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Creating a Mini Documentary with Premiere Elements
Illustration by John Hersey

Making the most of cover shots


From:

Creating a Mini Documentary with Premiere Elements

with Jason Osder

Video: Making the most of cover shots

Now that I've tweaked the structure and the interview, I want to take a pass where I really focus on the cover shots and the B-roll. Remember that earlier we identified some opportunities in the B-roll. And essentially, what I want to do now is go through the whole piece, heightening the use of each piece of B-roll so that we get the most out of it. It doesn't matter if I previously identified it as an opportunity or not. Everything needs to get a careful once-over at this point.

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Creating a Mini Documentary with Premiere Elements
1h 31m Appropriate for all Mar 15, 2012

Viewers: in countries Watching now:

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.

Topics include:
  • Importing and evaluating footage
  • Planning the edit
  • Marking and adding clips to the timeline
  • Creating cover shots with video tracks
  • Trimming clips
  • Adding and refining transitions
  • Adding a title and a lower third
  • Incorporating still images
  • Setting audio levels
  • Creating a DVD
  • Posting to YouTube
Subjects:
Video Video Editing Projects
Software:
Premiere Elements Elements
Author:
Jason Osder

Making the most of cover shots

Now that I've tweaked the structure and the interview, I want to take a pass where I really focus on the cover shots and the B-roll. Remember that earlier we identified some opportunities in the B-roll. And essentially, what I want to do now is go through the whole piece, heightening the use of each piece of B-roll so that we get the most out of it. It doesn't matter if I previously identified it as an opportunity or not. Everything needs to get a careful once-over at this point.

Again, you may want to take the time to watch your piece in full and make some notes. The first thing I noticed in my piece is I think there's an opportunity to take some of these tool shots. (Female speaker: A rare medium) And move them back to this area so we hear her voice first over the tools. (Female speaker: My favorite thing in the world is actually being a participant.) I think that's going to be nice, so I'm going to take at least two, maybe all three of these shots and slide them up toward the front of the bite.

Now I'm going to need to do something about this cover here, but for now I think I'll use this, staying with the Tool theme. As you can see, one tweak often leads to another tweak. And it's not unusual to create gaps, close them, and shorten your timeline a little bit. I'm going to take absolutely everything and use it to close that gap. And so on, through the entire cut, I'm focusing on how the B-roll shots go together and especially how they go with the interview.

For instance with this bite-- (Female speaker: We start early in the morning choosing our colors, choosing the color of the vessel. (We want the palette to--) I want to make sure that I get it in good proximity to these other shots. I think it would be nice if it came in a little earlier, for instance. And that's the idea, combing through the entire timeline to make the most out of every cover shot. How it goes with the cover shots around it, and how it goes with the interview.

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