can see, there's a lot to consider.
| | 03:14 | Now, if the director, actors, and
production team did their jobs absolutely perfectly,
| | 03:19 | you wouldn't have to worry
much about this stuff at all.
| | 03:21 | However, it's nearly impossible for each of
these elements to be perfectly the same each
| | 03:25 | and every take for each and every camera angle.
| | 03:28 | So you as the editor just need to be
acutely aware of the stuff while you're editing so
| | 03:32 | that you can recreate the
scene as best as possible.
| | 03:35 | And of course, as I said earlier, these rules
are great to know so that you can either follow
| | 03:39 | the rules to create a viable reality
or break the rules when you need to.
| | 03:44 |
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|
|
3. Editing a Dialogue SceneForming a game plan| 00:01 | Okay, so now we're equipped with the tools and concepts to
begin laying down an initial assembly of our scene.
| | 00:06 | Let's take a look at our script and get
acquainted with the scene so that we can begin making
| | 00:10 | the best choice as possible.
| | 00:12 | Again, this is a film about a frustrated architect, Joseph,
who is under a hard deadline from his boss Mr. Leavitt.
| | 00:18 | The first scene we'll be editing is the introductory
dialogue scene between these two men where Leavitt
| | 00:23 | asks Joseph to deliver a big
plan by the end of the day.
| | 00:26 | If he doesn't, he will lose his job.
| | 00:28 | So, in the beginning of this scene, there's an
emotional distance and tension between these characters.
| | 00:34 | Once the conversation begins, Mr. Leavitt is
clearly the emotionally dominant character.
| | 00:39 | Visually, we need to see
him as stronger than Joseph.
| | 00:42 | We then need to show that Joseph becomes
visually agitated, and we need to fuel his motivation
| | 00:47 | for his controlled frustration, and then we
also need to show the equally motivated aggression
| | 00:52 | delivered in response by Mr. Leavitt.
| | 00:55 | So, if I were to map out a very general
order for this scene, here's what I might do.
| | 01:00 | I'll start with a tilt up from Joseph's
drafting table to Leavitt coming down the hall.
| | 01:04 | Mr. Leavitt's dark form
should set the stage well here.
| | 01:07 | Then I might cut to a wide shot to emphasize the
distance between the men both physically and emotionally.
| | 01:14 | Then I think I'll cut to a long shot of Mr. Leavitt
| | 01:16 | and then to one of Joseph, something to show
their presence in the space but not emphasize it.
| | 01:21 | They won't be speaking here, and Joseph
won't even be looking at Mr. Leavitt.
| | 01:25 | Now, this deliberately edited
silence should help build the tension.
| | 01:29 | This is one creative strategy, because even
though there doesn't exist much actual time
| | 01:34 | here, we're going to create this
time through the editing process.
| | 01:37 | So then, I'll cut back to Mr. Leavitt as he finally delivers
the first line of "so, how's the coffee?" And then we can
| | 01:44 | cut back to Joseph in a close-up as he
looked at Mr. Leavitt and mutters "cold."
| | 01:48 | So, you can go on like this for an entire
scene, again just generally forming the sense
| | 01:53 | of how to map out the shots.
| | 01:56 | But to be honest, you don't truly know what
shots to use until you analyze the performance
| | 02:00 | for each take and each line.
| | 02:02 | And that's what we'll do is we build this
scene line by line to construct the best possible
| | 02:06 | narrative that satisfies the
vision and goals of the scene.
| | 02:11 |
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| Laying the first shots to form a visual energy| 00:00 | Now that we have a plan of attack, let's get started with
laying down the first shots of the basic assembly.
| | 00:05 | Now just a reminder, one of the most important
parts of the preparatory process is screening
| | 00:10 | your footage very carefully.
| | 00:12 | You should take great care in doing
this, making sure to take good notes.
| | 00:15 | This will give you a good sense of the direction
you should take in laying out your first shots.
| | 00:19 | So, as we said in the last movie, we'll start out
with an over the shoulder shot of Mr. Leavitt's
| | 00:23 | looming form coming toward
Joseph from down the hall.
| | 00:27 | Then we'll cut back to show the physical and
emotional distance between the men, and then
| | 00:31 | we'll draw out the tension by
first cutting to a shot of
| | 00:33 | Mr. Leavitt, and then to Joseph who
can't even look at his boss.
| | 00:38 | Okay, so let's go ahead and open
up the _Scene 2 shots bin.
| | 00:42 | I've also got Scene 2 assembly.
| | 00:44 | This is where I have just the blank
sequence that we're going to be editing.
| | 00:47 | I'll go ahead and open this into a tabbed view by
dragging up, and we'll have easy access to both of those.
| | 00:53 | And then we have our shots here.
| | 00:55 | You can see the descriptions
appended to the shot names there.
| | 00:58 | And if you want to take a visual look of what
these look like, you can switch to Frame view
| | 01:03 | and get a pretty good idea of
the composition of these shots.
| | 01:07 | So, we're going to start out with this tilt up.
| | 01:10 | This is starting out looking over
Joseph's shoulder, and then up to Leavitt.
| | 01:15 | And it looks like
actually they do two tries here.
| | 01:19 | So, let's start with the second try, like so.
| | 01:24 | And I'm just going to play it and mark an
in and an out on the fly where I feel this
| | 01:28 | shot should begin and end.
And we can tweak that later if we want to.
| | 01:32 | (Mr. Leavitt: So.)
| | 01:55 | All right, so as you can see, I marked my out
point just before he stopped walking.
| | 02:01 | And the reason for that is that I think I'd
like to match on action in this wider shot
| | 02:07 | as he finishes walking up to Joseph.
| | 02:09 | So, I have here a shot that
lasts about almost 9 seconds.
| | 02:14 | So I want to edit that in.
| | 02:15 | Let's just go ahead and make sure to load our
blank sequence here, and let's press V to Splice.
| | 02:22 | I'm just going to watch the very end of this
to make sure that I like the way this shot ends.
| | 02:28 | (video playing)
| | 02:30 | Okay, so he still has momentum going forward, I
think that will help in matching to the next cut.
| | 02:36 | So let's go ahead and go to this shot here.
| | 02:40 | And I'm just going to, again, play it and mark
an in and an out on the fly where I feel it
| | 02:45 | should begin and end.
| | 02:47 | (Mr. Leavitt: How's the coffee?)
| | 02:51 | I'm going to go backwards a little bit.
(video playing)
| | 02:56 | Okay, and let's go ahead and try editing that in.
I'll press V to Splice.
| | 02:59 | I am just going to go over
this and see how I like it.
| | 03:04 | Again, we can tweak it later if we need to.
(video playing)
| | 03:10 | All right, and we actually have to cut away at
this point because he starts speaking.
| | 03:13 | And again, our goal here is to really draw
out the tension really, kind of take a look
| | 03:17 | at these nonverbal cues on each of the men.
| | 03:20 | So next, we'll go ahead
and go back to this shot.
| | 03:24 | We don't want to go to the medium shot quite
yet, because that will be our cue to actually
| | 03:30 | elevate the tension a little bit later on.
So, let's load the long shot back up.
| | 03:35 | I'm going to go ahead and play through here,
again marking an in and an out on the fly here.
| | 03:42 | I'll go ahead and clear my in and out points
to avoid confusion, and we'll go ahead and play.
| | 03:48 | (Mr. Leavitt: So, how's the...)
| | 03:57 | All right, and then I think we've got to go back to Joseph,
and I think we'll save our close-up for when
| | 04:01 | the tension escalates.
So, let's stick to a medium shot.
| | 04:04 | I think both of these are really similar.
Let's go ahead and take a look here.
| | 04:07 | We're just looking for some visual indication
that he has not yet looked up to his boss,
| | 04:13 | so somewhere around here.
| | 04:15 | I'm going to play and mark
an in and an out on the fly.
| | 04:18 | (Mr. Leavitt: So, how's the coffee?)
| | 04:24 | All right, let's go ahead and splice that in.
| | 04:28 | And what I'd like to do is
actually just watch this.
| | 04:30 | It's probably going to need a little bit of
tweaking as far as timing and pacing is concerned.
| | 04:35 | But I want to take a look and see if I
like what's on the screen in general.
| | 04:39 | Okay, let's take a look.
(video playing)
| | 04:47 | So yeah, we'll need to do a little bit of
tweaking regarding the timing and pacing of
| | 04:50 | these shots, but I do like
how we are drawing this out.
| | 04:53 | So, as you can see, we're using the editing
process to really create this visual tension
| | 04:57 | between these two characters.
| | 04:59 | Now, this is something we can do throughout
the film, finding moments within scenes that
| | 05:03 | deserve this type of treatment, and really
playing to the various emotions that exist
| | 05:07 | within the script and the performances.
| | 05:12 |
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| Editing dialogue: Building the basic assembly| 00:00 | Making decisions about the character's nonverbal language
is important, but so is working with the character's words.
| | 00:06 | Analyzing line delivery is a crucial part
of the editing process, and that's what we're
| | 00:10 | going to do now in continuing
to lay down our basic assembly.
| | 00:13 | So, I have here Scene 2 assembly begin,
and this is just basically where we left off.
| | 00:18 | We are nonverbally building tension, like so.
| | 00:23 | Now, we're going to start
in on their conversation.
| | 00:25 | So let's go ahead and open up the script.
| | 00:28 | And again, if you're not working with the
script, then you'll just do all of this manually,
| | 00:31 | loading in one take after another.
| | 00:33 | But I do feel it's important to check out the delivery
of each of these lines from each of the camera angles.
| | 00:39 | So, we're going to start with Mr. Leavitt's first line,
"So, how's the coffee?" And we're just going to lasso across
| | 00:44 | all of these script marks.
| | 00:46 | And then we'll just press Play, and watch
all of these shots taking into account both
| | 00:49 | shot composition and performance.
| | 00:52 | (Mr. Leavitt: So, how's the coffee? How's the coffee?
So, how's the coffee? So, how's the coffee? So, how's the coffee?)
| | 01:13 | Okay, and I'll press Spacebar again to stop.
So I want to be on Mr. Leavitt during this line.
| | 01:18 | So we actually only have two options,
the long shot and the medium shot.
| | 01:22 | I think I am ready to punch in on the
medium shot to sort of give this emphasis.
| | 01:26 | Let's go ahead and double-click
on the script mark.
| | 01:28 | So I'm going to go ahead and just rock
back with J and then go forward and mark an in
| | 01:33 | and an out on the fly.
| | 01:34 | (Mr. Leavitt: How's the coffee?)
| | 01:40 | So, I think I'm going to edit that in.
I'll press V to splice.
| | 01:44 | I'm just going to go ahead and check this out,
making sure that it looks okay with the previous shots.
| | 01:49 | Again, we'll tweak it later if we need to,
but just generally, I want to make sure that
| | 01:53 | this medium shot looks good.
| | 01:55 | (Mr. Leavitt: How's the coffee?)
| | 01:58 | I think it's fine. So, let's go back to the script
and get Joseph's line here, "cold".
| | 02:03 | Again, we're going to go ahead and lasso
all of the script marks, and pay attention to
| | 02:08 | shot composition and performance. I'll press Spacebar.
| | 02:13 | (Joseph: Cold. Cold. Cold. Cold. It's cold. Cold.)
| | 02:27 | All right so, there are a lot of good options here.
While I really like, the close-up, here,
| | 02:32 | I don't think I'm quite
ready to punch in that close yet.
| | 02:35 | So, let's take a medium shot.
| | 02:37 | I'm going to go ahead and just lasso just these two
lines and see if there's much difference between them.
| | 02:42 | (Joseph: Cold. Cold. Cold. Cold.)
| | 02:49 | So, not much difference, but I think
I'll go ahead and take this first one.
| | 02:54 | And again I'm going to rock back with J to
go backwards, and then mark an in and an out
| | 02:58 | on the fly, including
some pause before and after.
| | 03:02 | (Joseph: It's cold.)
| | 03:07 | So again, we'll tighten that up later.
| | 03:09 | But I want to include just a little
bit of extra frames on either side.
| | 03:12 | I'm going to press V to splice.
| | 03:14 | And let's go ahead and go to the next line
before we look at everything in succession.
| | 03:21 | So, I'll go ahead and lasso and take a look
at Mr. Leavitt's line, "did you finish it"?
| | 03:27 | (Mr. Leavitt: Did you finish it? Did you finish it? Did you finish it?
Did you finish it? Did you finish it? Did you finish it?)
| | 03:40 | All right, so again, I think I'm going to
stay in on the medium shot here.
| | 03:43 | I think it's the strongest performance,
and we want to make sure that Mr. Leavitt
| | 03:46 | is on screen as he delivers it.
| | 03:48 | So again, I'm going to go ahead
and double-click the script mark.
| | 03:50 | I'm going to rock back, include a little bit of
pause before and after just like we did before.
| | 03:56 | (Mr. Leavitt: Did you finish it?)
| | 04:02 | Okay, and I'll press V to splice, and
let's go back to our sequence here.
| | 04:08 | We're definitely going to
need to tighten this up.
| | 04:10 | I know that already.
| | 04:12 | But again, I'm just looking to see if I
like what's on screen, and we'll fix the timing
| | 04:16 | and pacing a little bit later.
| | 04:17 | So, I'm going to go ahead and
play through these three shots.
| | 04:21 | (Mr. Leavitt: So, how's the coffee?)
