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Refining the primary sound bed

From: Effective Storytelling with Final Cut Pro X

Video: Refining the primary sound bed

Some people are great conversationalists. They express themselves clearly and succinctly, they choose each word carefully and almost seem to edit what they're saying in their heads before saying it out loud. Not all of us are eloquent enough to nail our thoughts on the first try, especially when we're talking about something important to us, we um and ah in search of the right words to express our feelings. But when you're wearing the editors hat and trying to tell a succinct story, those ums and ahs become your responsibility.

Refining the primary sound bed

Some people are great conversationalists. They express themselves clearly and succinctly, they choose each word carefully and almost seem to edit what they're saying in their heads before saying it out loud. Not all of us are eloquent enough to nail our thoughts on the first try, especially when we're talking about something important to us, we um and ah in search of the right words to express our feelings. But when you're wearing the editors hat and trying to tell a succinct story, those ums and ahs become your responsibility.

In the Project Library let's open the Sound Bed project. In this project we're going to use a single clip, in fact a very short 10 second clip of Paul talking to the camera. Let's listen to what Paul says in this clip. (Video Playing) Paul: If people, um, love their trees, their coffee trees, uh, then the coffee trees are going to be taken care of. Diana Weynand: So that's a very interesting and very poignant thought, if people love their trees then their love will follow through the whole process and all will be good.

So let's look at that one more time and I want to ask you few questions, this first question is, do the ums, ahs, repetitions, or stumbles bother you in any way when you see Paul talking about the love of the trees? (Video Playing) Paul: If people, um, love their trees, their coffee trees, uh, then the coffee trees are going to be taken care of. Diana Weynand: I don't know about you, but if I were having a conversation with Paul and he was saying this to me I wouldn't be bothered in the least by that.

I think that seems very natural. So here is your choice, when you're telling your story there are going to be times when you are going to want to be on camera with somebody speaking and telling some aspect of the story, and there will be other times when you need to show other images to help add more complexity to the story or to help move the story along. So I want you to try this now. Let's go back to the beginning of this clip, play it again and this time I want you to the close your eyes or look somewhere else and just focus on the sound of this clip. (Video Playing) Paul: If people, um, love their trees, their coffee trees, uh, then the coffee trees are going to be taken care of.

Diana Weynand: So when you focus on just the sound and you don't have any pictures to look at then your ear starts to pick up some of those little extra words and some of the spaces and the repetitions and the ums and ahs. So what you can do as a storyteller is help Paul tell the story more efficiently, if you choose to use his sound as a sound bed and then place visuals over it. And the way to do that is to cut and dice and pull out what you don't want and arrange what you do. Now I've done that as a sample just so you can see where we're going with this.

I took the 10 seconds of Paul and shaved it to five seconds and added a couple of visuals on top. Now with other visuals to focus on, you can hear Paul's edited version of talking about love for the trees much more succinctly. See how you respond to this. (Video Playing) Paul: If people love their coffee trees, then the coffee trees are going to be taken care of. Diana Weynand: Okay, one more time. (Video Playing) Paul: If people love their coffee trees, then the coffee trees are going to be taken care of.

Diana Weynand: So, now you've got something that is showing you what he's talking about, loving the coffee trees, loving the coffee, and we're getting to the point much more succinctly and in half the time. So that's a really great choice and a great way to go, if you decide not to use Paul on camera. Okay, so let's go ahead and dive in. The first thing I want to do is zoom into this clip so that we can see that waveform. We can also choose to make the waveform a little taller by choosing one of the other clip appearance options.

And the first thing we can do is just very simply trim the head of the clip to where he begins talking. Since we're not going to be seeing him on camera, we don't have to establish him, we just need his voice. Let's see if this works. (Video Playing) Paul: If people, um -- Diana Weynand: Great that's perfect. So when you review what you just did, it's a nice approach to review the correction and then continue playing until you hear the next thing that you want to fix. And in reviewing that I heard a little um that we can get rid of. Let's listen again. (Video Playing) Paul: If people, um -- Diana Weynand: There it is, there is our um right there.

There are a couple of ways that we can get rid of this um. We can use the Blade tool, that's one way to cut before and cut after, and if Snapping is on it might snap you to where you don't want to go. No worries just turn Snapping off, and the shortcut for that is the letter N. And now we can Snap or Blade away from the playhead anywhere we like. We would go back and get our Select tool, select that um that we don't want, and hit Delete. Now let's listen to what we just did.

(Video Playing) Paul: If people love their trees, their coffee trees -- Diana Weynand: Okay, so it made a good edit there, it's clean, it looks like we have a little bit of space we could play with if we wanted to tighten that up anymore, let's take a listen. (Video Playing) Paul: If people love their trees -- Diana Weynand: Well, if you want to tighten it up just click and drag a little bit so that you trim a little bit of space out. (Video Playing) Paul: If people love their trees, their coffee trees -- Diana Weynand: That sounded fine, and then when we continue on we hear that he says their trees, their coffee trees, we don't need both of those for the story.

(Video Playing) Paul: their trees, their coffee trees -- Diana Weynand: So we want to get rid of one of them, right? So another way that we can do that, we can simply mark an in where we want to begin getting rid of it, and an O for out to define the Range Selection and then press Delete, Let's listen to that. (Video Playing) Paul: love the-their coffee trees -- Diana Weynand: Now we hear that we have a little bit too many these. So that's easy, all we have to do is select the in point, and let's zoom in so we can see what we're doing here.

Simply by selecting the in point and pressing the right angle bracket key, it moves the edit point, or trims the edit point, 1 frame at a time left or right. Now, let's see if that helps. (Video Playing) Paul: love their coffee trees. Diana Weynand: Beautiful! Well, we have a nice long pause here and a nice deep breath, breaths can be your friend. Sometimes you can use a breath and copy it and paste it somewhere else to give you a nice little pause that you feel like you need. But if you don't think you need it you can delete this pause and this break.

And another way that we can get rid of a portion of this clip is to use the Range Selection tool. Simply click and drag over the portion you want to delete, and press Delete. Let's listen to what that gave us. (Video Playing) Paul: coffee trees. Uh, then the coffee are going -- Diana Weynand: And that's fine, but we see that we have an uh. We want to get rid of that uh at the beginning of this clip, so let's zoom in to that portion of the clip and find where the uh is. (Video Playing) Paul: Uh, then -- Diana Weynand: Okay, well the uh is that first little mountain in the audio waveform. So again since I have the Range Selection tool already selected I can just click and drag, and notice that if I wanted to I could drag over an edit point into another clip, but I am just going to drag up to the head of that clip and press Delete.

Now I am going to go back to my default Selection tool. So I have showed you different ways that you can trim this clip. Let's see if that particular edit point works. (Video Playing) Paul: trees, then the coffee trees are going to be taken care of Diana Weynand: And again, if you need to trim or finesse, you can go into one particular area or another, but this gives us a clean story and it shaves the time, and remember as a storyteller, it's your job to make sure the story is told efficiently, no matter whose words you're using to tell it.

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This video is part of

Image for Effective Storytelling with Final Cut Pro X
Effective Storytelling with Final Cut Pro X

39 video lessons · 11974 viewers

Diana Weynand
Author

 
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  1. 5m 54s
    1. Welcome
      1m 20s
    2. Using the exercise files
      4m 34s
  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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