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Documentary Editing with Avid Media Composer

Adding movement to static images


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Documentary Editing with Avid Media Composer

with Ashley Kennedy

Video: Adding movement to static images

Adding still images to your documentary is a really nice way to advance the story, even when it's among lots of footage. Here I have my conclusion, and I have lots of nice footage to help sell my story, and I have this shot of BD at the market, and it's surrounded by a lot of movement, but it is so still itself. Now, if I applied a resize to this, it really wouldn't be the best solution because what I have done is I have imported this image into my project and therefore I've converted it to the video resolution that I'm working with.
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  1. 6m 12s
    1. Welcome
      1m 36s
    2. Using the exercise files
      4m 36s
  2. 10m 49s
    1. Interpreting a creative brief to establish goals
      3m 3s
    2. Examining project assets
      3m 43s
    3. Defining the project approach
      4m 3s
  3. 11m 52s
    1. Understanding the documentary postproduction process
      2m 15s
    2. Focusing on the preparatory phase
      3m 33s
    3. Focusing on the rough cut phase
      3m 27s
    4. Focusing on the picture lock workflow
      2m 37s
  4. 36m 51s
    1. Beginning a project
      10m 28s
    2. Screening and assigning qualitative information to clips
      7m 3s
    3. Looking for stock footage using the Avid Marketplace
      4m 27s
    4. Marrying high-quality audio with video
      4m 54s
    5. Using the Find tool and PhraseFind to search the audio in a clip
      5m 58s
    6. Understanding transcoding
      4m 1s
  5. 14m 11s
    1. Preparing a script for script integration
      4m 17s
    2. Syncing a script using ScriptSync
      5m 9s
    3. Manually syncing a script
      4m 45s
  6. 59m 56s
    1. An overview of the rough cut process
      3m 38s
    2. Making the paper edit
      3m 9s
    3. Using a two-column script
      3m 33s
    4. Assembling the radio edit
      7m 15s
    5. Building scenes with B-roll
      9m 30s
    6. Editing process footage
      6m 29s
    7. Using montage and parallel editing to manipulate time and ideas
      8m 20s
    8. Adding natural and environmental sound
      6m 11s
    9. Correcting audio
      6m 22s
    10. Putting it all together: Completing the assembly edit
      5m 29s
  7. 32m 52s
    1. Dealing with multiple formats in a project
      5m 2s
    2. Adding movement to static images
      6m 6s
    3. Stabilizing shaky footage
      3m 23s
    4. Changing and fixing portions of the video frame
      8m 7s
    5. Compressing and expanding time in video and audio
      5m 23s
    6. Repairing jump cuts using the FluidMorph plug-in
      4m 51s
  8. 22m 25s
    1. Getting feedback, making adjustments, and receiving approval
      3m 16s
    2. Creating multiple titles and lower thirds
      5m 39s
    3. Understanding the finishing process
      5m 46s
    4. Delivering the project
      7m 44s
  9. 1m 28s
    1. Next steps
      1m 28s

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Documentary Editing with Avid Media Composer
3h 16m Intermediate Sep 26, 2012

Viewers: in countries Watching now:

This course shows how to build a polished documentary using Avid Media Composer and a few essential editing techniques. Author Ashley Kennedy demonstrates documentary editing in a real-world project, breaking down the process into a series of manageable steps and milestones. Discover how to define a project approach based on a client's creative brief, and then effectively review and organize the footage. Then find out how to use script-based editing methods and a wide variety of scene creation techniques to assemble a rough cut. The course also shows how to use effects to repair and enhance your footage, process client feedback, and add the film's finishing elements.

This course is part of a series that looks at Documentary Editing from the point of view of 3 different editors in 3 different editing applications. For more insight on editing documentary projects, take a look at Documentary Editing with Premiere Pro and Documentary Editing with Final Cut Pro X.