(Joseph: It's cold.)
| | 04:26 | (Mr. Leavitt: Did you finish it?)
| | 04:30 | So, I am pleased with that, I think medium
shot to medium shot to medium shot for this
| | 04:34 | part in the scene is good.
| | 04:36 | And then, we'll get in and out on some close-ups
a little bit later when the agitation increases.
| | 04:40 | But this is basically how
we're going to continue.
| | 04:42 | We're going to make decisions
line by line laying in each shot.
| | 04:46 | Again, we're not paying too much attention
to the pacing of the scene quite yet, but
| | 04:50 | don't worry, that's coming up very soon.
| | 04:52 | For now, we just need to make important
decisions about performance, and get everything laid
| | 04:56 | in appropriately to create a
good-looking basic assembly.
| | 05:02 |
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| Replacing shots| 00:00 | Once you've laid down your basic assembly, there will
no doubt be many things you need to change about it.
| | 00:05 | You'll need to swap shots, add cutaways and
reaction shots, and trim the shots to give
| | 00:09 | the scene the proper pacing.
| | 00:10 | We'll learn how to do each of these
techniques in the next three movies, and we'll start
| | 00:14 | off here by talking about replacing shots.
So in this bin here, I have my basic assembly.
| | 00:21 | And as you can see, everything is straight
cuts, we've just laid one shot in right after
| | 00:25 | another, and that's fine.
But first of all, I have a few notes.
| | 00:28 | There are a couple of shots I'd like to replace.
| | 00:31 | First of all, I'd like to replace this shot
here where we have this long shot from the
| | 00:36 | side, and I'd like to
replace it with a medium shot.
| | 00:38 | So I need to punch in closer.
| | 00:40 | I'm going to play this so that
you can kind of see what I mean.
| | 00:43 | (Joseph: That's it, 6 p.m., huh?
| | 00:47 | And if I'm a risky choice,
then don't use me.
| | 00:52 | We all know what happens
when risky choices are made.
| | 00:56 | So, I think you'll agree that cutting to a
medium shot here and then into a close-up
| | 00:56 | The company's in free-fall,
and you want to take risk again?)
| | 01:04 | here is probably the best decision.
Let's go ahead and open up our script.
| | 01:09 | And that line is right here, it's
kind of in the middle of this line.
| | 01:13 | So, here is our medium shot.
| | 01:15 | Let's go ahead and just take a look at the
performance in this general part of the script.
| | 01:18 | So, I'm going to go ahead and press Spacebar
to play, and check out these two performances.
| | 01:23 | (Joseph: That's it, 6 p.m., huh?
| | 01:26 | And if I'm a risky choice,
then don't use me.
| | 01:30 | We all know what risky decisions lead to.
That's it, 6 p.m., huh?
| | 01:39 | And if I'm such a risk, don't use me.)
| | 01:46 | I think I like the more
aggressive take right here, this one.
| | 01:49 | I'm going to go ahead and just double-click
the script mark and load it up.
| | 01:52 | I'm going to clear my in and out points.
| | 01:54 | I want to show you how to do a replace edit, which
is a really nice way to swap one shot for another.
| | 01:59 | So, I'm just going to play and then just pause
my playhead right over the part where he starts
| | 02:05 | to say "and if I'm a risky choice."
| | 02:07 | (Joseph: That's it, 6 p.m., huh?)
| | 02:13 | So, we're not marking in and out,
I'm just putting the playhead here.
| | 02:17 | I'm going to do the same thing in my
sequence, probably around this marker.
| | 02:21 | But let's go ahead and make sure.
| | 02:22 | (Joseph: And if I'm a risky choice,)
| | 02:25 | So, we have the playhead here,
we have the playhead here.
| | 02:29 | Rather than marking in and out, we can very
quickly do a replace edit by opening up this
| | 02:34 | Fast menu here, going to Replace Edit.
| | 02:37 | And basically, it's just going to swap the
shots, as you can see, I now have my medium shot.
| | 02:43 | Let's go ahead and play and
make sure everything looks good.
| | 02:45 | (Joseph: And if I'm such a risk, don't use me.
We all know what risk gets us.
| | 02:57 | The company's in free-fall, and you...)
| | 03:00 | I think that we just need a little
bit of space let out on this shot.
| | 03:04 | I can go ahead and enter Trim mode.
| | 03:08 | And this is going to be an A side
trim, so I'm going to roll forward.
| | 03:11 | And then I'll just stop the trim
when I think the shot should end.
| | 03:17 | Okay, I think that's a little
bit of space that we need.
| | 03:19 | Let's go ahead and play and
just make sure that looks good.
| | 03:21 | (Joseph: ...know what risk gets us.
The company's in free-fall,)
| | 03:25 | So, I think that is pretty good.
| | 03:28 | Again, we'll tweak a little bit later when
we refine, but for now I think that I like
| | 03:32 | this medium shot much
better than that long shot.
| | 03:34 | I have another suggestion
for a change right here.
| | 03:37 | Let's go ahead and see what this is.
| | 03:39 | Okay, so this one is
just a little bit different.
| | 03:42 | We start in the long shot like we have now, and
then cut to the medium shot for the rest of it.
| | 03:48 | So, for this one, I am going
to go ahead and check it out.
| | 03:51 | Let's play it and make sure
that that's exactly what we want.
| | 03:54 | (Mr. Dalton: My creativity has nothing
to do with this. I did my time.
| | 04:01 | My job now is to wear this suit, please clients, and make
sure you do your job, nothing more, nothing less, understand?)
| | 04:14 | So, for this one, instead of doing a
replace edit because we do want to keep this part
| | 04:18 | here, I'm going to set an in, and an out
around the area that I would like to swap out.
| | 04:24 | So, we're just kind of
doing a partial shot here.
| | 04:27 | Let's go ahead and get that part
of the medium shot in the script.
| | 04:30 | So, it's about right here. I've done my time.
| | 04:35 | So, it's actually going to load
it at the beginning of this line.
| | 04:37 | So I have to go forward a little bit.
| | 04:38 | So, I'll just double-click here to
load it up, and let's take a look.
| | 04:42 | (Mr. Dalton: My creativity has
nothing to do with this. I did...)
| | 04:46 | He actually goes straight into that line.
So I am going to have to be really careful here.
| | 04:50 | I'm going to go back and forth
and try to get it exactly perfect.
| | 04:53 | (video playing)
| | 04:58 | All right, I am marking an in, I
want to see if I like that.
| | 05:01 | (Mr. Dalton: I did my time.)
| | 05:03 | All right, I think that's pretty good.
We don't need to mark an out here.
| | 05:06 | I'm just going to clear my out by pressing F.
| | 05:08 | So, we're all set up for
a three-point edit here.
| | 05:11 | We've got our in, and
we've got our in and out here.
| | 05:14 | Let's go ahead and press B to overwrite.
And the timing might not be okay here.
| | 05:18 | So, let's just take a look
and make sure that we like it.
| | 05:21 | (Mr. Dalton: My creativity has nothing
to do with this. I did my time.
| | 05:27 | My job now is to wear this suit, please clients,
and make sure you do your job, nothing more,
| | 05:36 | nothing less, understand?
Six p.m., six p.m.)
| | 05:46 | So, he actually delivered his lines a
little bit faster in the medium shot, so we just
| | 05:49 | have a little bit to cut out.
| | 05:50 | I'm going to enter Trim mode here,
and this is going to be an A side trim.
| | 05:56 | I'm going to go ahead and roll back
and cut out that last part of the line.
| | 05:59 | (video playing)
| | 06:06 | And, I think this is okay.
| | 06:07 | Again, when we go through the
refining process, we can get this perfect.
| | 06:10 | But for right now, I just want
to make sure the lines are good.
| | 06:13 | (Mr. Dalton: ...nothing less, understand? Six p.m.)
| | 06:19 | So, as you can see, it's
really quite easy to swap shots.
| | 06:23 | Occasionally, the timing of the performances calls
for some trimming after the edit, which is totally fine.
| | 06:28 | As long as you get the right shots laid in, you'll be
able to do any necessary tweaking later in the process.
| | 06:37 |
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| Adding cutaways and reaction shots| 00:00 | Once you're happy with the shots you've
laid down for your basic assembly, you may want
| | 00:03 | to add more visual information in the form
of cutaways or reaction shots. Doing this
| | 00:08 | will allow us to visually show the most
compelling shots at the right moments for our scene.
| | 00:14 | Bottom line, you should never feel limited to
show just the image for the person who is talking.
| | 00:18 | Many times, the more interesting thing to
look at is the shot of the person listening
| | 00:22 | rather than the person
talking. Let's take a look.
| | 00:25 | So, I'm going to load up the sequence here.
That's what we've got so far.
| | 00:31 | As you can see, I've got a few more markers
in this sequence, which are telling me where
| | 00:36 | I'd like to add some cutaway and reaction shots.
So let's take a look at this one here.
| | 00:40 | I have this note saying I want to show
Mr. Leavitt turning back around.
| | 00:44 | Let's just play and get a
context for what we're looking at.
| | 00:47 | (Joseph: That's it, 6 p.m., huh?
| | 00:52 | And if I'm a risky choice,
then don't use me.
| | 00:57 | We all know what risky decisions lead to.
The company's in free-fall,)
| | 01:02 | So, Mr. Leavitt walks away, and we
really never see him turn back around.
| | 01:07 | So, this is a good spot for that to happen.
| | 01:09 | So fortunately, we can use
our script to do this as well.
| | 01:12 | Let's go ahead and find that line when
he is saying don't use me right here.
| | 01:17 | We want to focus on Mr. Leavitt.
| | 01:19 | So here is the long shot
and here is the medium shot.
| | 01:21 | I'm going to go ahead and just lasso these
two groups of script marks and then I'm going
| | 01:26 | to play them and see which one I
want to use for him turning back around.
| | 01:30 | Again, if you don't have a script, you would just
load these texts manually and check it out that way.
| | 01:35 | So I'll go ahead and press Play.
| | 01:37 | (Joseph: That's it, 6 p.m., huh?
| | 01:40 | And if I'm a risky choice,
then don't use me.
| | 01:44 | We all know what risky decisions lead to.
That's it, 6 p.m., huh?
| | 01:51 | And if I'm a risky choice, don't use me.
We all know what risky decisions lead to.)
| | 01:58 | And just so you know, I switched
to the other take ahead of time.
| | 02:02 | I didn't wait for the entire line
to be said simply by pressing Tab.
| | 02:06 | So, if you just want to go from one take
to the next without waiting for it to go all
| | 02:10 | the way through the lines, press
Tab, and that's how that happens.
| | 02:13 | Okay, so I preferred the medium shot.
| | 02:15 | We got a little bit more detail on his face
as he was reacting to what Joseph was saying.
| | 02:20 | So, I'm going to go ahead and just load this medium
shot into the source monitor, and get exactly that moment.
| | 02:31 | So, it's about right there, right before
the turnaround is where I want that to happen.
| | 02:35 | So I'm going to mark an in and
then I'm going to go to my sequence.
| | 02:39 | I'm just going to mark an in
and an out right around that area.
| | 02:44 | You can see here that I have a medium shot
of Joseph, and then I punch into a close-up
| | 02:48 | rather than kind of have this in the middle
so that it goes medium shot of Joseph, medium
| | 02:54 | shot of Leavitt back to the medium
shot of Joseph and then to the close-up.
| | 02:57 | I think I will just put the medium shot of
Leavitt right here so that I don't have too
| | 03:01 | many shots in succession.
| | 03:03 | So, let's go ahead and just
mark an in and an out right here.
| | 03:09 | You'll notice that I have
just the video track selected.
| | 03:11 | So, this is going to be a video only edit.
| | 03:13 | We don't want the audio from here coming in,
and I'm simply going to overwrite, press B.
| | 03:18 | Let's take a look and see if we
need to tweak this or if it looks good.
| | 03:22 | I'll go ahead and play this whole line.
| | 03:26 | (Joseph: And if I'm a risky choice,
then don't use me.
| | 03:31 | We all know what risky decisions lead to.
| | 03:34 | The company's in free-fall,
and you want to take risk again?)
| | 03:37 | I think it works pretty well.
