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A good way to think about the editing process is a constant process of culling down. It's sort of like a funnel, where we are constantly removing that which is not needed and only leaving behind that which really belongs in our cut. One big place where this process takes place is when we mark and edit shots into the timeline. Let's see how that works. Remember that I'm going to use my Planning document that we made earlier as a guideline here.
I'm going to refer to it as I'm doing my assembly, so I can work quickly but also know that I'm working within my structure. At the same time, I'm not to be wedded to this structure. I am going to go with opportunities that I see during the edit process, rather than just doing everything exactly the way I planned it before I even started. I'm going to start in the Keeper's bin here, because I decided in that structuring phase that I would use these beauty shots as sort of a book ends, at the beginning and the end, to open and close the piece.
This is a nice pretty shot, but it's also kind of abstract, creating a nice beginning to our piece where people don't know exactly what's going on, but there's something visually sumptuous for them to look at. Now I need to decide what part of the clip to use. Now we're not being exact here. We can definitely change things later, but I don't want this part where's it out of focus. So maybe starting around there. Set In.
Maybe before that move. It is kind of an abstract shot. Set Out. If you need any tips on just marking in and out points, I recommend that you check out the Essential Training. Before I drag this to the timeline, I want to position it so I can place it on the Video 2 track, which is where I want to put that the B-roll for this project. Now that I've exposed Video 2, I can just drag this to the timeline. Now, I'm not being super careful about my exact in and out right now.
There's still time to trim these edit points on the timeline to make them perfect. Since I started with my "Bookends", I think I'll put the other one in. This is that second beauty shot that I think will work nicely at the end. Same process, In-Out, not too careful, and then I'll put this maybe about two and a half minutes down the timeline. I don't know exactly how long my piece is yet; I'm not wedded to this, but I've got what I think is going to be my final shot.
As I mentioned, I like to work both with A-roll and B-roll at the same time. So now I'll go to my Interview and set up the first shot. So based on the notes I took earlier, I want to find the first bite that I've put at the beginning or really any of the bites in that first section that will work toward the beginning. (Female speaker:--glass that's 2000 degrees--) This "glass that's 2000 degrees" bite is something I want toward the beginning.
Not sure it's going to be the very first one, but let's mark it and edit it in. (video playing) Again, I'm using J, K and L to navigate, I and O to mark, and I'm not being very precise. I'm getting a little extra down there because we'll trim it up later. (Female speaker:--glass that's 2000 degrees, and it's very heavy on the end of a 5-foot pipe, (and we're harnessing that energy and that hot, molten medium and making it respond to our will with our bare hands.) Now, I know there are some problems in that bite, but there's also some stuff I want.
So I'm going to take it all, put it on the timeline, and I'll deal with it later. That's the nature of an assembly cut. I am going to put my interview, not on Video 2, but on Video 1 to keep our timeline organized. I'm going to do one more piece of B- roll, the start of my Process scene. Again, referring to my notes, I want to look for those process shots. And I think I'd like to start with the one that was the close-up of the tools.
Yeah, this is a nice shot. I'm not sure yet if I want that little movement or not. So I'm going to include it in what I edit down there, and we'll polish it up later--and we'll put our B-roll on Video 2 track. Notice I'm not taking a lot of care that everything is lined up perfect or that there's little spaces in between them. None of that is my concern at this point.
We're going to work through these clips, looking at our guideline and assembling our timeline. So we're just going to continue this process of marking shots and adding them to the timeline, while referring to our guideline document, until we've basically filled up our timeline. I'm going to jump ahead to show you what that looks like. Here you can see that I've completed my very initial first assembly cut, by just marking and adding the shots that I think I'm going to work with.
If you play this through, it doesn't look very good yet. It's choppy. It's got blanks in it. It has got jump cuts in it. It's kind of a mess, but that's what we want right now. We've still got a few more steps 'til I can call this my complete assembly edit.
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