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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.
I'm looking at my assembly cut, and the next step to move forward is to just watch it carefully and evaluate what we've done. Then we'll make some structural changes. These are big picture changes that change the very flow of the piece. When I say evaluate your assembly, what I really mean is to try to see it with what I call fresh eyes. Do your best to take a step back and see your piece again for the first time like a viewer might see it.
This can be pretty challenging, but it's worth the effort. I am going to watch my piece, and if you've been working with your own material, you might want to pause for a second and just carefully watch yours. (Female speaker: My favorite thing in the world is actually being a participant in this incredibly) (rare medium, just being able to do it. As a woman, you look through the history of glass, we're not there.) (Women aren't in that process) Here are some things I noticed in my piece.
First, I like what's going on visually. The moves we made to identify opportunities, like a match cut and these shots here with the glass, are really working out. And I think as I move forward I'll be able to make even more of these cover shots and visuals. The other thing I noticed is that the bite still needs some work. I am not totally satisfied with the flow here. I feel like some things could be swapped and maybe a bite could be removed. Partly this is a reaction to how well the visuals are working.
When the visuals really start to hold your story, sometimes you can pare down the bites and just let it flow more naturally. It's this work on the bites that are really the structural changes that I want to make now. Then I'll go back and tweak the cover shots. Probably the biggest problem that I am having with the interviews is at the very end. I feel like this last bite is just kind of redundant and not the best ending. I am not 100% sure here, so while I continue to make these structural changes I am not going to remove this bite yet.
I am just going to move it out here to the end. As I continue to work, it'll be easy to bring back in if I want it, and I'll make a final decision. The other structural thing with the interview I noticed is that this bite here, that's about a poetic statement; and this one here, that's about picking the colors. I think they could be reversed to have a better association between them. So I am going to quickly do that. For the moment, I am not going to worry about the cover shots too much because I am going to come back and work on those.
In fact, for the moment I am even leaving a little gap. Now I am just going to play my piece back again. You don't have to watch, but if you've been making equivalent structural changes in your piece, go ahead and watch it again. (Female speaker: So we want the palette to absolutely go with that one specific piece.) (I think it's almost a poetic expression in our glass.) Okay, great! I really like my structural changes.
This works much better for the flow, and I don't think I need this bite at all. So I am going to go ahead and delete it now. Now I've created some more work for myself with the cover shots, but that is the natural process. Okay, that's the idea of evaluating the assembly and making structural changes. Remember, we still haven't started doing very fine work yet, but that's coming soon.
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