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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.
One part of my process when fine cutting is to try to go through one by one address different aspects of the cut. Right now, I want to address everything about bites carefully. Are there bites that could be adjusted, are there bites that could be added, is there anything that could be cut in the bites? A couple of these opportunities I noticed when we were evaluating, but before we start to edit, I want to adjust the Interface.
I like the CS5.5 Interface, but I want to reset it, and this is close to how I like to edit, but I'd like to provide more room for the timeline, and I don't really need the media browser available. So I am going to go ahead and close that whole frame, and that makes plenty of room for my timeline, and actually this is really one of my favorite editing setups. I am going to go head and save it, and we can call that Jason's Editing Workspace.
Of course, you don't have to that, but when I noticed that I am making the same adjustments time and time again, and you can save a customization, I say go ahead and do it. Okay. Now let's look at those opportunities, one is an add in, and it comes here in the farmers market. Let's listen to what's there, and then we'll listen to the bite that's an opportunity, not to replace, but to add in. (male speaker: We're serving our local customers our local product, and so--since we can, and since it's an amazing product-- we're happy to do it.) Okay, I think that's part of the point, we are hooking up the customers with this fresh produce, but as I was evaluating, I remembered that we have another chef at the market.
And although he had some trouble getting warmed up, toward the end he's got some good stuff, and I thought it might really add to the point being made by the first chef. Let's listen. (male speaker: And I feel like we're really lucky to live here in Santa Barbara, where we're kind of on the forefront for the country, I feel like. We definitely have access to some of the nicest produce around. I don't know how I'd run my restaurant without all these farms, that's for sure. This is where the magic starts.) So if you notice, it's the very last thing he says in this interview. It took him to here to finally really get some flow in his interview.
But what is says there at the end is pretty nice, especially that's where the magic starts. I want to move over to the Waveform to properly edit this. There are some ums and ahs, and that might turn out to be a deal breaker with this, but let's see if we can get something we like. (video playing) Okay, I am going to try this with the littlest bit of the bite to avoid a lot of the ums and ahs.
(video playing) Oops, not that short. (video playing) I like what he says, but it's awfully flat, and I am not sure it's going to really work out for us. Let's go ahead and position this right after the bite we're using, and I need to adjust my locks here. I want the natural sounds to the move when I insert, but I want to make sure the music doesn't break and stays locked in place.
You want to be kind of careful at this stage of the game when you're doing this. It's easy to mess something up downstream, and you want to avoid that. So good locking is important, and then also don't forget to target your tracks that we were adding interview in VO, and we've tried to be organized here. So let's keep it up. So we've targeted our tracks, locked some other tracks, marked the bite we want to add, and now we can just do a quick Insert. Now let's play this back. It might need some massaging, and frankly it might not have been a good idea, let's see.
(male speaker: We're serving our local customers our local product, and so--since we can, and since it's an amazing product-- we're happy to do it.) (male speaker: We definitely have access to some of the nicest produce around. I don't know how I'd run my restaurant without all these farms, that's for sure. This is where the magic starts.) Yeah, it needs some clean up, it's debatable, but he's a little flat. I wish he were more up the whole time, but that line about magic, and once we get the audio mixed, I think we've got an improvement here. I want to look at one other type of adjustment to the bites, and it's a type of thing you'll see a lot of, but I just want to look at one example.
It's back here at the beginning, and you might remember when we evaluated that one of the edits of BD's bites was a little rough. (BD Dautch: ...and it's all certified organic.) Did you hear that, he kind of steps on it? (BD Dautch: ...acres in Ojai, and it's all certified organic.) Let's look at some Waveform and get a closer look. This type of edit really benefits from the waveforms. So let's make it nice and big and zoom in little further that way, and I think I see the problem already. I think it's that there, let's listen again.
(BD Dautch: ...acres in Ojai, and it's all certified organic.) Yep, it's just so one little noise, and in fact, I think I like the pause with the background noise, it's just that one little bit. So let's get about Ripple tool and see if we can't just bring that in down to size. We still have music locked so that's not going to be affected, and let's see what we got. (video playing) One more time. (BD Dautch: We've got about 10 acres in Ojai. It's all certified organic.) I wonder if there is a little bit of improvement on the other side of this edit. Yeah, it looks like this word proceeding is going to be a problem to us, let's listen! (video playing) What is that word? (video playing) Okay, it looks like that's it. (video playing) So that's our best shot, it looks like it's going to be sort off frame to frame between those words.
W might not be totally happy here, but let's listen again. (video playing) And if we give it one more frame. (video playing) Then we are getting the end of the word and so, so I think we have the best possible edit now for this audio edit. It doesn't sound wonderful, but I am pretty confident that in the actual mix we can still improve this, but in terms of editorial, it's not getting any better by trimming. Those are just two examples of how you may adjust bites at the fine cutting stage.
You may introduce something new, you may eliminate something, we didn't see any of those opportunities here, but it does happen that you realize that bite is just redundant and then this type of thing. Do we have the best edit point on each and every word, and this type of adjustment really should be done at every edit point. You should take a pass where you just look at each one of these. I mean an edit like this is going to be fine, you can see from the waveform, but in other places you want to make sure that you're coming in and out at the best possible moment on those bites.
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