He is definitely responding to him.
| | 03:40 | We definitely get some emotion off of his face here,
and then we punch into Joseph for the close-up.
| | 03:45 | Again, we'll probably tweak the
timing just a little bit later.
| | 03:47 | But I do like the way
this plays out. All right.
| | 03:49 | I have another suggestion
for a reaction shot here.
| | 03:53 | It says Show reaction from Joseph, so we have
Mr. Leavitt on screen for a while here.
| | 03:58 | Let's go ahead and take a look
and see what we're dealing with.
| | 04:01 | (Mr. Leavitt: ...nothing to do with this. I did my time.
| | 04:05 | My job now is to wear this suit, please clients, and make
sure you do your job, nothing more, nothing less, understand?)
| | 04:19 | We need to kind of look back to a forlorn
expression from Joseph right in the middle here.
| | 04:24 | This is long enough that we can include it
right here and then cut back to Leavitt just fine.
| | 04:28 | So, let's get that part in the script, and it's
about right here, "my job is to wear this suit".
| | 04:35 | That might be a good place
to see Joseph's expression.
| | 04:38 | So, we want to make sure that it's
either in the medium shot or the close-up.
| | 04:41 | Let's just lasso those. Here you go.
| | 04:45 | And go ahead and press Play
and see what we've got here.
| | 04:48 | (Mr. Leavitt: My creativity has nothing to do with this.
I did my time. My job now is to wear...
| | 04:58 | My creativity has nothing to do with this.
I did my time. My job now is to wear...
| | 05:08 | My creativity has nothing to do with this.
I did my time. My job now is to wear...)
| | 05:18 | Well, Joseph really doesn't have any type of
expression on his face in most of those shots.
| | 05:24 | Rather than cut back to him just staring at him, I'd
like to find something a little bit more interesting.
| | 05:29 | So fortunately, one of the freedoms of
including reaction shots is that you don't need to show
| | 05:33 | that exact moment in time,
you can find any moment in time.
| | 05:37 | I think I do want to use the close-up.
| | 05:39 | So, I'm going to go ahead and
double-click that script mark.
| | 05:41 | I'm just going to go through here, and see when
might be a better spot, like him looking up like that.
| | 05:48 | He looks pretty sad there, and he is
talking, obviously, we can't use that.
| | 05:54 | This is where he has that very stoic expression
that might be okay, but I don't think I really
| | 06:00 | want to use it there for the cutaway.
| | 06:03 | So, I think I'm going to use this part
right here where he is just really having a hard
| | 06:09 | time looking at him, and we'll just pretend
that that's what's happening at that moment
| | 06:14 | when he is saying, "my job
is to wear this suit".
| | 06:17 | So I'm going to go ahead and mark my in there.
I'm going to clear my out. I'm going to press F.
| | 06:22 | Let's go ahead and mark an
in and an out in the timeline.
| | 06:25 | Okay, we'll go ahead and play.
| | 06:28 | (Mr. Leavitt: ...is to wear this suit, please clients,
and make sure you do your job...)
| | 06:33 | So, I marked an in and an out there.
| | 06:34 | I think that's a good place to have that
right after he says "to wear this suit".
| | 06:38 | Let's go ahead and overwrite.
So, I'll press B, and let's take a look.
| | 06:43 | (Mr. Leavitt: ...nothing to do with this. I did my time.
| | 06:46 | My job now is to wear this suit, please clients,
and make sure you do your job...)
| | 06:54 | Let's just tweak this just a little bit.
| | 06:55 | We want to maybe move it over to the left a
little bit and then show a slightly different
| | 07:00 | part like when he first looks up.
| | 07:03 | So we're going to do a little
bit of slipping and sliding here.
| | 07:05 | I'm going to lasso from right to
left, and I'm entered Slip mode.
| | 07:11 | This allows me to change the shot
content, but not its position or duration.
| | 07:15 | So, I'm just going to drag to the left.
| | 07:17 | And if you take a look at the second monitor,
we just want to time it so that the first
| | 07:21 | few frames of this shot are when he looks up.
| | 07:25 | So again, we're changing the
shot content by about 42 frames.
| | 07:29 | I am going to go ahead and play
and make sure I like that portion.
| | 07:32 | (Mr. Leavitt: ...now is to wear this suit, please clients,
and make sure you do your job...)
| | 07:39 | All right. So I think that is stronger.
| | 07:40 | We are getting a better part
of his shot to come sooner.
| | 07:45 | Now, we're going to go ahead and just slide it
over a few frames so that it comes at a better spot.
| | 07:51 | I'm going to quickly switch to slide trim.
| | 07:53 | Just right-click while you're in Slip or
while you're in any type of trim, I'm going to do
| | 07:59 | Slide, and again I can just slide this
over just a little bit, and I'm going to press
| | 08:05 | Play and see if I like that.
| | 08:06 | (Mr. Leavitt: My job now is to wear this suit,
please clients, and make sure you do...)
| | 08:13 | I think that's almost perfect.
| | 08:14 | Let's go ahead and just nudge it a few frames to the
right so that it coincides with that line just perfectly.
| | 08:19 | Again, we changed it by 18 frames, but I'm
going to go ahead and just nudge this over
| | 08:25 | maybe 3 frames, and I think this will be good.
| | 08:27 | (Mr. Leavitt: My job now is to wear this suit,
please clients, and make sure you do your job...)
| | 08:35 | All right. I think that looks really good.
| | 08:37 | So, as you can see, you don't even need the
reaction shot to be anywhere near the true
| | 08:41 | script location for it to work.
| | 08:43 | If you need someone reacting a certain way
and they don't actually react that way, then
| | 08:47 | you can create the reality in which they do.
| | 08:50 | I hope this demonstrates that the art of
editing goes far beyond just assembling shots.
| | 08:55 |
| | Collapse this transcript |
| Refining the dialogue scene| 00:00 | Every time I teach in editing class, I tell my
students that trimming is the most important part of editing.
| | 00:05 | Why? Well, anyone can learn basic skills of
laying the shots in a timeline, but the true art
| | 00:11 | of editing comes with an editor breathe
his life into a scene. How you do this?
| | 00:15 | Well, first you need to commit to watching,
really watching their scene, figure out where
| | 00:20 | it lags, where it zips by too
quickly, and where it seems to be just right.
| | 00:24 | Now you're not only looking, but you're also
experiencing things on a subconscious level.
| | 00:28 | Your heart rate, your rate of blinking, your
entire system physically responds to the way
| | 00:33 | you experience your scene.
| | 00:34 | Watch the scene enough to be in tune with
these physical, emotional, and psychological
| | 00:38 | responses, because sometimes you can't explain why a
shot should just end sooner except that it just should.
| | 00:44 | All right, so I have our bin here that
contains our sequence of far.
| | 00:49 | And it's almost 2 minutes long.
| | 00:51 | So we won't have the opportunity to refine
the entire thing, but I want to take a look
| | 00:54 | at this general area right here.
| | 00:56 | Okay, so we've our introductory tilt up here.
I want to start playing about right here.
| | 01:02 | (Mr. Dalton: How's the coffee?)
(Joseph: It's cold.)
| | 01:14 | (Mr. Dalton: Did you finish it?
| | 01:20 | You know, I'm taking a big risk
putting you on this Columbia project.
| | 01:24 | Firm could be on the line here.
Six p.m. tonight, simple deadline, meet it.)
| | 01:33 | All right, so let's go ahead and zoom in here.
| | 01:37 | We want to attack this
one transition at time.
| | 01:40 | So we want to ask ourselves
should the shot end sooner or later?
| | 01:44 | Which side of the shot, the A side which is
the left side, or the B side which the right
| | 01:48 | side, should be affected and so on and so forth?
So I'm just going to lasso this edit.
| | 01:53 | And let's go ahead and play
a loop and see what we think.
| | 01:56 | (video playing)
| | 02:01 | Okay, you know what, this looks pretty good.
| | 02:04 | I think the forward momentum from this
shot works really well going into the shot.
| | 02:08 | I'm going ahead and play again, so you can
see that it really does match quite well.
| | 02:16 | So I don't think I'm going
to make any change there.
| | 02:19 | Let's go ahead and go to the next
edit and see what we think here.
| | 02:23 | (video playing)
| | 02:28 | This is where I think things are zipping by
just a little bit too quickly. We're really not getting
| | 02:32 | that sense of tension.
The shots are just too fast.
| | 02:36 | So let's go ahead and slow them down
and draw it out just a little bit more.
| | 02:39 | All right, so let's first take a look at the
tail of this shot, so the end of our long shot.
| | 02:44 | I'm going to go ahead and
click on the A side monitor.
| | 02:47 | And then I'm just going to tease this out
just slightly, right before he says his line.
| | 02:51 | So we'll see how many frames we get out of this.
| | 02:53 | I'm going to hold down K and then go
forward with L so that I can go in slow motion.
| | 02:58 | (video playing)
| | 03:02 | All right, so he says his line there.
| | 03:03 | I'm going to go back with
J so we get rid of that.
| | 03:07 | All right, so I got about 8 frames out of it.
| | 03:09 | So let's go ahead and
play and see if that's okay.
| | 03:12 | (video playing)
| | 03:17 | So that's good. Let's go ahead
and take a look at our B side.
| | 03:22 | So again I'm going to use J, K, L and see what
sort of give we have at the head of this shot.
| | 03:27 | All right, so actually not any at
all, he's still walking right there.
| | 03:32 | We want him to be planted,
because he's planted here.
| | 03:34 | So that wouldn't match.
| | 03:36 | I'm going to just go forward and
make sure that he is planted here.
| | 03:43 | So I think we're probably going to have to add some
frames to the tail of this shot, which is right here.
| | 03:48 | So let's go ahead to the next edit, and
I'm going to see how much I can let out here.
| | 03:53 | I'm going to go forward with a J, K,
L holding down K to go in slow motion.
| | 03:57 | (video playing)
| | 04:07 | Okay, so that's interesting.
He's putting his hands in the pocket.
| | 04:09 | I think that really
contributes to the mood we are after.
| | 04:12 | We let it out by 65 frames,
so quite a bit over 2 seconds.
| | 04:16 | I'm going to go ahead and play the whole thing
and see if it's now too long or if we like it.
| | 04:22 | (video playing)
| | 04:28 | All right, so a couple of things.
| | 04:30 | So I think after he put his hands in his pockets,
let's go ahead and just add a couple more frames.
| | 04:34 | I think I cut away too quickly there.
| | 04:39 | So his shoulders kind of settled there, and
it's just before he's about to start talking.
| | 04:44 | And then I'm going to go back to this edit
here, and I'm actually going to take away
| | 04:48 | some of the shots from the head of this.
| | 04:51 | And that's because you know I kind of want
him to get to that gesture of putting his
| | 04:54 | hands in his pockets a little bit sooner,
and because he added so many frames I think
| | 04:58 | this is going to work.
So I'm going to go forward with J, K, L.
| | 05:01 | (video playing)
| | 05:08 | All right so that's where he starts.
Let's go ahead and go back. And let's take a look.
| | 05:17 | (video playing)
| | 05:22 | Okay. You know, ideally it would be great to
match on action from when he put his hands
| | 05:27 | in his pockets in a long shot and then match it in a
medium shot, but he doesn't do that in the long shot.
| | 05:32 | He starts his line when his
hands are out of his pockets.
| | 05:35 | So that's not an option, but I still
like including it here right away.
| | 05:38 | All right, so we're drawing out the tension.
Let's see about the shot with Joseph.
| | 05:44 | (video playing)
| | 05:52 | I think it's decent, maybe just
letting it out a couple of frames.
| | 05:56 | I think that, him
looking down initially is good.
| | 06:00 | Let's go ahead and go to the tail of the
shot and see if we can just let it out tiny bit.
| | 06:06 | (video playing)
| | 06:11 | All right, 8 frames or so.
Let's see how that looks.
| | 06:16 | (Mr. Dalton: How's the coffee?)
(Joseph: It's cold.)
| | 06:24 | All right, I like it.
| | 06:25 | Let's get into the dialogue
right when he starts talking here.
| | 06:28 | So rather than include this pause, let's go
ahead and have him say that just a little bit sooner.
| | 06:34 | So I'm going to click on
B side and rock forward.
| | 06:38 | (video playing)
| | 06:42 | Okay, let's take a look.
| | 06:45 | (Mr. Dalton: So, how's the coffee?)
(Joseph: It's cold.)
| | 06:54 | And I think that works out really well.
