Start learning with our library of video tutorials taught by experts. Get started
Viewers: in countries Watching now:
Showing off vacation highlights or making a music video with a professional touch is just a few keystrokes away with Premiere Elements 7. In Premiere Elements 7 Essential Training, Jeff Sengstack, Adobe Certified Expert in Premiere Pro, breaks down the editing workflow into bite–sized pieces, about everything from setting up a project to exporting the final video to any format. In between, Jeff covers the basics of editing as well as advanced features like picture–in–picture overlays and dazzling visual effects. Exercise files accompany the course.
In this tutorial, I'm going to give you some tips on how to shoot video with storytelling and editing in mind. You are the storyteller, you are the editor and you are the videographer, the shooter. So when you're shooting video, you need to think about the storyteller and the editor, you need to think about a story that has a beginning, a middle and end and has an arc to it, has a nugget, the story concept and maybe some characters. And as the editor, you need to think about, I need to give the editor shots that will allow him to go from one scene to the next without having abrupt changes or abrupt scene changes. And I need to think in terms of a variety of shots that he has lots to choose from.
So I'm going to give you some tips about how to shoot good video and then after that I'm going to show you some examples in the video that I shot for my lynda.com tutorials. First and foremost, shoot a variety of video. Get some unusual angles, low shots, high angles. Get matched action where you see something happening repetitively. Get a shot of it wide and then go in tight, get the same thing happening again. Shoot sequences where one thing happens after another. Get wide and tight shots. Get tracking shots, these are ones where you follow action, actually physically moving along with the action, and then shoot cutaways.
If you're shooting, let's say, an interview and you want to place two clips together, get a shot of the person's hands as he's gesturing. Get a closing shot and then establishing shot. The closing shot may be the most important shot of your video. That's what people take away from your video. The establishing shots, sort of says where are we? Where is this taking place? What is happening? Keep your shot steady, avoid fast pans and zooms and bouncing shots. Finally, follow the rule of thirds, i.e., don't put the center of attention at the center of your video, you want it off into the corner of someplace, along the edges and you want your horizon lines running along the top-third or the bottom-third.
So now let me give you some examples inside Premiere Elements. If you want to follow along with those, open up the 15-tips project and here I've created an entire video about the day at the stable. I'm going to play it and give you some director's comments, as it were, about some of the shots. Now first of all, I want to show you that I've done some audio tricks here that I'll explain briefly. There are not things that I've explained in the course, but if you take a look at them, I think you'll figure out how it was done and you might want to try this kind of concept when you make your videos. Let's just get it rolling here and I start and with that dissolve up and then bring on the super. Now right away, this is an establishing shot, basically, you can see my daughter is carrying a saddle, wearing her riding togs and we turned into the stables.
So right away that says what the story is about and you want some kind of an establishing shot like that. If you noticed, I had her go off here and then she is off camera coming into the frame. We want to try to shoot that way, let people arrive into the frame. That makes it easier to edit, because you don't want to jump from one scene to the next with the person in the picture in one scene and in the picture in the next scene. She goes in and out of the shot, into the shot, this is a matching shot. Now you really have to get cooperation from the person doing the action. You've got to say hang on a second, let me get in close now. So here she's down there with the wide shot walking into the scene. Now I say, "well hang on a second," and I get in close and get the shot that we are doing there up close.
That's a matching action shot. Next shot is a cutaway because I'm going to cut away from her doing the fixing of the legs there to her actually putting on the saddle and you couldn't just jump from one to the next, so I have this cutaway that lets me cut from one scene to the next. Just a tight shot of something to kind of transition to the next scene. Now we have another where she appears on scene, but I thought it was just too abrupt from there to there, so I put a little dissolve there to kind of solve it. You know. Can't solve it, dissolve it! There she comes and we're going to have her walk through the scene, kind of a long shot. Now I could have had her coming out of the barn but I decided that I would rather than just take an exterior shot.
So now this is what's called a motivated pan. I'm waiting for the horse to start moving and then I started panning and I panned with the horse and then I pulled back. So I did a motivated pan and zoomed back to give another establishing shot. We are in this wide-open place with a lot of horses. Next shot, rather than have them immediately go the class, I want to make kind of a transition to the class and they're just kind of chatting and notice that that was a pan. I'm not against pans per se, but the pans should sort of settle down first and then pan and then settle down again. Not just like a zip, zip, zip back and forth.
(Instructor: And you really got a long approach to the green going downhill.) There is a sound bite where I held it wide because I wanted to sort of show the action here going on around there. I'll get a tight shot later. Now notice here I have my daughter come from off screen, out of the frame and then go into the frame. So again, it's an easy way for editors to help put the story together if you let the action go through the frame. Here's where I use some audio effects. It's a wide shot. I'm going to carry that wide shot, and then I grab a tight shot here. Now if I had used the audio from the tight shot, it would have been pretty obvious that it was different.
In fact, there is an airplane going across in the tight shot down here, so I didn't want that to make the abrupt change. So I kept the audio from the first clip and stretched it under and you can do that by what's called Unlinking. If you right-click on a clip, you can unlink the audio and video and then stretch the audio underneath it. So that's what I did there, so that would be consistent. And then I timed the jump to match the sound of her hitting the jump. Here's a tighter shot, just trying to move right in the sound bytes. (Instructor: ...all the way towards the end of the arena until you can shake the turn.) Here's the tight. Now what I did with that, I kept the audio from the tight shot because it's so dramatically louder, it's kind of cool.
Then if you notice, this clip starts wide, tight and wide again. That's just a one long clip if you take out the center part. The tight shot, that just splits the clip and then inserted the tight shot. And timed the horse move. Let her go out of the frame again. So that she could be in the frame in the next picture. Now here I've another wide and tight shot. Again you'll notice that the audio in the first clip goes under it. So I used the same audio, so it would be consistent throughout because I know that her horse hoof was going to hit.
So I wanted to show the horse hoof hitting, but in fact the tight shot is of a different girl jumping over the jump, but it's tight enough that you can't tell the difference. Then finally, I want to transition out of the lesson and I want to do that kind of gradually so that people know about that. So I transitioned the audio to kind of signal that I'm going to leave the lesson here. So I just transitioned the audio under the next shot, then I used audio from another scene because it's kind of a pastoral scene I wanted to be kind of quiet. So I used the audio up here, Audio 2, to kind of transition out of that.
I knew what my closing shot was going to be when I arrived there that day to take that shot. I knew in advance, I knew that I wanted to get this shot of them coming into the frame on both sides of me and going off in the distance. Because I knew the girls always kind of walked off on the trail at the end. So when you do go out, always think in terms of what's my closing shot going to be. So those are some basic video shooting tips where you keep storytelling and editing in mind.
There are currently no FAQs about Premiere Elements 7 Essential Training.
Access exercise files from a button right under the course name.
Search within course videos and transcripts, and jump right to the results.
Remove icons showing you already watched videos if you want to start over.
Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.
Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.