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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.
Our assembly edit is almost complete. And as I've been editing, I've noticed a few editing opportunities. These are places in the footage where I can just tell that they are going to fit together well. The final thing I want to do on the assembly cut is recognize some of these opportunities and start to build on them. Let me show you what I mean. This shot, combined with this shot and this shot, I think will make a nice part of that process scene, because they will work like match cuts, especially this one and this one.
A match cut is an edit that plays like continuous motion. So although these may have been shot at different moments, I think I can cut them together so that they look like the same moment. I'm not going try to perfect this now in my assembly edit. I just want to group these shots together so when I come back for refining, I recognize my intention. In this case I want to put this shot first, followed by this shot, and then this one.
If I play these back, they're not going to be perfect, but we're going to get the feeling of what I want to try to achieve. A similar opportunity that I noticed is with these shots of the colored glass. I like this one with this one, and then I have a feeling that this one will go nicely. So again, I'm going to group those, even if I have to move one or two out of the way.
That one is out of the way. I'd like to get this one in play, but I think it needs to be a little shorter for the moment. There we go. And the third one of this group is this one there. Again, I need just a little bit of space. 1, 2, 3 and I will call that another one of my opportunities.
Notice that I'm still working very quick and very rough. I'm not worried about leaving little spaces or making everything perfect. I just want to be able to raise my assembly edit to the level where I can watch it and it seems like a complete piece. Let's skip ahead, and you can see how this looks once I've identified all of the opportunities and also close some of the gaps. I'm ready to call this timeline my complete assembly cut.
It's nowhere near perfect. There's still a lot of work to do, but I can watch beginning to end and start to refine the whole piece. And that's just where we want to be for an assembly cut.
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