So don't skimp here.
| | 06:57 | You want to make sure you get through each
and every edit and ask yourself should this
| | 07:01 | edit start or end earlier, or start or
end later? Be thoughtful and take your time.
| | 07:06 | Make sure you're evaluating each and every transition
with your eyes, your mind, and your body.
| | 07:12 | When you get the hang of this very special
art that's when you can become a great editor.
| | 07:17 |
| | Collapse this transcript |
|
|
4. Editing a MontageUnderstanding complexity editing| 00:00 | We've already learned the ways that you should
perform continuity editing, which is the method
| | 00:04 | of recreating a cohesive reality from different
shots within different setups and different takes.
| | 00:10 | We've have studied all the various rules to
follow in establishing this continuous reality,
| | 00:14 | but now is our chance to break the
rules by engaging in complexity editing.
| | 00:19 | So instead of trying to establish continuity,
we're instead going to break it for the purpose
| | 00:24 | of showing the passage of time and a
combination of ideas. Let's take a look.
| | 00:29 | First, there is montage.
| | 00:31 | Montage editing is the practice of editing
many small clips together, usually against
| | 00:35 | music or voiceover and usually
to illustrate a change over time.
| | 00:39 | And usually to display a
spectrum of ideas or emotions.
| | 00:43 | That is when the shots are
combined they can result in a new meaning.
| | 00:47 | Human perception literally creates
a whole from the sum of the parts.
| | 00:54 | Jump cutting can also show a passage of time
and jump cutting typically breaks most basic
| | 00:59 | rules of continuity editing by cutting
from one shot of a subject to another in which
| | 01:04 | the shots vary only slightly.
| | 01:06 | This results in the subject appearing
to jump positions in a discontinuous way.
| | 01:11 | So in this regard, it breaks the rules of
continuity editing by deliberately becoming discontinuous.
| | 01:17 | Jump cuts draw attention to the construct of the
editing process rather than attempting to hide it.
| | 01:25 | Both montage and jump cuts can be heavily
influenced by rhythmic editing, which is based
| | 01:30 | on using the length of clips to
maintain the energy of a sequence.
| | 01:34 | So in that regard, instead of focusing on story
continuity, you cut clips together of various
| | 01:39 | lengths to maintain the
feeling that you want to convey.
| | 01:43 | Now the sequence we're going to be editing
is the scene in which Joseph tries and vain
| | 01:47 | to come up with an idea.
| | 01:48 | Here is the description
of the scene in the script.
| | 01:51 | As you can see, we must not only show what's going on,
but we also must convey Joseph's growing frustration.
| | 01:58 | And we'll do that by executing
various forms of complexity editing.
| | 02:03 |
| | Collapse this transcript |
| Building the montage base| 00:00 | In order to successfully implement complexity
editing techniques, it's usually a good idea
| | 00:05 | to just start laying in your shots without too
much initial emphasis on how they flow together.
| | 00:10 | Because there's no dialogue, we're really
just focusing on the visual content, and energy
| | 00:14 | of the shots, and we will
tweak it out later. Okay.
| | 00:17 | So, as we said in the last movie, this
scene is where Joseph is trying in vain to come
| | 00:21 | up with ideas for his architectural project.
| | 00:24 | Through montage, jump cuts, and rhythmic editing,
we've not only got to show the Joseph spends
| | 00:29 | a lot of time trying to come up with ideas,
but we've also going to convey the frustration,
| | 00:33 | and frenzy, of the scene.
| | 00:35 | We'll go ahead and first lay down the shots,
to show basic content, and then we'll tweak
| | 00:39 | it later in order to
display the proper emotions.
| | 00:42 | All right, so I have here a Bin
and in it, it's just one clip.
| | 00:47 | And if I load it, you can see that it's over 10
minutes long, but basically there's a lot going on.
| | 00:54 | The cameraman reconstitutes the frame many
times, to show various aspects of Joseph troubles.
| | 01:00 | So, we can approach this one up two ways,
we can go through, and find the moments that
| | 01:05 | we want to include, and then lay them in
one after another, or we could lay the entire
| | 01:09 | 10 minute clip in, and then chop out what
we don't want, and then move shots around.
| | 01:13 | For this movie, I'm going to show you the
first way, and we are going to be as organized
| | 01:16 | as possible about sub clipping the shots we
want, into manageable bites, before editing them.
| | 01:22 | Okay, so, I am going to go through, and just
basically put an in and an out around any complete action.
| | 01:30 | So I could actually start right here,
marking in and an out, and I'll just call this ruler1.
| | 01:44 | And then I'll go forward, as like we've got a
close up of Joseph's face here, okay JosephCU1,
| | 01:53 | and so on and so forth, we have
got another ruler shot here, like so.
| | 02:02 | So, as you can see, it's just going to take a little while
to go through this entire clip, and Subclip everything.
| | 02:08 | Let's actually just jump ahead to this Bin
here, where I have already done the work for us.
| | 02:13 | And mind you, all of these are pretty large
chunks, if I right-click here, at the top,
| | 02:19 | and Choose Columns, and show Duration you
can see that these manageable bite size pieces,
| | 02:26 | actually some of them are quite long.
| | 02:28 | But we are not going to worry about that yet,
we are just going to lay in the shots and
| | 02:32 | then we're going to chop everything up.
| | 02:34 | All right, so the way we are going to do
this is going into Frame view, and I'm going to
| | 02:40 | just make big canvas for myself, and then
I'm just going to start arranging shots in
| | 02:47 | the basic order that I
think I'm going to use them.
| | 02:50 | So I'm going to starts somewhat chronologically,
we are going to see shots of Joseph and hand
| | 02:54 | of writing, and ruler, and then later on we're
going to get shots of the waste can, and paper
| | 03:00 | throwing away and then just everything is
going to fall on top of each other at the end.
| | 03:04 | So, I am just going to storyboard this out, I
want to go ahead and start with Ruler, Writing,
| | 03:12 | another Ruler shot, and another Writing shot,
and then we'll get into Joseph, and then maybe
| | 03:22 | our first Paper throw, actually maybe Crumple paper
first, and then throw it, and then back to the Ruler.
| | 03:30 | So, its pretty organic at this point, again
we're going to move stuff around, so don't
| | 03:34 | worry, if you don't know
exactly what the shot content is.
| | 03:37 | But here we're at least getting a
sense of the visual energy of the scene.
| | 03:43 | So I am going to lasso all of these clips,
from left or right, and let's go ahead and
| | 03:49 | drag it into the Sequence.
| | 03:52 | As you can see, we had a sequence created
right here, we want to name that right away.
| | 03:56 | So, I am just going to can call this
Montage assembly, and if we look at it you can see
| | 04:04 | that it's 6 1/2 minutes of all of these shots,
but I am just kind of go through, and see
| | 04:11 | if the visual energy is what I want.
| | 04:16 | So now that we have laid in the basic
visuals in the basic order that we are going to use
| | 04:20 | for this Montage sequence, we are
then going to able to tweak it further.
| | 04:24 | We're going to delete a lot of things, we're
going to move things around, we're going to
| | 04:27 | trim this by about 95%.
| | 04:29 | But here we leave the foundation for being
able to tweak it further, to show exactly
| | 04:33 | the content, and extract the
mood that we're looking for.
| | 04:38 |
| | Collapse this transcript |
| Trimming heads and tails| 00:00 | When editing a Montage it's often a good idea to
lay a good foundation and then carve from there.
| | 00:05 | That's what we've done in this
sequence, here, Montage scene long.
| | 00:10 | We've taken all the subclips that we've
made from our giant 10 & 1/2 minute master clip,
| | 00:15 | and laid everything in without
any emphasis on any sort of flow.
| | 00:19 | But we'll go ahead and take care of that now.
| | 00:21 | Now the first thing that we want to do is map
the commands Top and Tail to our keyboard.
| | 00:27 | If I go to Settings and then Keyboard and
then open up my Command palette, which is
| | 00:34 | Command+3, or Ctrl+3 on a PC.
| | 00:37 | Top and Tail are found in the Edit tab, right
here, and I always map Top and Tail to E and
| | 00:44 | R, because that's Mark In and Mark Out.
| | 00:46 | But Mark In and Mark Out are also I
and O, you don't need two of those.
| | 00:50 | So, that's where I tend to
put it, Top on E, and Tail on R.
| | 00:55 | Now what are Top and Tail?
| | 00:57 | Top, basically extracts material from the
position indicator to the beginning of the clip.
| | 01:04 | So if I were to perform a Top edit right now,
| | 01:06 | I'll press E, you notice that, that
first part of that clip was extracted.
| | 01:11 | Let me just undo Command+Z, or Ctrl+Z on a
PC. And a Tail extracts the end, so from the
| | 01:18 | position indicator to the end of the segment.
| | 01:21 | So I'll perform a Tail Edit now by pressing R, and
you can see that the end of that shot was extracted.
| | 01:28 | So Top and Tail are wonderful tools for
helping to carve the material in a Montage.
| | 01:34 | So I am going to basically, zoom in a
little bit, so I've some better control, and then
| | 01:40 | I'm going to just move my position indicator,
to a specific moment, like him drawing that
| | 01:47 | on the ruler right there.
| | 01:48 | So we just want it very,
very, very, short clips.
| | 01:51 | So, I think right before he starts to make
that drawing right there, I am going to go
| | 01:55 | ahead and press E, to make a Top Edit, and
then when he finishes that action maybe about
| | 02:03 | right their, I'll press R.
| | 02:04 | And now I'll just mark clip by pressing T, you
can see that, that's two seconds and 21 frames.
| | 02:10 | So a lot better, I am just
going to keep doing that.
| | 02:13 | So, lets go ahead and find a
moment here how about right there.
| | 02:16 | So I'll just do E to do Top, and R
to do Tail, and so on, and so forth.
| | 02:26 | It's very easy, and we are well on our way.
| | 02:30 | Now, I already have a scene that's been chopped
up, and you can see that it is about 24 seconds.
| | 02:37 | I am going to go a head and play it.
| | 02:39 | So you can see kind of where we're at right
now, after we've performed those Top and Tail
| | 02:42 | Edits, and obviously going from 6 & 1/2 minutes
to under 30 seconds is a dramatic improvement,
| | 02:48 | but let's just see kind of what the
content from visual energy is like right now.
| | 02:52 | (video playing)
| | 03:17 | So, it still needs some work, and you can
also tell that I did some moving around of
| | 03:22 | clips, if you need to move clips around its
really easy, it's just the extracts by segment mode.
| | 03:27 | I'll make sure that you have your Link Toggle
Selection on, so everything will move at once.
| | 03:33 | And then just hold down Command on a Mac
or Ctrl on a PC, to snap to the transition.
| | 03:40 | So, I have done a little bit of that in sort
of redefining how these shots are coming together.
| | 03:46 | But I will just undo that,
because kind of like how I had it.
| | 03:49 | You can see that you know we are well our
way to getting this frenzy, this frustration,
| | 03:54 | it's going to get even better, when we start doing
some jump cuts, and doing some more rhythmic editing.
| | 03:58 | But as you see, because a Montage is primarily
a visual practice we're essentially just using
| | 04:03 | our eyes and our instincts
to include the best material.
| | 04:07 | Again, once we're happy with very fine base we can begin
further tweaking to build a motion within the scene.
| | 04:16 |
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| Working effectively with jump cuts| 00:00 | Jump Cuts are a great way to portray
disjointed slices of life in quick succession, which
| | 00:05 | can help in adding to the
frantic chaos of our scene.
| | 00:08 | So, when we've got the shots in the order
that we want, at the relative duration we
| | 00:12 | want, then we can begin
playing with jump cuts. All right.
| | 00:15 | So, I have our sequences here, Pre-jump cuts,
and really we've already got a lot of jump
| | 00:21 | cuts by designing in our sequence.
| | 00:23 | Remember, a jump cut occurs when you have two
very similarly composed shots, one right after
| | 00:27 | another, and the subject
appears to jump across the frame.
| | 00:31 | So as I go through this, I think you will
be able to see a lot of examples of this.
| | 00:35 | But for our purpose, I think we'll add a
few more, engaging in rhythmic editing, where
| | 00:40 | we perhaps start out with relatively few jump
cuts, and then it increases as the scene builds.
| | 00:46 | This will add to the
building frenzy of our scene.
| | 00:49 | So, making jump cuts is as easy as marking an in
and out, and then extracting the included material.
| | 00:54 | So, again if we don't really have too many
extra jump cuts, you know in the beginning,
| | 01:01 | but maybe like right here, his hands might
jump from over here on the left side of the
| | 01:07 | frame, to the right.
