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Embellishing the story with cutaways to B-roll footage

From: Effective Storytelling with Final Cut Pro X v10.0.9

Video: Embellishing the story with cutaways to B-roll footage

At this stage of your storytelling process, you're well on your way to constructing a story of interest, a story that has a beginning, middle and end. Typically, the base of that story is the sound bed, edited from the interview footage or possibly a narration. But once you have extracted the ums and ahs to create your story's sound bed, you are going to need to cover those jarring edit points with a cutaway. And this is where your B- roll footage will come in handy. In the Project Library let's open the Cutaways project. In this project, you'll find some familiar clips of Paul, and at the end of the project, you will see a group of clips that will be especially familiar since you worked very hard on them in a previous movie.

Embellishing the story with cutaways to B-roll footage

At this stage of your storytelling process, you're well on your way to constructing a story of interest, a story that has a beginning, middle and end. Typically, the base of that story is the sound bed, edited from the interview footage or possibly a narration. But once you have extracted the ums and ahs to create your story's sound bed, you are going to need to cover those jarring edit points with a cutaway. And this is where your B- roll footage will come in handy. In the Project Library let's open the Cutaways project. In this project, you'll find some familiar clips of Paul, and at the end of the project, you will see a group of clips that will be especially familiar since you worked very hard on them in a previous movie.

Let's take a listen. (Video Playing) Paul: If people love their coffee trees, then the coffee trees are going to be taken care of. Diana Weynand: So if you'll remember, these cuts were important to help move the story along and at the time we did them, we knew we were going to have to cover these edit points with a cutaway because otherwise it would be too visually jarring. So we'll get to that in just a minute. Let's take a look at the clips at the beginning of the project. (Video Playing) Paul: Here at Thanksgiving Coffee Company we've learned to focus on the people. If they could -- Diana Weynand: Well, that's all we need to look at for right now, because what you'll see is that we have two problems, let's skim through the first clip and we see that we have a medium wide shot of Paul sitting in front of his company, Thanksgiving Coffee.

If we skim to the next clip, we see we have more of a medium close-up shot. So the camera framing changed between them. Now that happens all the time in an interview, the only problem is when you edit the clips together, they will be visually jarring, and you want to avoid that if you can. The other thing is audio, let's listen to the audio at the edit point. (Video Playing) Paul: Here at Thanksgiving Coffee Company we've learned to focus on the people. If they could form a co-operative based on peace between three warring religions -- Diana Weynand: So let's go back and just focus on just the edit point and listen again if you need to close your eyes to see whether or not it sounds natural.

(Video Playing) Paul: to focus on the people. If they could -- Diana Weynand: To me it doesn't, it sounds too abrupt, and it sort of gives away that you cut something out in between. So we want to try to sell the cut and make it sound just simply more interesting, appealing, natural, so that the viewer is not distracted by the actual cut, and can focus more on the story that Paul is telling. So let's move the playhead to the edit point, and what we are going to do is create a little space in between by inserting a gap. You can also use the shortcut Option+W. Now the default gap is three seconds, but you can trim that, just as you would a clip.

And if we trim it down to maybe even just a second that may give us just the beat we need to make this a little bit more believable. (Video Playing) Paul: Here at Thanksgiving Coffee Company we've learned to focus on the people. If they could for a co-operative based -- Diana Weynand: Well, at this point, that may certainly help, but we won't know until we do the very important next step of actually adding the cutaway to cover this blank space in between them now. So what we want to do is go ahead and leave the Paul clip at the beginning as is, because here he's introducing himself, who he is, what company he is with, and then we can go away to a cutaway shot.

(Video Playing) Paul: Here at Thanksgiving Coffee Company we've learned to focus on the people. Diana Weynand: So at this point, and we can move the playhead directly to the end of that clip, we'll go to our B-Roll footage, and when we take a look at the B-Roll footage, let's look for the hand shake clip. There's the hand shake clip, and at this point you have two choices, you can use the clips in the project as a reference point for length, or you can mark a clip in the Event Browser. Well, let's go ahead on this clip and mark it in the Event Browser.

And if we want to come into the clip, not at the very beginning when the man is leaning, but perhaps a little bit further in, just before he reaches his hand out, we can move to that point and press I to mark an in point, which starts our Range Selection. We let the clip play, we see the shake, which is really quite a beautiful shake. (Video Playing) And then the clip continues with some people talking, there is JJ in the background reaching his hand; that becomes distracting, it takes us away from the important action in this clip which is simply the hand shake.

So I am going to play backwards and mark an out point where the hand shake actually stops. (Video Playing) When I mark an out, it creates a Range Selection around just the portion I want to use. Now again, that's not in reference to anything here so we'll see how it works. Well, with the playhead on the gap we can simply say connect this clip. Remember you can connect a clip to a gap, just as it will connect to any other clip.

Let's see how this plays over the two clips. (Video Playing) Paul: Here at Thanksgiving Coffee Company we've learned to focus on the people. If they could form a co-operative based on peace between three warring religions -- Diana Weynand: So that works pretty well to cover this gap, and then you can ask yourself was it a long enough gap to take your mind off the fact that these two clips were not actually real-time clips? (Video Playing) Paul: If they could form a co-operative -- Diana Weynand: Then if you want to adjust this and see a little bit more of the hand shake before you hear Paul talk, no worries just simply adjust the gap itself.

