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Find out how to highlight a cause, express a point of view, and tell a story with Adobe Premiere Pro and some essential documentary editing techniques. This course breaks down the documentary process into a series of stages that correspond to the milestones of a real client project. Starting with existing footage, you'll discover how to identify the key messaging concepts and log the footage. Then find out how to assemble rough and fine-tuned cuts, and layer in motion graphics and a credit roll. The final phase explores color correction and audio mixing, before exporting your final movie.
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 Avid Media Composer and Documentary Editing with Final Cut Pro X.
We have a singular goal in this movie. There is a couple elements that we haven't even introduced to the project. I'm thinking of two things, the stills that we prepared earlier and also music tracks that we have to work with. What I want to do now is just incorporate both of these items into the Timeline and into the project, not worrying too much about exactly how they will work, I am not going to animate the photos, and I am not going to mix the music. I am just going to get the rest of the elements that don't appear on our Timeline yet to appear there, so all of my ingredients will be available to me.
I need to use my Media Browser so I what to open that Window, and then I want to create just a little bit more space so I can navigate. Great. Now I want to go to where I saved those stills with the PSDs that we worked on already, and those are our treated images. I want to do both of them, but I want to stay organized up in my Project Panel as well so that I mean a new bin for stills and then just a drag of both of these into that bin.
But we are going to have some choices and they are important. In this case, Merge All Layers is going to be just fine. Later on if we want to go back and make edits to the Photoshop file we can do that, but this is not a case where we're working with separate layers. So go ahead and bring them in all as Merge Layers and same thing with our second shot. Great. We've created a stills folder here, and I also want to create a music bin, and we just need to navigate to where our music is, and we can bring both of those in.
Okay, let's get them on the Timeline, and at least with the stills, we already know basically where they're going, which is in this section right here. So we're not going to animate them or do anything fancy yet, we're just going to incorporate first the market still. There's going to be plenty of time for the timing on these, so just slug them in there kind of where they belong, I often like to sort of split the difference. So I have got X amount of time open on my Timeline, and I am just going to fill these with both of them.
I am going to situate them, I said, I'm not doing detailed work but that doesn't mean I want to frame it so that you know his face isn't in the frame. So I'm just going to quickly go ahead and reposition. It's all about content at this stage. I'm not concerned are we moving up or down on BD, I'm just concerned it's a shot of BD's face, and here again. My concern isn't the perfect final it's just that I've got a visual representation of what the content is.
Okay, let's work on the music, scroll down a little bit, make my self some space, and I am going to put music on two tracks Audio 3 and 4. So I'll go ahead and name those with music 1 and music 2. Now sometimes, and this piece may be one of those times it's actually going to be fine to have all your music on one track, but I'd like to alternate them in case there is an overlap in music we have two tracks to work with and slide things around.
So if you listen to the two tracks of music, for me they really fit pretty easily with the two major scenes we have here which are the farm and then the market. So this one, Silent Charm. (music playing) I thought right away that's our farm track, and if we give a little listen to where we are remember that we have these great nats to work with too at the very beginning. So I don't want to bring it in before nats, but... (video playing) ...I think somewhere around where we cut to this tight shot, I am sort of envisioning a little bit of a rhythmic transition where the music comes in.
And as I listen to this there are some weird sounds at the beginning that I wasn't too fond of, let's take a close look. (music playing) Yeah, that spacey sound, not really doing it, but it's really when the guitar comes in that I like it so go ahead and eliminate that with a quick in and then just drag that music down onto our new music 1 track. Okay, it's long so identify where we make that transition to the Farmers Market around there, and trim this back, there's going to be plenty of times for adjustment later, and let's deploy our second track called Delayed Goodbye starting right there.
(music playing) Yeah, I like that change in tone, it really feels like we're moving from one place to the other I think when we switch tracks like that. So lets incorporate that, and we'll go ahead and move them down on Music 2. Again I'm not sure if I am really gong to need 1 and 2 in this case, but in case I need to sort of finesse that transition having them on separate tracks--or checker-boarded as we call it--means that I'll be able to slide one under the other and create a smooth transition if necessary.
So currently if you watch this cut I would not call it a rough cut, but I would call it an assembly. I think at this point when all the ingredients are incorporated basically in the right order nothing has been massaged or finished to a degree of perfection but everything is represented on the Timeline and I'm comfortable calling that an assembly cut. Go ahead and give it a watch while we didn't watch our full cut too much as we were building it, now our process is going to be to watch and change a lot.
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