And so, I am just going to Mark In and an Out.
| | 01:15 | And actually let's play it first to see what it looks
like, and then I will go ahead and make the extraction.
| | 01:21 | (video playing)
| | 01:24 | Okay, so let's go ahead and I'll press X to
extract, and we'll see what adding that did to it.
| | 01:32 | (video playing)
| | 01:35 | Okay. And you know, I'm actually going to just
do a little bit trimming, you sometimes have
| | 01:39 | to do this, when you create jump cuts
just so that the shots actually look okay.
| | 01:44 | I want that sound of the
crumple to be in both of the shots.
| | 01:47 | So I'm just going to let this out just slightly,
I am going to pull down K and go forward with L.
| | 01:52 | (video playing)
And then, we'll do the same thing here.
| | 01:58 | (video playing)
And maybe let out a few frames there as well.
| | 02:03 | (video playing)
All right. Let's take a look.
| | 02:06 | (video playing)
| | 02:09 | Okay, so I think I like that. We have that
sound in both of them, we're definitely jumping
| | 02:14 | the subject across the
frame, I think that's fine.
| | 02:17 | And let's take a look down here,
maybe we'll try it again right here.
| | 02:22 | So, I am going to go ahead and just initially
take that out, extract it, let's take a look,
| | 02:29 | and we'll probably have to trim it.
| | 02:32 | (video playing)
| | 02:36 | Not too much, I am going to go ahead and just
add a couple of frames on this shot right here.
| | 02:43 | (video playing)
| | 02:45 | And a couple of frames here just because it
went by just a tiny bit too fast, little bit
| | 02:52 | less, and let's take a look at that.
| | 02:55 | (video playing)
All right. I think that works out pretty well.
| | 02:59 | So, we'll keep doing this,
again it'll take just while.
| | 03:02 | So, let's take a look at our Post-jump cuts
sequence. And, as you can see, we have longer
| | 03:09 | shots in the beginning, and
they get really quick at the end.
| | 03:12 | So again, this is rhythmic editing, where the
length of the shot determines our emotional experience.
| | 03:17 | I am going to go a head and play, it'll
still needs some refining, but at least you can
| | 03:21 | tell where I added some more jump cuts.
| | 03:24 | (video playing)
| | 03:40 | So we took it from 24 seconds down to 14,
but, as you can see, adding these jump cuts
| | 03:45 | has more even emotional and psychological
effect on viewing experience, and helps us
| | 03:50 | be able to convey Joseph frustrated
state of mind in this closing expanse of time.
| | 03:55 |
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| Refining the montage scene| 00:00 | Once you have employed all the techniques to
build a compelling montage scene with proper
| | 00:04 | emotional energy, it's time to
refine it through the trimming process.
| | 00:09 | Now this isn't too much different than
trimming a dialogue scene, because honestly it's still
| | 00:13 | all about watching, watching, watching, and
reacting, and making changes based on your observations.
| | 00:21 | Let's take a look.
| | 00:22 | Let's go ahead and open the _Refine Bin, and
we've got our number one sequence, which is
| | 00:26 | where we have left off.
| | 00:27 | Let's go ahead and play it,
and see what we think.
| | 00:30 | (video playing)
| | 00:45 | So, in general I think it's a pretty good
base, we're starting with longer shots in
| | 00:50 | more chronological order here in the beginning,
and then the shots get shorter, and the content
| | 00:56 | is kind of all over the place,
as that mood gets more frenzied.
| | 01:00 | So let's go ahead and start the beginning, and I am
going to go ahead and enter Trim mode, I'll press U.
| | 01:05 | And let's see we what to add, or subtract
frames here, and then once we decided, we'll
| | 01:09 | move on down the line.
(video playing)
| | 01:15 | I think I am just going to
add a couple of frames here.
| | 01:16 | So I am going to hold down K and rock back with J,
to just get a little bit more of this action.
| | 01:22 | (video playing)
I'm going to stop here.
| | 01:28 | As you can see, the focus is
shifting, which is pretty interesting.
| | 01:31 | So I am going to go back a little bit further and
see if we can get this entire focus shift in there.
| | 01:36 | (video playing)
Okay. Let's see how that looks.
| | 01:44 | (video playing)
| | 01:49 | And I am going to go ahead and play
through the entire shot, and let's see if we like
| | 01:51 | it or if we need to trim some from the tail.
(video playing)
| | 02:01 | I think I am going to leave it for now.
| | 02:04 | We kind of have a lingering first shot, let's
go into the next edit here and see what we think.
| | 02:11 | (video playing)
| | 02:15 | I am going to go ahead and just remove a
couple of frames from the B side here, so his pen
| | 02:19 | will almost be right on the
paper as we start this shot.
| | 02:23 | (video playing)
And so I am going to check this one out.
| | 02:31 | (video playing)
All right, very good.
| | 02:37 | Now I am thinking for the third shot
I would like to actually see Joseph.
| | 02:41 | So we don't actually see him until here.
| | 02:44 | Let's just move this shot down, press
Command or Ctrl on a PC so we can snap, and let's
| | 02:50 | see what this look like.
We might have to lengthen it.
| | 02:53 | (video playing)
| | 02:55 | Yeah, I want to make it linger just a little
bit more, so I am going to go ahead and trim
| | 02:59 | this out, and let's take a look.
(video playing)
| | 03:08 | All right, so, I do like these first three shots,
I think it's looking pretty good.
| | 03:12 | Okay, so I am going to go to the
number 2 here, and we've already refined it.
| | 03:18 | And what I want to do now is introduce some audio
elements to help increase this frenzy towards the end.
| | 03:25 | So, as you can see, we definitely have the
sound of writing, the rulers, the crumpling
| | 03:31 | paper, all of that's going on.
| | 03:32 | But let's go ahead and begin layering the
audio, and as the scene gets more intense,
| | 03:37 | we can increase the volume, and prevalence
of all the writing, and paper, and crumpling
| | 03:41 | sounds, and I think it
will really help it build.
| | 03:43 | Okay, so, I've a Subclips Bin here, and it's
just a couple of those shots, and a good examples
| | 03:49 | of writing sounds, in crumpled paper
sounds, I'll just play one, so you can see.
| | 03:54 | (video playing)
| | 03:57 | And you leave them like this, or what you
can do is turn off the video, and we can go
| | 04:05 | ahead and see which channel our audio is
on so that we can just get what we need.
| | 04:10 | All right, so it's not
on A1, let's check out A2.
| | 04:14 | (video playing)
All right, so it's on A2.
| | 04:17 | So we can just turn off V1 and A1, and you
can mark an In and an Out, and then you can
| | 04:24 | make a Subclip here.
| | 04:25 | You can see that this is an audio only clip
so that when I load this, it's just one audio
| | 04:31 | channel, and it happens to
be the sound that I'm after.
| | 04:34 | (video playing)
| | 04:37 | So, I am going to go ahead and delete that,
because I have already got it, right here
| | 04:41 | in this Bin called Audio Elements.
| | 04:44 | So we've our ruler and our paper and our writing sounds,
let's go ahead and just start adding some audio tracks.
| | 04:50 | We'll go ahead and press Command+U quite a few times
here, and I am going to just start to layer this in.
| | 04:58 | And I am just going to load this, and let's go ahead
and deselect all of my audio tracks in my Timeline.
| | 05:05 | Go ahead and just Shift+Drag
through all of those and also my video.
| | 05:11 | And where do we want this to start, probably
kind of as our cut start to increase right here.
| | 05:16 | I am going to play this and
see if this looks good to me.
| | 05:21 | (video playing)
| | 05:23 | So, I think about right here,
we'll start the layered audio.
| | 05:29 | Let's start with the ruler, and I'll go ahead and
patch A2 to A3, and let's go ahead and just overwrite B.
| | 05:38 | And I am just going to maybe layer it down
here as well, and maybe right here as well.
| | 05:46 | Now let's get the crumple, let's get the writing
in there too, and you can see what I am doing here.
| | 05:53 | I am layering these sounds, like so.
| | 06:03 | And let's get our first crumpled paper
here, and let's just take our first listen.
| | 06:13 | Again, this going to require refining
as well, we're just kind of laying it in.
| | 06:17 | We're going to have to move it around,
trim it up, and make it work for the visuals.
| | 06:21 | But let's go ahead and play
through once and see how it's going.
| | 06:25 | (video playing)
| | 06:36 | I am going to go to number 3, where I have
already done this work, and I have gone through
| | 06:42 | and very carefully figured out
exactly where I wanted this audio to go.
| | 06:45 | I've trimmed some stuff, I have moved it around.
| | 06:47 | You can see that I have ended in silence,
which I think is a nice contrast from this
| | 06:51 | serious building of audio here.
| | 06:54 | And I am going to ahead and just play it, and we'll see
where we're at, and we can continue refining if necessary.
| | 07:00 | (video playing)
| | 07:19 | So, when you have gone through this scene
enough times for it to really feel right,
| | 07:23 | both visually and orally,
| | 07:25 | you can feel good that you've constructed
a scene that effectively compresses time,
| | 07:29 | heightens emotions, and
enhances the viewer's experience.
| | 07:34 |
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|
|
5. Editing a FlashbackCombining continuity and complexity editing in a flashback| 00:00 | So far in this course we've learned how to
edit with continuity when constructing a dialogue
| | 00:05 | scene, and how to creatively edit with
complexity when editing a montage scene.
| | 00:10 | In this chapter, we are going to use both of
these methods in order to build a compelling
| | 00:14 | flashback scene, which employs both traditional methods
of continuity, and more stylistic methods of complexity.
| | 00:21 | Let's take a look at the
flashback scene that we are going edit.
| | 00:23 | It's a scene between Joseph
as a young boy and his father.
| | 00:27 | Joseph and his Dad bond over the creation
of a sandcastle, and it's at this point in his
| | 00:31 | life that Joseph's love for
creating structures originates.
| | 00:35 | It's clearly a very happy, nostalgic scene
from long ago, and it's in this film to help
| | 00:40 | inspire the frustrated adult Joseph.
| | 00:43 | So, while this is clearly a dialogue scene, we're
going to have some artistic leeway in designing it.
| | 00:49 | It's also shot as a POV, which means that
we're seeing the world through the eyes of
| | 00:53 | one of the characters, that is the
camera is acting as the eyes of the father.
| | 00:58 | One thing about this scene is that it wasn't
shot using the coverage model, so there really
| | 01:03 | isn't much variety and shot composition as
pretty much everything is shot as a POV of
| | 01:08 | the boy in the medium shot.
So, we'll have to work around that creatively.
| | 01:12 | But because the flashback scene is also a
slice of memory, we can probably play a little
| | 01:17 | bit with the part where
Joseph is building the sandcastle.
| | 01:21 | We can use some organic montage
techniques as well as some jump cuts.
| | 01:26 | We also need to figure out how to best come into, and
out of the flashback from the scene in Joseph's office.
| | 01:32 | The object that sparks the memory is a framed
photograph in his office, so we might be able
| | 01:37 | to do something creative with that.
| | 01:39 | After we're done editing, we'll also have
the opportunity to add some color grading
| | 01:43 | and effects to emphasize the
antiquated nature of this dream. Okay.
| | 01:47 | So, we've a very basic plan on
how we're going to attack this scene.
| | 01:51 | I think we'll have some fun combining
editing styles to build the sandcastle sequence.
| | 01:56 |
| | Collapse this transcript |
| Laying down flashback scene assembly| 00:00 | When editing our flashback scene, it might be useful to
break it down into a couple of different sections.
| | 00:05 | Let's first tackle the primary dialogue, and
then let's go for the sandcastle building scene.
| | 00:10 | We'll also set ourselves up to effectively
cut into and out of the flashback from the
| | 00:14 | scene in Joseph's office. All right.
| | 00:17 | So I have here a scene for assembly,
and I've got three versions of it.
| | 00:23 | The first one start is just a blank sequence,
so we'll start with that, and then I want
| | 00:28 | to open up the script and talk
about it for a little bit. All right.
| | 00:32 | So we have three takes of young Joseph on
the beach delivering his lines, so I can go
| | 00:39 | ahead and just lasso these three script marks,
and I'll go ahead and show you what we have here.
| | 00:44 | (Joseph: How's it stick together, dad? How's it
stick together, dad? How's it stick together, dad?)
| | 00:52 | As you can see, very, very similarly
composed shots, but the interesting thing is that if
| | 00:57 | I just play a little bit further for you,
you can see that the dad is really not saying
| | 01:03 | his lines here, it's just the cameraman
sort of feeding young Joseph his lines so that
| | 01:09 | he will say what he needs to say.
| | 01:11 | So I'm going to play a little bit longer
so you can see what I am talking about.
| | 01:15 | (Joseph: How's it stick together, dad?)
(Cameraman: The sand? Well, that's boring stuff, that's
| | 01:22 | chemistry stuff. I want to show you, or teach you about the lines.)
(Joseph: The lines?)
| | 01:26 | So, you can see he really didn't even stick to the
script, but young Joseph delivers his lines okay.
| | 01:31 | So how do we get the dad's audio?
| | 01:33 | Well, he recorded it separately
in a sound booth not at the beach.
| | 01:38 | So let's take a look at this.
| | 01:40 | (Joseph's father: The sand?
| | 01:41 | Well, the water and sand mix, chemistry stuff.