Topics include:
  • Interpreting a creative brief
  • Exploring the documentary postproduction process
  • Organizing footage and using searching techniques
  • Setting up and using digital transcripts
  • Building sequences and scenes to form the rough cut
  • Adding effects to repair and enhance footage
  • Fine-tuning the sequence to reach picture lock
  • Receiving feedback
  • Finishing the film with titles, color correction, and professional audio
Subjects:
Video Video Editing Projects
Software:
Media Composer
Author:
Ashley Kennedy

Adding movement to static images

Adding still images to your documentary is a really nice way to advance the story, even when it's among lots of footage. Here I have my conclusion, and I have lots of nice footage to help sell my story, and I have this shot of BD at the market, and it's surrounded by a lot of movement, but it is so still itself. Now, if I applied a resize to this, it really wouldn't be the best solution because what I have done is I have imported this image into my project and therefore I've converted it to the video resolution that I'm working with.

So here is the image that I've imported, and we know that we are working in a standard definition project for the purposes of this course, and so we are at 720x486 pixels. Well, I'll tell you that this image was shot on a Canon 5D Camera at more than 5000x3000 pixels. If we look at it exactly, we can see that we have it at 5616 pixels by 3600 pixels, so a very, very large image, and we want to take advantage of every single one of those pixels.

So, if we did a resize effect, it would get really soft, really fast, and that's just not what we want. So I'm thinking that we can just stay zoomed out to begin with and then slowly zoom in on BD as we are talking about him. Instead of applying a Resize effect to my image here, I'm going to apply what's called an Avid Pan & Zoom Effect, and that's going to allow me to link to the original source image and allow me to access every single one of those pixels.

So, in the Image category, Avid Pan & Zoom, I am going to go ahead and drag that onto the effect. You can see that it immediately goes dark, that's what happens when you add the Avid Pan & Zoom effect. This clip was more or less just a placeholder. You can put the Avid Pan & Zoom effect on any clip or any space in your timeline. As you can see, you can also put it on just blank filler, and you could do the same thing that we are about to do. I am going to undo that and go back over here.

You just need a placeholder with some boundaries. So I'm going to go into my Effect Editor, and I am going to click on Import image, because we need to go find that very large image, okay, our 5616 pixel by 3600 pixel image. I am going to go ahead and open. By default, it starts off looking a lot like it used to, but when we start zooming, you will see how different it really is. So I am going to add a couple of keyframes, one at the beginning, and one at the end.

And like I said, we want to start zoomed out, like it is now, and then zoom in on him. So I am going to increase the zoom factor, and you can see that I get this box zoom in, and I can choose where it is that I am going to zoom in while still taking a look at the entire image. So I'm going to make sure that it goes just right over his face, like so, and let's see how that looks, okay.

And then I'm going to just choose both keyframes, I am going to click on one and then press Command+A to select both of them, and I'm going to kind of get rid of that Ease In and Ease Out. I am going to just do a Linear Motion from keyframe to keyframe, and I've got a Linear Path, and I think, I like that a little bit better than that dip that was happening. Okay, so let's go ahead and take a look at what this looks like. I'm going to switch over from Source to Target, and I am going to go ahead and play through here.

(BD Dautch: ...to economy, to community--) All right. You saw that it was dropping frames. The reason for that is that this image is so incredibly large, so I am going to need to render it, but I do like this motion, I think that will work really well for my sequence. So I am going to render it. You first need to choose a render method, and you most certainly want to change it from Triangle. These first few are not good enough quality.

I will recommend that you choose Gaussian, I think it's kind of a sweet spot between a very nice quality render and super, super long render times. If you choose one of these, it's just going to be very, very long renders. These are very high quality, but this is I think good and fast enough. So I'm going to choose this, and as long as you like your animation, and you think it works well in your sequence, you can go ahead and render it. So I have changed my Filter.

You can see that there's other parameters down here as well, so feel free to experiment with those. But I'm going to go ahead and render, and I am rendering to my Farm to Table drive, let's say OK. Okay, not too bad, and let's go ahead and play through and see how we like it. (BD Dautch: ...to economy, to community. I mean--) Okay, so again, I might want to tweak that just a little bit, maybe I want it to hold at the very beginning and very end than I would go in and just tweak those keyframes, but you can see that you can zoom in quite a bit.

I really don't have it as much as it could, I could really just zoom in straight on his eyes, and it would still be as clear as day because I am zooming in on that 5000x3000 pixel image rather than converted video resolution to 720x486. So, if you are working with high-resolution still images, definitely use the Avid Pan & Zoom effect instead of importing the images, you won't be sorry you did because you will be able to take advantage of every single pixel in those original images.

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