Well, let's take a look at the clips at the end of this project that you'd worked so hard to edit, and this time let's take the approach of making it more important to cover this group of clips, than to choose a particular length from a source clip in the Event Browser. Now if we simply select a clip, and let's zoom into this area because I think it's important to see what happens. When you select any clip, it becomes selected with the yellow outline. But that's different than actually creating a Range Selection; I want to give you an example.

Let's say that we want to edit from the Coffee Growing clips, the clip called pouring beans, and if we just skim through this we see that that's the roasted beans being poured and then hands sort of moving through them. So we are going to just simply select that clip, and press Q or click the Connect button. Wow! I have to press Shift+Z in the timeline now to see what all happened. Well, first of all when you do that, Final Cut Pro totally ignored that we had selected that clip, so I am going to undo.

If you do want to pay attention to a particular length in the timeline, you can't do it by simply selecting a clip, you have to instead either use the in and the out to start a Range Selection, or to use the Range Selection tool itself. When you do that and drag over these first few clips, well then notice that the selection is a little different, it's got these handles on it. Now if we put the playhead somewhere in the middle of this Range Selection and make sure we have the appropriate clip selected, now when we press Q to connect the clip, notice it connects the clip directly over those three clips for the full length of the actual selection, and it will cover these clips.

Okay, so let's take a look at this and see how this looks. (Video Playing) So we have some work to do lowering the volume and we'll do that in the next movie. What I want to focus on is the actual selection of content from this clip. When we skimmed before through this full-length clip, there was another portion of it that I quite liked and thought it would be nice to put over these three clips. We have already got the right length in the timeline; we just need a different selection from this clip.

Well, that's no problem and it's a very easy change to make. We simply choose the Trim tool, and move the pointer over the middle of the clip to see the Slip tool, click and drag left. As you drag left, you are bringing frames from the clip into the active clip area. And when you play, you see that you're still pouring beans at the beginning of the clip and you don't see much of the hands action at the end. So you'd simply drag left again to bring more of those later frames into this clip.

(Video Playing) And now we see that this clip is more of the hands on the beans than the pouring. So again, we have more work to do, but in this stage, simply knowing that you can either choose the length of a cutaway by marking that clip in the Event Browser, but you can also select a range of material in the timeline in order to mind that when you connect a clip. In a way, adding clips to a primary storyline is like playing dress-up. It's accessorizing your story with pretty, yet meaningful pictures, that tell a rich and colorful story all their own.

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This video is part of

Image for Effective Storytelling with Final Cut Pro X v10.0.9
Effective Storytelling with Final Cut Pro X v10.0.9

40 video lessons · 12203 viewers

Diana Weynand
Author

 
Expand all | Collapse all
  1. 7m 12s
    1. Welcome
      1m 20s
    2. Using the exercise files
      4m 34s
    3. A word about Final Cut Pro X versions NEW
      1m 18s
  2. 16m 21s
    1. Exploring different types of storytellers
      7m 9s
    2. Identifying story elements
      5m 9s
    3. Finding the essence of the story
      4m 3s
  3. 15m 6s
    1. Organizing footage into folders
      5m 29s
    2. Creating a disk image as a contained workspace
      4m 51s
    3. Importing folders and stills as keyword collections
      4m 46s
  4. 22m 52s
    1. Adding keywords to make clips accessible
      3m 33s
    2. Using favorite tags to call clips into action
      7m 16s
    3. Making notes to capture observations
      4m 1s
    4. Performing a complex search
      2m 28s
    5. Prepping clips for editing
      5m 34s
  5. 28m 47s
    1. Finding the meat of the clips
      5m 11s
    2. Don't be puzzled over your first edit
      4m 27s
    3. Creating project versions and developing story diversity
      5m 16s
    4. Putting story threads in order
      7m 25s
    5. Sculpting the story within the timeline
      6m 28s
  6. 46m 5s
    1. Trimming distractions from a story
      6m 48s
    2. Compounding thoughts into one primary story project
      9m 52s
    3. Evaluating the project for story content and pacing
      7m 1s
    4. Fine-tuning the edits in a project
      7m 36s
    5. Refining the primary sound bed
      7m 55s
    6. Organizing separate story segments into independent storylines
      6m 53s
  7. 24m 11s
    1. Storyboarding a narrative script using placeholders
      7m 22s
    2. Recording a narration track to explore script ideas
      4m 40s
    3. Changing pitch in a temporary narration track to identify different characters
      5m 27s
    4. Adding sound effects to create depth
      6m 42s
  8. 41m 2s
    1. Embellishing the story with cutaways to B-roll footage
      9m 3s
    2. Finessing cutaways to enhance the story
      5m 3s
    3. Editing and arranging a still-image storyline
      6m 22s
    4. Applying the Ken Burns effect to still images
      6m 33s
    5. Altering your story's "look" using the Color Board
      8m 4s
    6. Applying effects to enhance story elements
      5m 57s
  9. 28m 57s
    1. Retiming to lengthen or shorten music and clips
      6m 48s
    2. Adding freeze frames to end or start sections
      6m 40s
    3. Video finishing touches
      8m 6s
    4. Audio finishing touches
      7m 23s
  10. 1m 7s
    1. Goodbye
      1m 7s

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