But that's not the exciting part.
| | 01:46 | The exciting part is the lines.)
| | 01:49 | Okay, so we have on location
video mixed with off location audio.
| | 01:54 | The first thing we're going to do is just
lay in young Joseph's lines one after another.
| | 01:58 | Again, we'll probably have a lot of jump cuts, but
we'll deal with that creatively a little bit later.
| | 02:03 | All right, so I'll go ahead and lasso these
three script marks, and we'll see which one we like.
| | 02:09 | (Joseph: How's it stick together, dad? How's it
stick together, dad? How's it stick together, dad?)
| | 02:18 | All right, they are all very, very similar.
| | 02:19 | I'm going to go ahead and just choose this
middle one here, and I'll go ahead and backup
| | 02:26 | just a little bit to include a
little bit of the action beforehand.
| | 02:30 | We'll definitely have to tweak it, but I want
to make sure that I have enough frames before
| | 02:34 | and after for it to be easy for me.
| | 02:38 | (Cameraman: The sand? Well, that's boring stuff, that's chemistry
stuff. I want to show you, or teach you about the lines.)
| | 02:44 | And then you'll notice that I also included
enough space of the cameraman actually talking
| | 02:48 | so that I could fit the
dad's audio over it later.
| | 02:52 | All right, I'll go ahead and splice this
in by pressing V and then I can go ahead and
| | 02:57 | just take a look at this
performance and then lay that in.
| | 03:00 | Now I do have a sequence where I've already
done this, number 2, and you'll see I'll just
| | 03:06 | kind of show you visually that I have laid
in all of these shots, all of the lines are
| | 03:12 | in, and I'll go ahead and play this so
you can see what this part looks like.
| | 03:19 | (Cameraman: Little bit of an angle. See that? All right.)
(Joseph: Can I try?)
| | 03:30 | So this is everything with the dialogue.
| | 03:33 | We now need to build in the sandcastle
building scene, and I'm not going to use the script
| | 03:38 | for that, because we don't
really have any dialogue here.
| | 03:41 | So I'm going to open up the scene for
clips, and we have three clips here.
| | 03:48 | If I load them all into the Source monitor,
one after another, and then I come up here
| | 03:55 | you can see that I can basically go back
and forth pretty easily and pull these various
| | 04:00 | moments. I'm just basically going to be looking
visually for various moments of the sandcastle
| | 04:05 | building scene, and then this is complexity editing,
so it's going to be a moment here a moment there.
| | 04:09 | I'm going to lay them next to one another
and then we'll tweak a little bit later.
| | 04:12 | So I'll just kind of go through and see if I like any--
I'll wait 'til Joseph starts building the sandcastle.
| | 04:20 | I guess he really doesn't do it too
much in this take, lets go to number two.
| | 04:32 | Okay, I'll go ahead and include that moment.
| | 04:35 | All right, I'll press V to Splice and
hopefully there is a lot of stuff in three.
| | 04:47 | I think I'm going to include that, I
think I'm going to include that movement.
| | 04:54 | All right, splice that in,
and so on and so forth. Okay?
| | 05:05 | Okay, so again I also have this completed
number three, and I also laid in the first
| | 05:12 | shot of Joseph looking at the picture in
the office and then we're going to match that
| | 05:18 | up as well as we can, and again here's the
dialogue where he is talking to his dad--or rather
| | 05:23 | talking to the cameraman--and then I've got
some sandcastle building sort of complexity
| | 05:29 | edits there and then back to him in the office.
| | 05:32 | So, use the script for the dialogue if you like,
of course you can just go through and manually
| | 05:37 | load this clips to if you want to do that, but
just lay in a very, very rough basic assembly here.
| | 05:44 | I'll go ahead and just play a little bit
of it and jump around so you can kind of see
| | 05:48 | that the audio is not matching up at all, but
we're basically just focused on the visuals here.
| | 05:53 | I'll go ahead and press Play.
| | 05:55 | (Cameraman: I'm call action, all right? There you go.
All right, nice and slow.)
| | 06:13 | And I'll pop over here so you can see this.
| | 06:17 | (Cameraman: Give it a shot. Yeah, that's good.)
| | 06:23 | So, lot's of audio we don't want, but at
least Joseph's lines are in there, like so.
| | 06:31 | (Joseph: The lines?)
| | 06:32 | But don't worry, we'll continue tweaking the
scene so that eventually it becomes an artistic
| | 06:37 | and interesting flashback sequence.
| | 06:42 |
| | Collapse this transcript |
| Laying in off-camera audio| 00:00 | Now that we lay the basic foundation of our
scene, we'll now focus on adding all of the
| | 00:04 | off-camera audio for the father character.
| | 00:07 | Again, because we never see the father the
production team didn't actually shoot with
| | 00:11 | the actor there. Rather, the cameraman just
fed the little boy his lines. So we'll just
| | 00:16 | need to insert some
voiceover audio here. All right.
| | 00:19 | So I have my scene for Assembly bin, and there are
four sequences each at a different point in time.
| | 00:24 | We're going to start with one which is
where we have left off, and I have put a marker
| | 00:29 | at each one of young Joseph's lines.
So we want to cut out everything else.
| | 00:33 | So I just want to make sure I enable my audio
but not my video tracks, and I'll just mark an
| | 00:40 | in and an out around everything else, and
I'm just going ahead and play make sure I
| | 00:45 | get his whole line in here.
| | 00:47 | (Joseph: How's it stick together, dad?)
| | 00:50 | Okay, so I'll just press Z to lift
and then go on the other side here.
| | 00:55 | (Joseph: How's it stick together, dad?)
| | 00:58 | Okay and just cut
everything out up to his next line.
| | 01:03 | (Joseph: The lines? The lines?)
| | 01:06 | Up to here and press Z again,
and we should be in good shape.
| | 01:11 | So I would just keep doing that for each one
of these places where Joseph is not speaking.
| | 01:17 | In addition, I'm going to need to obviously
have some background audio here, and I have
| | 01:22 | some ambient audio from
the ocean, which I'll load up.
| | 01:27 | So if I just press Command+U, or Ctrl+U on
a PC, to add a audio track just patch A1 to
| | 01:34 | A3, and we can start laying this in, like so.
Take a couple of times there.
| | 01:40 | And if I go back to my scene for Assembly
Bin, and I load up number 2, you can see that
| | 01:46 | I've done all of that work.
| | 01:47 | We've got Joseph's lines, everything else
cut out, and we have all of the ocean sound
| | 01:53 | to sort of help blend everything together.
| | 01:55 | Probably also need to just put some dissolves
in between these, which you can do, I'll just
| | 02:03 | go ahead and put some nice eight frame dissolve
centered on the cut, apply to all between in and out.
| | 02:10 | All right, and it should sound okay.
| | 02:13 | (Joseph: How's it stick together, dad?)
| | 02:18 | Each one of these markers now
is where his father has a line.
| | 02:22 | So we want to make sure to load up our
script and here's where the voiceover audio is for
| | 02:28 | the father, and probably they are fairly
similar performances, but let's check them both out.
| | 02:33 | I'll go ahead and lasso my
script marks and press Play.
| | 02:36 | (Joseph's father: The sand? Well, the water and sand mix,
chemistry stuff. But that's not the exciting part.
| | 02:44 | The exciting part is the lines. The sand? Well, the water
and sand mix, chemistry stuff. But that's not the exciting part.
| | 02:52 | The exciting part is the lines.)
| | 02:54 | Well, they both are very similar, but I
think I will take the second take, and let's go
| | 03:00 | ahead and get to the end of his line here.
| | 03:03 | (Joseph's father: The exciting part is the lines.)
| | 03:05 | All right, so I've marked an in and an out, and
we'll come back here and mark an in here.
| | 03:11 | Notice that we have a mono track instead of
stereo, so I'm just going to edit it on to
| | 03:17 | A1, and I'll overwrite, and let's go ahead
and see how it sounds with Joseph's line.
| | 03:25 | (Joseph: How's it stick together, dad?)
(Joseph's father: The sand?
| | 03:29 | Well, the water and sand mix, chemistry stuff.
But that's not the exciting part.
| | 03:34 | The exciting part is the lines.)
(Joseph: The lines? )
| | 03:38 | All right, so just keep doing that, and if I go to
number three, you can see that I've laid in all of
| | 03:44 | the dad's audio here.
| | 03:46 | It's good I think everything is looking and
sounding good, but there is just one problem.
| | 03:51 | At the end of the film it supposed to
actually be a big surprise that adult Joseph's boss
| | 03:57 | and young Joseph's father are the same person.
| | 04:00 | However, the actor who plays the father
has a really distinctive voice, so it's not a
| | 04:05 | very well-kept secret.
| | 04:07 | So let's just imagine that 30 years ago when
Joseph was a little boy here in this scene,
| | 04:12 | the father's voice wasn't quite so deep.
| | 04:14 | So let's go ahead and raise the pitch and
hopefully that will help keep the secret.
| | 04:19 | So I'm just going to open up the AudioSuite
tool here, and I'm going to go to Pitch Shift,
| | 04:26 | and we won't have an opportunity to go
through all of these parameters, but I'm just going
| | 04:31 | to manipulate the Ratio and Crossfade sliders
and just try to raise the pitch of his voice
| | 04:36 | just slightly, so I'm just going to
bring this up a little bit and Preview.
| | 04:43 | (Joseph's father: The sand?
Well, the water and sand mix, chemistry stuff.)
| | 04:46 | Okay and just a little bit more here.
| | 04:51 | (Joseph's father: The sand? Well, the water and sand
mix, chemistry stuff. But that's not the exciting part.)
| | 04:57 | Okay, so I think that's far enough away from the
actual voice that we might actually maintain the secret.
| | 05:02 | If you want to render that, you would just press Render
and then OK, we can now play it in our timeline.
| | 05:08 | (Joseph's father: But that's not the exciting part.
The exciting part is the lines.)
| | 05:12 | And then if you wanted to apply this to
the rest of the clips of the father, we could
| | 05:17 | just come into the AudioSuite window and
either just apply it to each one of these clips,
| | 05:24 | or you can also drag it into
a bin and save it for later.
| | 05:27 | I also have this, I'm going to go ahead and
just remove those effects, because I already
| | 05:33 | have this finished in this fourth sequence,
and I'm just going to go ahead and play the
| | 05:40 | dialogue between Joseph and his dad all the way
through, so we can see the work that we've done.
| | 05:46 | (Joseph: How's it stick together, dad?)
(Joseph's father: The sand?
| | 05:50 | Well, the water and sand mix, chemistry stuff.
But that's not the exciting part.
| | 05:55 | The exciting part is the lines.)
(Joseph: The lines?)
| | 05:58 | (Joseph's father: Yeah, the lines.
Here, let me show you.
| | 06:02 | You want strong lines, unique lines, fun lines.)
(Joseph: Can I try?)
| | 06:18 | (Joseph's father: All right, kiddo.
Get in there. Let's see it.)
| | 06:23 | Okay, and then off on the sandcastle sequence. All right.
| | 06:26 | So we've taken care of the off-camera audio
by editing in the correct dialogue, and we've
| | 06:30 | manipulated its pitch just
slightly so the secret ending can be kept.
| | 06:34 | Our foundation is one
step closer to completion.
| | 06:39 |
| | Collapse this transcript |
| Refining the flashback scene| 00:00 | As always, it's important to take plenty of
close passes through the scene to tweak and refine it.
| | 00:06 | Again, this is pretty similar to refining
the other types of scenes, but we're going
| | 00:09 | to be looking closely at how all the
various parts are working together.
| | 00:14 | In my Bin here I have two sequences at
different stages, and I'll load up number 1, and this
| | 00:20 | is everything we've done so far.
| | 00:23 | And I would like to go ahead and play at
least the first part of this, and I want you to
| | 00:29 | see what's working, what's lagging, what's
going by too quick, what's just right, and
| | 00:33 | I'll just press Play so we can check it out.
| | 00:36 | (video playing)
| | 00:54 | (Joseph: How's it stick together, dad?)
(Joseph's father: The sand?
| | 00:57 | Well, the water and sand mix, chemistry stuff.
But that's not the exciting part.
| | 01:02 | The exciting part is the lines.)
(Joseph: The lines?)
| | 01:06 | (Joseph's father: Yeah, the lines.
Here, let me show you.
| | 01:09 | You want strong lines--)
| | 01:13 | Okay, I'll stop it right there, and let's just get
started on refining the first part of this sequence.
| | 01:18 | All right, so I'm just going to go to this very
first edit, and before I do anything, what I want
| | 01:24 | to do is put my Sync Locks on, and this will
allow me to keep all of this material together
| | 01:30 | as I'm performing these trims.
| | 01:32 | But I'm just going to going to go into Trim
mode here, and we want to compose these as
| | 01:37 | closely together as possible.
| | 01:40 | So I'm going to click on the B side there,
and we'll go back and forth until I can try
| | 01:45 | to match that up as best as I can.
| | 01:48 | (video playing)
| | 01:52 | That might be as good as we get. All right.
| | 01:54 | I'm going to go ahead and play and see
how it works with the shot before it.
| | 02:00 | (video playing)
| | 02:04 | And I actually really like how we have this
motion going from right to left in this shot
| | 02:10 | and then going from left to right in that shot.
