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Sculpting the story within the timeline

From: Effective Storytelling with Final Cut Pro X

Video: Sculpting the story within the timeline

I once had the opportunity to visit Michelangelo's famous sculpture of David in Florence, Italy. It was amazing. But the most amazing thing was to realize that Michelangelo started out with a giant slab of marble. He had to find David inside the marble slab. That's where you may be with your story, being Michelangelo and finding your David. If so, put on your tool belt and let's start chiseling. Let's start in the Project Library by opening the Narration project.

Sculpting the story within the timeline

I once had the opportunity to visit Michelangelo's famous sculpture of David in Florence, Italy. It was amazing. But the most amazing thing was to realize that Michelangelo started out with a giant slab of marble. He had to find David inside the marble slab. That's where you may be with your story, being Michelangelo and finding your David. If so, put on your tool belt and let's start chiseling. Let's start in the Project Library by opening the Narration project.

The clips in this project have already been placed in an order that has a story shape; a beginning, middle, and end. (Audio Playing) Narrator: In the foothills of Africa's fourth largest mountain, a group of Christian, Jewish, and Muslim coffee farmers affirmatively decided to marry peaceful inner-relationships, with economic development. Diana Weynand: And it continues! Now, the idea is to view this project over and over again, remember our repeated screenings, and see if there are any clips that don't fit.

Are there clips that are redundant? Now, in this movie I am going to show you how to get rid of clips and groups of clips, or a combination of clips. But for right now, let's just find a particular clip, and if we listen to this VO_07, we'll hear one ending, and see that we might have a duplicate ending with VO_10. (Audio Playing) Narrator: The farmers of Delicious Peace Coffee Co-op are a testament to this mutually beneficial relationship, which they've enhanced by adding the requirement of peace.

Diana Weynand: That's a beautiful ending to a story. But now, let's listen to the VO_10. (Audio Playing) Narrator: Delicious Peace Grows in a Ugandan Coffee Bean tells their story. Diana Weynand: That also sounds like it could end something. But perhaps it could end a bumper or an introduction to the entire documentary. For now, we don't want two endings in our story as we shape it. So let's simply select the VO_ 10 clip, and press the Delete key. That will delete it from this project, but of course not from your event. Go ahead and press Shift+Z, and now you've got a shorter group.

You're continuing to chisel away at your slab of marble. Now, let's go back to our Project Library, and open the Coffee project. As we look at the clips that follow the growth of a coffee tree, we see we have these beans. We have several clips of beans before people pick it. If you wanted to move the story along, you could decide to get rid of perhaps one of the bud clips, maybe this green one. If you think you might have something that would take the place of this, then you can use the Shift+Delete approach, which leaves a gap in its place; the link to the original clip.

Now, what's great about that is that you can decide you know I do want to add something there but I want that to be longer, so you can trim the gap. If you wanted to use these two clips just to get started before a title appears, then this gap could represent the title. So that's one way to trim clips away, to remove them but leave the gap. Let's look at the clip called man picks beans. Now, a really interesting way to look at your clips is just simply by visual weight. As you look at the clips, let me just deselect that one, you can start to look at the length of clips simply by how wide they are in relationship to each other.

For example, the last clip is quite long, but as you remember, it covers quite a wide territory of panning around the entire group. This man picks bean clip is also relatively long when you compare it to the clip before and after. So let's look at this and see if there's a portion of this clip that we might want to remove. (Video Playing) (Unintelligible Speech) Diana Weynand: Well, it just maybe that we want to hear the clip of the man talking and laughing and then dropping the bean into the pail and then come out of the clip.

(Video Playing) Maybe we don't need to zoom around or pan around to the rest of the beans. So you simply mark an in, and notice what happens, out is automatically selected at the end of the clip, which forms a range selection and now you can just press Delete. So now you've deleted a portion of a clip. So not to worry if you've edited clips in that are longer, or that have a little extra fat on them, it's easy to get rid of them, and this is part of the chiseling away, part of the Michelangelo approach to refining your story.

Let's go back to the Project Library and open the Importers project. If you notice toward the end of this, there are two markers. After viewing these two clips side-by- side several times, I realized that there was a section of material which included the end of Paul's Paul 1 clip, and a little bit at the beginning of his 2 that I didn't need. Rather than delete those in two separate passes, I can delete it at one time. Let's listen to it. (Video Playing) Paul: wonder about whether you're taking a risk, you just know that the universe said, this is it. Are you ready? Diana Weynand: So this is where I want to come out of the clip.

So I am going to mark an in at this point. Notice that the out defaults to the end of this clip, it doesn't go any further. But let's play further. (Video Playing) Paul: And every time I think about that opportunity it affects me. I crack myself up, but that's what happened. If people love their -- Diana Weynand: In this clip, Paul begins a thought, and like any of us very naturally, we may have to reword what we're saying to start that thought.

So we're going to get rid of the first part of his clip where he is beginning to form that thought. (Video Playing) So right about at that second marker, I'm going to press O to set an out. Now, my range selection starts from the end of the previous clip, and continues into the second clip. Now, when I press Delete, it removes a bit of each clip, and that tightens up my story. So don't forget, stories evolve, just like David popped out of Michelangelo's slab of marble.

But you have to be patient and observant. With repeated viewings, the pearls in a clip, and a project will float to the top or pop out of an otherwise uninteresting section.

Show transcript

This video is part of

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

39 video lessons · 11770 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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