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Using a two-column script

From: Documentary Editing with Avid Media Composer

Video: Using a two-column script

Once things are looking good on paper, you may want to get started with your Radio Edit, working out the audio foundation for each scene in your documentary. And that's fine. If you're someone that just needs to get started, then by all means do so and skip to the next movie in this chapter. However, as you've no doubt caught on by now organization and preparation are a common theme for effective documentary editing. So I thought I'd throw one more big thing your way in case you wanted to really get everything inline for your edit. I'm talking about writing a script, specifically a two column script.

Using a two-column script

Once things are looking good on paper, you may want to get started with your Radio Edit, working out the audio foundation for each scene in your documentary. And that's fine. If you're someone that just needs to get started, then by all means do so and skip to the next movie in this chapter. However, as you've no doubt caught on by now organization and preparation are a common theme for effective documentary editing. So I thought I'd throw one more big thing your way in case you wanted to really get everything inline for your edit. I'm talking about writing a script, specifically a two column script.

This is common practice if you have transcripts of all of your interviews. Now a two-column script is a documentary script with the left column tells us what we see and the right column tells us what we hear. Now this is just one possible format, but it's the one that we'll be exploring in this course. So based on the Paper Edit we know we're going to need an intro and a conclusion and the four main scenes in-between. So you can build your two column script to include that main structure. Now let's just take the first section, the introduction. After screening and organizing all of the footage, I am imagining a sort of audio montage of interview subjects praising the main principles of the Farm to Table movement.

Then I'm imagining the visuals to basically take us through the entire movement starting with a single piece of fruit and then we'll get bigger and bigger, and we'll see the orchard and the farm, the workers, the market, and so on. Now I don't have to write out specific shots here. I mean you can, some editors do, but I just like to work with visual generalities that I can later flesh out. So I just keep going like this with each scene. Again, because I have my transcripts, I can just go through them and find my favorite sound bites and then include them in the script just pasting ideas together and forming conclusions.

Then I can decide later how I'd like the visuals to play into everything that's being said. Now I'll just quickly show you the entire script scene by scene so you can briefly see what I'm thinking. Scene one is where we meet BD and learn about his ideas and get an intro of the farm and scene two is where we get a sense of the importance of the farm in a local growing movement and where we focus on what it takes to get ready for the farmers market. And scene three is the big one, we are at the farmers market, and we not only talk to BD, but with all of his workers as well as with the customers, this is sort of a culmination of everyone's efforts to make the Farm to Table movement happen.

So this'll kind of be the largest scene. And scene four is where we get to explore the relationship between the growers and the restaurant owners and chefs. And finally, the conclusion is short, just a sound bite by BD, but I think it sums up everything pretty well. So, again, the two column script is a great idea for documentary editors that have the luxury of transcripts for each of the interviews, because it just basically becomes a matter of copying and pasting the moments that tell the story you want to tell.

It gives you a chance to imagine the visuals, but again this part is slightly less important since you can always change the visuals later. You really need to see that to make it work. So again these are just generalities, but the part where you can really get specific is with the audio. It gives you a chance to lay an excellent groundwork for how you'd like to tackle the documentary, and if you'd like to check out this editing script that I've assembled for this documentary, you can check it in the exercise files if you're a lynda.com Premium Subscriber.

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This video is part of

Image for Documentary Editing with Avid Media Composer
Documentary Editing with Avid Media Composer

39 video lessons · 3900 viewers

Ashley Kennedy
Author

 
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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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