I like how that works.
| | 02:15 | So I'm going to leave that cut alone, and
then I'm going to go forward, and this really
| | 02:20 | felt long to me, this shot here.
| | 02:22 | So I think I'm going to just cut
this up into a couple of jump cuts.
| | 02:27 | Again that's fine, this is complexity editing,
we're in a dream sequence, so it's totally
| | 02:30 | fine if we do that.
| | 02:32 | So I think maybe here I'll go ahead and cut
out from there to maybe there as he's lifting
| | 02:40 | up the pail, and I'm just going to make
sure that I have everything selected and press
| | 02:46 | X to extract, and I'm just going to play all
three of those shots in succession once again.
| | 02:53 | (video playing)
| | 03:01 | All right, and I'm actually going to take a
little bit more out of there I think, like so.
| | 03:10 | Okay, very good.
| | 03:12 | And then we get into the dialogue. There is
really not too much that I can cut when they are
| | 03:18 | talking, but when he is making the lines, I think
I'm going to make a couple of more cuts there as well.
| | 03:22 | So I'm going to come out of
that and just take a look.
| | 03:24 | (Joseph's father: Strong lines--)
| | 03:28 | All right, as soon as he finishes that first
line I think I'm going to cut out and go straight
| | 03:33 | to this shot here when he does unique lines.
And extract, and let's just take a look at that.
| | 03:41 | (Mr. Dalton: Strong lines, unique lines, fun lines.)
| | 03:52 | And same thing here, so instead of having
him go over it again, let's go ahead and cut
| | 03:57 | that part out as well, like so.
| | 04:02 | Okay, so I really feel that it could benefit
by some overall trimming, and I've got
| | 04:07 | this second scene right here.
| | 04:10 | So I've made all the changes. I've also
added a little bit of music at the end.
| | 04:14 | I've got the music here in this bin,
so you can add some of that if you like.
| | 04:18 | Let me go ahead and play this
through, and let's see how it's working.
| | 04:23 | (video playing)
| | 04:34 | (Joseph: How's it stick together, dad?)
(Joseph's father: The sand?
| | 04:37 | Well, the water and sand mix, chemistry stuff.
But that's not the exciting part.
| | 04:42 | The exciting part is the lines.)
(Joseph: The lines?)
| | 04:46 | (Joseph's father: Yeah, the lines.
Here, let me show you.
| | 04:49 | You want strong lines, unique lines, fun lines.)
(Joseph: Can I try?)
| | 05:01 | (Joseph's father: All right, kiddo.
Get in there. Let's see it.)
| | 05:07 | (music playing)
| | 05:26 | All right, so it's working
pretty well for the most part.
| | 05:29 | We can continue to tweak it
'til we get it just right.
| | 05:32 | Just remember to take your time and rely on your instincts,
and the trimming process will be well worth it.
| | 05:39 |
| | Collapse this transcript |
| Adding effects| 00:00 | So we've got a pretty solid base laid down,
but there are still a few issues with it,
| | 00:04 | even after refining it a bit.
Let's take a look.
| | 00:07 | So my Scene 4 rough cut bin contains couple of sequences.
We're at stage 1, which is everything we've done so far.
| | 00:15 | And I'm thinking it would be great to
make these jump cuts really work for us.
| | 00:19 | You know right now there are a little bit
too overt, and again, we have no choice but
| | 00:23 | to include them because everything was
filmed using the exact same composition of shot.
| | 00:28 | So again, because this is a dream sequence
we'll have some liberties, but we should really
| | 00:32 | try to figure out the best look for the scene.
| | 00:34 | So my first thought is that we could make the scene
sort of like it's constructed from old film stock.
| | 00:39 | That will make the jump cuts make the most
sense since looking at old reels of film always
| | 00:43 | has plenty of cuts like that.
| | 00:45 | And it will also add to the
antiquated nature of this memory.
| | 00:49 | Now we have a couple of options here.
| | 00:50 | We could use some of Avid's own effects to
complete this look, but honestly, we can do
| | 00:55 | better if we use a third-party plug-in effect, like
something from the Boris or Sapphire visual effects package.
| | 01:01 | For our purpose, I'll be using an effect
from the Boris Complete Continuum package.
| | 01:06 | So if I go to my Effect palette, you can see
that I have the entire Boris Complete Continuum
| | 01:11 | package installed, it's here at the top.
| | 01:14 | And if you would like to try this with me,
you can download a 14-day free trial from
| | 01:18 | Boris at www.borisfx.com/downloads.
Let's go ahead and find a shot to add it to.
| | 01:27 | Bring up this first one here.
| | 01:30 | And I want to go into BCC Film Style and then BCC
Film Damage, and go ahead and just apply it, like so.
| | 01:39 | And let's open up the Effect editor, and
you can see that you know it already has quite
| | 01:44 | a lot of default film damage applied, and
that's fine if you want to keep it like that.
| | 01:49 | But there are several parameters in here
that you can change, and adjust it exactly how
| | 01:54 | you'd like this to look.
| | 01:55 | So we won't go through them all, but you can
see that color on adds a little bit of tint,
| | 02:00 | and you can control that tint, if that's not
open for you just go ahead and open it like
| | 02:05 | so, brighter, add a little bit more contrast,
and maybe my tint color, there's a little oranger.
| | 02:16 | You can always just toggle that on and off
to see what you like better, and then I'm going
| | 02:20 | to go ahead and close that.
| | 02:21 | And you can put on Flicker and then you can
control the amount of Flicker and the speed
| | 02:26 | of Flicker, so let's just dial it down
a little bit, and let's check it out.
| | 02:35 | Okay, so definitely a lot going on there.
| | 02:39 | If I come down there're some more parameters. There
is Grain and a lot of parameters related to Grain.
| | 02:45 | So I'm not going to go fully into that, but
if I want to turn the Grain on, we can see
| | 02:50 | that that really adds a lot to it, go ahead
leave that on, and same thing with the Dirt.
| | 02:55 | I think I'll turn the Dirt off and
then I'm just going to look at Scratches.
| | 03:00 | We'll turn them on, but we'll go ahead
and take a look at some of these parameters.
| | 03:05 | Lots and lots of parameters
related to the Scratches.
| | 03:07 | Let me go ahead and just turn
down the Speed here, and the Density.
| | 03:16 | Let's go ahead and take a look
and see what that looks like.
| | 03:20 | So let's say that that is the look that we want.
I can go ahead and save that out.
| | 03:24 | I'll go to Bins, and I've already
got an Effect Template bin for us.
| | 03:28 | If I go ahead and open that, and then we go
to the top here, just drag that into your bin,
| | 03:35 | and now you can apply that to
all of the clips in this sequence.
| | 03:38 | I've already done that for us.
Let's go ahead and close everything out here.
| | 03:44 | And number 2 already has everything applied.
| | 03:47 | You can see that I manipulated the
parameters, I've got it looking good.
| | 03:51 | I'll go ahead and just play through, you
know, a little bit of this so that we can see how
| | 03:55 | it's looking with the dialogue.
| | 03:58 | (Mr. Dalton: You want strong lines,
unique lines, fun lines.)
| | 04:09 | Okay, so it's looking good.
I do have one other idea, and that is to flash
| | 04:16 | into the flashback, you know, with white,
sort of flooding the frame there, and then also
| | 04:21 | do the same thing coming back out.
| | 04:23 | I mean like a solar flare there,
so I think that will look nice.
| | 04:26 | So that's really easy.
| | 04:28 | It's something that we can do just with the simple Dip
to Color, that's in the Blend category and Dip to Color.
| | 04:34 | We'll go ahead and just apply
that to that transition right there.
| | 04:38 | Let's zoom in a little bit, and right now it's
going to Dip to Black, so I'll play that through.
| | 04:45 | Okay, and let's go ahead and just change that
to white, and let's change the duration here.
| | 04:54 | So I wanted to sort of flood the frame,
so I don't want it to be just 1 second.
| | 04:58 | Let's have it be slightly longer, maybe
45 frames, and let's see if we like that.
| | 05:07 | Okay, so it's actually really nice. It
sort of goes to white and then we have the white
| | 05:12 | of his shirt, sort of taking
over the frame after that.
| | 05:16 | So let's go ahead and save that out.
| | 05:18 | Again, Effect Template and here,
and you can rename that if you like.
| | 05:29 | And we did want to apply that one
other location down here, like so.
| | 05:37 | And let's take a look.
| | 05:39 | (video playing)
| | 05:41 | All right, so you can keep going.
I think it's looking pretty good right now.
| | 05:46 | We've definitely manipulated the look and feeling
of the scene to take on this look of old film stock.
| | 05:52 | If it's not quite how you envision it, feel
free to keep experimenting with other effects
| | 05:56 | either ones from Avid or
from third-party plug-in package.
| | 06:01 |
| | Collapse this transcript |
| Color grading and stylizing the flashback scene| 00:00 | So, we've edited our flashback scene and
have applied some nice stylistic elements to it
| | 00:05 | with some third-party effects.
| | 00:06 | Now, this might very well be good enough,
but we do have the option of taking it a step
| | 00:10 | further to see what a little color grading might
do to make it just a little bit more authentic.
| | 00:15 | So, in our Rough Cut Bin,
I have Sequence 1 here.
| | 00:21 | And again, this is everything
we've done so far. Looks good.
| | 00:24 | And what I'm going to do is actually add a
video track. Command+Y, or Ctrl+Y on a PC.
| | 00:32 | Let's go into the Effect palette, under Image,
and we're going to go ahead and add a color
| | 00:38 | effect like so, and I want to move our
monitor up so we can actually see what we're doing.
| | 00:43 | Actually, let's deselect all tracks, Command+Shift+A
or Ctrl+Shift+A on a PC and just select V2.
| | 00:52 | We don't want the effect over the first shot.
So I'll just lift that out.
| | 00:57 | And we don't want the effect over
the last two shots, so lift that out.
| | 01:03 | Okay, so we're isolating
it to just the flashback.
| | 01:07 | So we already have kind of a tint to it
which was included within that plug-in.
| | 01:14 | Let's go ahead and get a
good representative frame here.
| | 01:19 | But let's see what other options we have.
You can really do anything at this point.
| | 01:23 | So, if you wanted to come in, and just
totally de-saturate it so that we were looking at
| | 01:29 | old black and white film stock.
| | 01:31 | That's certainly an option, or because the
parameters are processed from top to bottom,
| | 01:36 | you could first de-saturate it, and then add
some color back in, maybe make a sepia tone.
| | 01:41 | All we need to do to that is just a bump up
the Red, and then bump up the Yellow which
| | 01:46 | is the same as removing blue.
You can get that looking how you want.
| | 01:53 | You can add contrast or decrease it.
| | 01:56 | So really, you can manipulate any of
these parameters in any way you want.
| | 02:00 | And because it's applied to the top track,
it is applied to the entire sequence, like so.
| | 02:06 | Now again, if you like it, great.
| | 02:08 | If you want to go ahead and look at what it
used to look like, and just go ahead and move
| | 02:12 | the monitor down, and maybe we like the
color film stock more than we do a sepia tone.
| | 02:19 | It's totally fine, it's just an option.
| | 02:22 | But regardless, I think
the scene is looking nice.
| | 02:25 | It's definitely got that old-time feeling, and we've
used a variety of really exciting editing techniques.
| | 02:29 |
| | Collapse this transcript |
|
|
6. Looking Beyond Scene CreationTaking it to the next level| 00:00 | This course is focused largely on the art of
various types of narrative scene construction.
| | 00:05 | However, you should know that
constructing individual scenes isn't everything.
| | 00:09 | You need to know how this creative process
fits within the larger process of editing
| | 00:13 | together the entire narrative.
| | 00:15 | I'm talking primarily about an awareness of scene
flow and the construction of a viable story arc.
| | 00:21 | Additionally, it's important to remember
everything we've talked about regarding how editing affects
| | 00:26 | the emotional and psychological
experience of the viewer.
| | 00:30 | Always be acutely aware of how you're cutting with
each scene receiving the proper energy for its purpose.
| | 00:36 | Now, the skills in going beyond scene
creation are of course quite complex, and we won't
| | 00:41 | have the opportunity to delve into the
process of putting together an entire film.
| | 00:45 | However, there are some things I want to
briefly convey so that you get a sense of how scene
| | 00:50 | creation fits into the
greater context of story formation.
| | 00:53 | So, how do you make sure that
your scenes serve the story well?
| | 00:57 | Let's talk about scene flow.
| | 00:59 | It's true that most editors edit the story
scene by scene, getting each as tight and
| | 01:03 | polished as possible, and then string
all of the scenes together in order.
| | 01:07 | However, that's not the end of it.
| | 01:10 | You've got to wear a new hat when
analyzing scene flow and scene importance.
| | 01:14 | This is so important.
| | 01:16 | Your goal as an editor should be to
understand and appreciate the role of each scene.
| | 01:22 | You need to know what each scene contributes,
and you need to make sure it's on screen the
| | 01:26 | right amount of time to
accomplish the desired goals.
| | 01:30 | A common mistake of rookie editors is
keeping scenes too long, which leads to story lag.
| | 01:35 | A good tip for scene pacing is this.
| | 01:38 | If it doesn't advance the action of the narrative and
help the audience understand the story, then cut it.
| | 01:45 | This goes for everything from
entire scenes down to individual frames.
| | 01:50 | Experienced editors know this, and they become obsessed
about trimming scenes and trimming shots to perfection.
| | 01:55 | There is actually a saying among editors of
both writing and film, which is pretty awful
| | 02:00 | on its surface, but so true in its meaning.
| | 02:03 | Killing your babies means
shortening or cutting a scene.
| | 02:07 | It's named as such because of all the care,
effort, and time in putting it together, only
| | 02:11 | having it to go to waste.
| | 02:13 | It's sometimes a brutally painful process,
but so often it's necessary for the betterment
| | 02:18 | of the film at large.
| | 02:20 | So bottom line, you shouldn't be afraid to
cut entire lines, partial scenes, or even
| | 02:25 | entire scenes if it doesn't add to the story.
