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This course shows beginning filmmakers how to make a short documentary from footage they have already shot, and walks them from the editing process in Adobe Premiere Elements through uploading a finished movie to platforms like Vimeo or YouTube. Author and producer Jason Osder explains how the footage was shot along the way, illuminating why particular angles were chosen and how the subject matter influences the editing process. The course also covers trimming, editing to music, and adding a title and graphics, and the final chapters result in a polished, color-corrected movie with properly mixed dialog and music.
Cover shots are B-roll shots that play over the interview. So you're still listening to the interview, but you're seeing an observational shot that shows you what's being talked about. There are a number of reasons to use cover shots. One is simply to illustrate what's going on and show rather than tell, but another important one is to cover cuts in the interview. So if I have a space like this with a break, but I wanted to play continuously, it's really important that I get a shot to cover this edit.
So we are already looking at a very raw assembly where we have done some work on the interviews. Now I want to do equivalently rough work with the cover shots, but it's still an assembly. So I'm not being very careful. I'm just placing cover shots where I know I am going to need them. And if I see opportunities, I am going to use shots that I think will work well. Let's start right here where I've got this B-roll that focuses on the tools. (Female speaker: My favorite thing in the world--) And then the bite comes in, but later on I actually have a cut that I want to cover.
I am going to take all three of the tool shots and just shift them over to cover the edit. Now I don't necessarily think this is my final cover shot here, but I do think that these shots are the beginning of my process scene. That makes sense based on my guideline. And I know I am going to need a cover shot here. So at the moment this seems pretty logical to me. Similarly, I am going to need some cover here. The bite is about the poetics of the piece. And I have a feeling I am going to need a little more work on these two shots, but for the time being I am just going to pull them over to create my cover.
I am going to work through the whole timeline like this making sure that anywhere I have an editorial break in the interview that I've got some cover shots to cover that edit. Again, I'm not working super careful, and there's a high chance that some of these cover shots are going to be replaced later, but I want to get something closer on my assembly cut that's actually watchable without all these breaks in it. The other thing to realize is that inevitably our cut will get a little shorter as we do these cover shots.
So this area right here is probably going to reduce as I pull things together, and all of these areas are going to get cover. So let's jump ahead to see how this turns out. Here we see our timeline with all of our rough cover shots in place. Meaning every time I have a break I have a cover shot, and where I see a good opportunity where she's talking about something--in this case the finished pieces. I've put some cover shots in place just indicating where I think I'm going to need them later.
This assembly edit is getting really close. I still want to close up some of these gaps and find some of my really good editing opportunities before I sign off on a complete assembly cut.
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