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Adding end credits

From: Documentary Editing with Premiere Pro

Video: Adding end credits

It's pretty typical to have some sort of end credits at the end of your documentary. In the case of this project, I'm going to call this end credit a call to action. Let me show you what I mean. To start, we have to create our new title. So open up a New Title. This is going to be very simple, just a still, and let's call it Call to Action, and I like to just start typing and then make some adjustments to my style once I have some text to work on.

Adding end credits

It's pretty typical to have some sort of end credits at the end of your documentary. In the case of this project, I'm going to call this end credit a call to action. Let me show you what I mean. To start, we have to create our new title. So open up a New Title. This is going to be very simple, just a still, and let's call it Call to Action, and I like to just start typing and then make some adjustments to my style once I have some text to work on.

This is obviously too large. Just shorten the size of this. I want it to be pretty much to the edge of Title Safe area. It doesn't have to be touching, but something like that, and you can quickly throw a center on there, and then I want to add a URL. And part of the reason I'm calling this a Call to Action is when your message is about something, you really want your viewer to have a way to continue learning. Often these days that's a URL.

We can align those two together, center them up. I often find the dead center on something like this, vertical center is a little low. I like to nudge up a little bit, kind of that one-third position, and I think that looks good. Obviously, because we've built this right inside Premiere, it's going to very easy to edit if we need to. So let's go ahead and close our title maker, and we have our Call to Action. Let's stay organized and put it in titles. And now let's edit it in.

We'll keep everything consistent by editing up on to our titles track. There will be no audio associated, and now I just want to work on the timing which for the most part is going to involve the music and a little bit how we come off of the last shot. Let's see how this looks and sounds. Before I even watch it, I know I'm going to need a transition. I'm not sure exactly the length of these transitions or the length of the shot. So let's try to get the timing at the head right first.

Again, when you're working on timing, it doesn't pay to just try to look at this gap by itself. You've got to take it a few shots back to play it through. (BD Dautch: ...of life, as well as a culinary celebration.) (video playing) Okay, what I want to do is actually increase the pause and bring in the Call to Action at a guitar strum in the music. Listen closely to the music.

I think it's right about there in the waveform. Let see if I'm right. (video playing) Yup, you hear that warm sound right there? That's exactly when I want it to come up, and often I find that timing means sort of getting the transition right in the middle there. Yup, something like that. Let's see if we like it. (video playing) Mmm, close. Maybe a nudge a little further down couple frames. (video playing) Still not quite hitting on the guitar strum. (video playing) That's how I want it. (video playing) Okay, the end is a little tricky here.

What I'm going to do is fade the music out, but I'm actually going to leave the card up and the reason for that is I don't know exactly where this is going to be playing, but if it's going be playing online it's quite possible that when the video stops it just going to be left with the last frame. And if that's the case I rather be left on our Call to Action then be left on black. So let's fade the music--I know it's going to seen weird to leave this up, but that's how we're going to do it. (video playing) Now in Premiere, it doesn't stay up, but it is in fact the last frame.

In a piece like this, the Call to Action is tremendously important. If we've done our job right, we've got our audience in the palm of our hand, we've made an emotional connection, and we have a bare moment, 10 seconds at most, to get them to actually connect with us and take some action. Luckily, a URL is a great shortcut to learn more, but remember this is the most valuable time to our client in the piece we're cutting for them.

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This video is part of

Image for Documentary Editing with Premiere Pro
Documentary Editing with Premiere Pro

44 video lessons · 11417 viewers

Jason Osder
Author

 
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  1. 5m 7s
    1. Welcome
      51s
    2. Using the exercise files
      1m 35s
    3. Interpreting a creative brief to establish goals
      1m 29s
    4. How to use this course
      1m 12s
  2. 12m 49s
    1. Identifying messaging concepts
      1m 58s
    2. Tips for working with interviews
      4m 53s
    3. Tips on B-roll sequences
      2m 58s
    4. Researching background and history
      3m 0s
  3. 37m 38s
    1. Organizing the ingest process
      3m 43s
    2. Choosing an interview logging method
      2m 40s
    3. Adding interview metadata
      4m 56s
    4. Logging interviews with markers
      6m 18s
    5. Adding notes to B-roll clips
      5m 36s
    6. Preparing archival images with Photoshop
      9m 20s
    7. Pulling selects and presenting ideas
      5m 5s
  4. 51m 20s
    1. Structuring the edit
      3m 0s
    2. Assembling B-roll shots
      8m 52s
    3. Assembling interviews
      6m 56s
    4. Building sequences and scenes
      7m 53s
    5. Editing interview bites on the Timeline
      6m 16s
    6. Adding other media types to the Timeline
      6m 5s
    7. Completing the rough cut
      10m 1s
    8. Presenting the rough cut and receiving feedback
      2m 17s
  5. 31m 6s
    1. Planning moves on photographs
      6m 23s
    2. Animating images
      9m 17s
    3. Creating a title graphic in Photoshop
      6m 8s
    4. Animating a title graphic in Premiere
      6m 40s
    5. Presenting graphics work
      2m 38s
  6. 55m 28s
    1. Performing an editorial evaluation
      4m 41s
    2. Refining scene order
      2m 53s
    3. Adjusting interview content
      7m 57s
    4. Adjusting B-roll shots
      6m 29s
    5. Tightening clip timing
      6m 21s
    6. Fine-cutting audio
      9m 22s
    7. Reviewing all assets
      6m 18s
    8. Adding end credits
      5m 12s
    9. Locking the picture and preparing the Timeline for finishing
      3m 37s
    10. Presenting the picture lock to the client and receiving approval
      2m 38s
  7. 34m 8s
    1. Evaluating the piece for finishing goals
      7m 11s
    2. Polishing the final audio mix
      7m 49s
    3. Correcting color for consistency
      9m 49s
    4. Adjusting the title and animations for the best compression
      5m 56s
    5. Exporting multiple files
      3m 23s
  8. 50s
    1. Next steps
      50s

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