Two, you should be vigilant about the refining
| | 02:31 | process, cutting frames from individual shots
until the edit feels just right, and all unnecessary
| | 02:37 | fat has gone from the scene.
| | 02:39 | That said, if a scene needs the space to
breathe, don't just trim for the sake of trimming,
| | 02:44 | you need to be in tune with this process.
| | 02:46 | For this reason, it's important to spend a
lot of time refining, going through watching
| | 02:52 | all the scenes as they feed
into one another perfectly.
| | 02:57 |
| | Collapse this transcript |
| Receiving feedback and refining the rough cut| 00:00 | Once you've done all the work in polishing
each of your scenes and then have combined
| | 00:04 | them together with a sharp eye on how each
and every scene, shot, and even frame contribute
| | 00:10 | to the narrative at large, it's time to start
getting some much needed feedback on your rough cut.
| | 00:15 | Why is feedback so important?
| | 00:17 | Well, keep in mind that when you've been editing
the film, you've been working in somewhat of a vacuum.
| | 00:22 | It's important to get some fresh eyes and
ears to tell you what's working and what isn't.
| | 00:27 | You'll certainly find that screening your
work will teach you a lot about yourself,
| | 00:30 | and your ability to work criticism
into further refinement of the film.
| | 00:35 | Try your absolute best to get as much out
of the feedback as possible, so your project
| | 00:40 | can continue to improve.
| | 00:41 | There are a few things
about this very important phase.
| | 00:44 | You should screen the film for people who are
both invested in the film like the director,
| | 00:48 | producer, clients, and so on, as well as
for those who have no investment in the film,
| | 00:54 | so in other words, the general public.
| | 00:56 | You want to make sure you please who you
need to please, but you also need to make sure
| | 01:00 | that the film is working for the majority
of people who will actually see the film.
| | 01:05 | Screen your film live, and if
possible, also screen it online.
| | 01:09 | When you hold live screenings, make sure that
your screening room is set up perfectly, which
| | 01:13 | includes having tested your monitor,
or projector, and your speakers.
| | 01:17 | Make sure the temperature,
lighting, and seating is perfect.
| | 01:21 | For online screenings, which you can protect
with a password if you wish, make sure that
| | 01:25 | you enable comments, so people
can tell you what they think.
| | 01:28 | If possible, start screening for small
audiences, and try to read their expressions.
| | 01:33 | In intimate screening environments, you can
usually watch your audience fairly closely
| | 01:38 | and see how they're
experiencing the film each and every scene.
| | 01:41 | After the screening, start by asking
broad questions, then get more specific.
| | 01:46 | Try to get a strong sense for the
audience's understanding, interest, and emotion.
| | 01:51 | When you receive
negative feedback, take it well.
| | 01:54 | Although it maybe difficult, don't be defensive.
| | 01:57 | You need to go through that experience to
figure out what is and isn't working in your film.
| | 02:01 | So, if it's a one off piece of
criticism, you don't have to change a thing.
| | 02:06 | But if you consistently get similar
criticism, there might be something to it.
| | 02:10 | So bottom line, screen it for
as many audiences as possible.
| | 02:14 | Once you've gained valuable feedback, it's
time to go back to the film and make some changes.
| | 02:19 | This may or may not be difficult considering
how much time you've already put into editing
| | 02:23 | it, but it's essential.
| | 02:24 | You'll probably need to go back and forth
a couple of more times in order to ensure
| | 02:28 | that you've got
everything exactly as it should be.
| | 02:31 | But it's a process that's
well worth it in the end.
| | 02:34 | Once you've reached the end of the editing
process, you've reached picture lock, which
| | 02:38 | means that no further edits can be made and the film is
ready to send for titling, audio mix, and color correction.
| | 02:48 |
| | Collapse this transcript |
| Understanding the finishing steps| 00:00 | Once you've reached picture lock, it's time to
complete the finishing stages of the editing process.
| | 00:05 | Again, this course is almost entirely
rooted in the art of scene creation.
| | 00:10 | So I won't be taking you through a step by
step process of the complex finishing steps.
| | 00:15 | I did, however, want to briefly mention what is
involved so you're aware of what must happen
| | 00:19 | to your film when you're finished editing it.
| | 00:21 | First, let's just get a sense
of the post-production process.
| | 00:25 | During the offline edit is where you spend
time creating and perfecting your scenes,
| | 00:29 | and then putting them all together to form a
viable story arc, then comes lots of refining
| | 00:34 | before eventually reaching picture lock.
| | 00:36 | After the offline edit is the online edit
which is where the finishing phases occur.
| | 00:41 | While there can be any number of things
involved in finishing, there are usually at least three
| | 00:45 | that should complete any post-production workflow,
titling, color-correction, and a professional audio mix.
| | 00:52 | And depending on your workflow, you also
may need to complete an online edit which may
| | 00:57 | mean either re-linking to high-res files or
recapturing your footage at a higher resolution
| | 01:02 | before completing finishing.
| | 01:04 | Finally, you'll need to properly deliver the
film according to delivery requirements which
| | 01:09 | may include exporting a file or printing
to tape or possibly delivering for the web.
| | 01:14 | Again, this course is focused on one
single part of this process, scene creation.
| | 01:19 | But I did want to give you context
of everything else that comes after.
| | 01:23 | Let's briefly touch on the finishing phases.
| | 01:25 | First, it's possible that during the main
editing face, the offline edit, that you edit
| | 01:30 | it at a lower resolution for
reasons related to performance or storage.
| | 01:34 | So first of all, you would need to re-link or
recapture the footage at a higher online resolution.
| | 01:41 | Most often, you would simply deliver your
edit to the online editor who would perform this.
| | 01:45 | This stage should be done prior to any other
visual finishing phases such as color correction.
| | 01:50 | Now, titling can be done in Media Composer,
probably using Avid's built-in titling and
| | 01:56 | graphics program Avid Marquee.
| | 01:58 | But more often it seems titling is done
outside of Avid, in programs like Adobe Photoshop,
| | 02:03 | Adobe After Effects, or
other more professional packages.
| | 02:07 | Depending on the workflow, when titles are finished, you
might have to re-assemble them within your sequence.
| | 02:13 | Another large crucial phase of the
finishing process is color-correction.
| | 02:17 | The color-correction workflow is complex,
and if you want to explore the entire process,
| | 02:21 | you can check out my lynda.com course
titled Color Correction: Creating a Polished Look
| | 02:26 | in Avid Media Composer.
That will take you through every stage.
| | 02:29 | Again, here I'll just give you a
high-level overview of the process.
| | 02:33 | Color-correction starts by analyzing and
correcting shots on an individual level.
| | 02:38 | You first set accurate black and white levels.
You then work to remove any existing color cast.
| | 02:44 | Finally, you improve the general color, the hue
and saturation of your image, paying particular
| | 02:49 | attention to the flesh tones.
| | 02:52 | Once shots are corrected, your next job
is to establish shot to shot correction.
| | 02:56 | You want to make sure, as best as possible,
that all shots from one scene look like they
| | 03:00 | belong together, and that each
scene fits together visually as well.
| | 03:05 | Finally, once all individual shots are
corrected, and you've made sure the shots fit together
| | 03:10 | well, you can apply a broadcast-safe filter so
that everything falls within legal broadcast levels.
| | 03:15 | You can also apply a global look or style to
one or more sections of the film if you like.
| | 03:20 | You can color-correct your film in Media
Composer, or you can send the sequence to professional
| | 03:24 | colorist that will complete the online color
correction in Avid Symphony or another third-party program.
| | 03:31 | Visual manipulation isn't all.
| | 03:33 | You'll also need to complete a
professional audio mix for your film.
| | 03:36 | This goes beyond just the general level and pan
adjustments that you've made within Media Composer.
| | 03:42 | Most often, the more complex audio adjustments
are done outside of Media Composer, most often
| | 03:47 | in a program called Pro Tools.
| | 03:49 | Whether the audio mix is completed in Media
Composer or exported to Pro Tools, there are
| | 03:53 | several issues that should be addressed
in a general workflow by the audio mixer.
| | 03:58 | The level and pan must be
adjusted to balance the mix.
| | 04:01 | Then the dialogue must be emphasized, and all other
supplementary audio must be mixed appropriately.
| | 04:07 | Room tone or ambience must be used to repair
sections of audio that need to be replaced or re-edited.
| | 04:13 | EQ, or equalization, should be adjusted to
eliminate unwanted frequencies and enhance desired ones.
| | 04:21 | EQ adjustments should be made to match
audio quality between various dialogues.
| | 04:26 | And all attempts to eliminate or reduce
unwanted background noise must be made.
| | 04:31 | And finally, damaged or distorted
audio should try to be re-created.
| | 04:35 | There are of course countless other adjustments
that the mixer will make, but this is at least
| | 04:39 | a high-level understanding of the process.
| | 04:42 | If you're interested in learning how to mix
audio, there are several Pro Tools audio mixing
| | 04:46 | and mastering courses on lynda.com.
| | 04:49 | When all finishing stages of the post-production
process are complete, you're going to need
| | 04:53 | to re-assemble your finished
elements in a new master sequence.
| | 04:57 | Then you've got to deliver the
sequence to the specifications needed.
| | 05:00 | And really, these delivery requirements are an
exceptionally important part of the post-production process.
| | 05:06 | So most good editors find this information early
on as it can certainly influence your workflow.
| | 05:12 | Delivery requirements run the gamut
depending on who you're delivering the product for.
| | 05:16 | You might have to deliver high-resolution file.
| | 05:19 | If this is the case, you'll need to figure
out the format and codec that the file needs
| | 05:23 | to be, or you might have
to deliver a master tape.
| | 05:26 | Again, you'll need to research format and codec
information as well as tape stock requirements
| | 05:32 | and leader requisites like bars,
tones, slate, and countdown.
| | 05:36 | So hopefully, this was a helpful, yet very
brief overview of the post-production process
| | 05:41 | following the art of scene creation.
| | 05:43 | Fortunately, if you need to take a project
from concept to creation, there are enough
| | 05:47 | courses available on lynda.com
to get the job done.
| | 05:50 | However, take stock in knowing that we
spent a good deal of time in this course,
| | 05:54 | exploring several various types of scene creation
techniques through in-depth project-based learning.
| | 05:59 |
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ConclusionNext steps| 00:00 | Now that you've finished this course, you
should have a new or renewed understanding
| | 00:04 | into the art of narrative scene
construction in Avid Media Composer.
| | 00:08 | Because there is so much to know about
editing a narrative film, this course really only
| | 00:12 | focused on several various types of editing
techniques within the art of planning, designing,
| | 00:18 | and refining different types of scenes.
| | 00:20 | If you would like further instruction and
exciting narrative editing techniques, I'd
| | 00:25 | love to recommend a book I co-authored called Avid
Editing: A Guide for Beginning and Intermediate Users.
| | 00:31 | While it contains techniques for both
narrative and documentary, most of the book focuses
| | 00:36 | on both technical and conceptual narrative
construction techniques for a very exciting
| | 00:41 | three-person dialogue scene about a bank heist.
| | 00:43 | So, you'll have more footage to practice
with as the book comes with a DVD of media.
| | 00:49 | And although there are countless other resources
out there for editors, the one I always recommend
| | 00:54 | is Walter Murch's In the Blink of an Eye.
| | 00:57 | This book expertly dissects the art and
aesthetics of editing, offering incredible insight into
| | 01:02 | many of the concepts that
we touched on in this course.
| | 01:05 | Like editing and continuity and discontinuity,
evaluating the criteria for a good cut, and
| | 01:11 | delving into the emotional and
psychological impact of the cut.
| | 01:15 | You can get either of these
books in a bookstore or on Amazon.
| | 01:18 | And again, because this lynda.com course
is about one specific workflow, I frequently
| | 01:24 | refer to other lynda.com courses for
more exhaustive techniques in Avid Editing.
| | 01:29 | So, if you need further instruction in general
editing, color correction, effects, or documentary
| | 01:34 | editing, please feel free to
check out my other courses.
| | 01:38 | Good luck as you embark on the
exciting world of narrative scene construction.
| | 01:43 |
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