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Repairing jump cuts using the FluidMorph plug-in

Repairing jump cuts using the FluidMorph plug-in provides you with in-depth training on Video. Taugh… Show More

Documentary Editing with Avid Media Composer

with Ashley Kennedy

Video: Repairing jump cuts using the FluidMorph plug-in

Repairing jump cuts using the FluidMorph plug-in provides you with in-depth training on Video. Taught by Ashley Kennedy as part of the Documentary Editing with Avid Media Composer
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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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Repairing jump cuts using the FluidMorph plug-in
Video Duration: 4m 51s 3h 16m Intermediate


Repairing jump cuts using the FluidMorph plug-in provides you with in-depth training on Video. Taught by Ashley Kennedy as part of the Documentary Editing with Avid Media Composer

View Course Description

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
Media Composer

Repairing jump cuts using the FluidMorph plug-in

As we learned previously, stringing together multiple talking headshots and then covering the resulting jump cuts with B-roll is a standard way of working when editing documentaries. Most of the time, this works out just fine. You're able to cover up the jump cuts with the appropriate footage without any problem. Sometimes however, either because you don't have the right B-roll, or because you don't want to introduce a weird flow of too much B-roll in a certain area, you may just want to include two talking headshots edited one right after another. Fortunately, you can usually do this without the audience noticing by using the FluidMorph plug-in.

Let's take a look. All right, so this is the conclusion of the documentary, BD is talking about how much he loves his life and his profession. I've got a lot of B-roll here, and I just want him saying as a talking head right here I don't want any B-roll over this area. So I want him talking throughout this cut. So I'm going to go ahead and just play through the cut so you can see what I'm talking about. (BD Dautch: ...the luckiest person in the world, to be able to do what you feel is your calling.) All right, so what I want to do is just smooth that out, and so I'm going to apply the FluidMorph plug-in.

I'm going to come over to the Effect palette, and I'm going to go to Illusion FX and FluidMorph, and I'm going to just make sure to put that right on the transition. You want to make that it's on the transition and not on the segment, or it will look like his face is melting. So, I'm parked on there, I'm going to open up the Effect Editor. And right away, it comes in at 1 second, as do all transition effects. You want to change that. You want to make it about 8 frames or so. So, I'm just going to type 8, Enter, and now we're at 8 frames.

I'm just going to play through it, so you can see kind of what's happening through these 8 frames. Again, this is the A side. So, this clip right here, and by the time we're finished with the 8 frames, we'll be to the B side. All right. Not bad. Could you tell where it morphed? It's literally happening throughout this transition. So, it's pretty hard to tell, and it's doing a pretty good job. I'm going to go ahead and render it, and then we'll play it in real-time.

So I'm going to Render Effect, okay, and I'm going to go ahead and play through, and let's see how it works. (BD Dautch: the world, to be able to do what you feel is your calling. I mean, I just--) All right, well, you might have noticed just a tiny bit of a morph as you kind of look at his hair and the side of his face. I promise you though, if you were just watching it, and you didn't know that it was there, it really would not be noticeable. Now this is not really possible if the background changes significantly or if the position of his face or body would change significantly.

But for an interview where the subject is usually situated in the same general area and the background is unchanging, this is a really nice solution. Now, I'm going to go back into the Effect Editor, and I want to talk about a couple of other parameters. If this doesn't work, you'll probably want to come down to this pulldown menu and change the combination. Now, everything on the left represents the A side, and everything on right represents the B side. So right now, we're still on the A, still on the B.

All this means is that this is the last frame of the A side clip, and the first frame of the B side clip, and that's what's being morphed. The stream is just the stream of video leading up to the cut on both the A side and the B side. And then basically it breaks it down from there, the stream of video on the A side with the still image on the B side and vice-versa. So, a lot of times if it doesn't work with Still->Still, I'll go to Stream->Stream and see how that works. So that's always a possibility. You also have the option of enabling Feature Match.

So basically, the way this works is it matches up the general Luma values of the face as it detects it on both the A and the B side. And so usually that's fine. But Feature Match goes a step further and takes a look at the features on the face and matches those up as well. So again, if you're not happy with the FluidMorph, you can come in and enable Feature Match, and then re-render it and see how it works. Okay? So, that's basically what I would recommend, change the way that the morph is happening throughout this dropdown menu, and then also enable Feature Match, and you're usually going to end up with something that looks pretty good.

All in all, I am pretty happy with this one. Again, I don't think you can tell very much if you don't know that it's there. So, I'm going to leave it as it is. So as you can see, the FluidMorph plug-in allowed us to include multiple interview shots without the need for B-roll to cover up the jump cuts. Now, while it won't work all the time, it's a great little tool to fix most small issues of this nature.

There are currently no FAQs about Documentary Editing with Avid Media Composer.






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