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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 are about midway through our initial assembly of this piece. And I'm pleased, because by focusing on the visuals first, we've laid down a visual structure for our piece. Now we need to do the equivalent process with our bites, by just getting the things that we think we're going to use, down onto the timeline in the rough positioning of where they belong. The first thing I want to do is rearrange the interface a little bit to be a little more conducive to this type of editing. Again, I'm going to start with a pre-built workspace, which is the CS6 Editing Workspace.
But I like to adapt it a little, in particular, I like to have a nice big Project pane. So put that over there, not quite that big, and then my Markers seem to have disappeared. So I want to make sure that they're available, there they are. I think I don't need the Media browser, so I can use some of that real estate, and of course, whatever I load up, we're going to see those markers. Working with the A-roll, there we go, that's kind of what I am going looking for, but I think I want a little more timeline real estate.
So maybe we can just put markers right there, yeah, that's about what I want, a little more vertical space. This is a real strength of Premiere Pro, I really kind of like to customize my interface. And I find that in different parts of the process, I use it completely differently. The idea here is we're going to find the interview bites that we want. And we're actually going to insert them into these blank spaces. That's not how the final piece is going to work, but it's going to allow us to get our content down onto the timeline very quickly where we can manipulate it further.
So let's get everything targeted properly, and I kind of want to leave those thumbnails open for reference, and it's up to you, but you certainly can name the tracks. So that'll be my interview track, and Audio 1 can become VO, as a note that sometimes we don't have to use the visual with the audio here. These interviews can be voiceover. Okay, let's go to the BD interview, which we know is our biggest most important, and I think I'd prefer to see him, not the Audio Waveforms.
And now we've got all of our handy markers and some of them at the beginning are going to be very useful for our introduction. So I want a little more Marker space, so we can actually see our annotations, there we go. (BD Dautch: Okay. My name is BD Dautch, and I have Earthtrine Farm, and we've got about 10 acres in Ojai--) A lot of times I actually mark my out first, I get to the end of the bite I think I want, then I kind of scrub back, listening and watching and the in right around when he starts (BD Dautch: Okay. My name is BD Dautch--) Now he says, okay, which I don't love, but we will trim that up later.
I'm going to use Insert here, and I'm just going to allow this timeline to sort of grow as I add these things. And again, it will shrink down later. Make sure everything is targeted properly. Yup, that's how I want it to look, and just go through here, again, I'll be somewhat liberal because I can always remove things. (BD Dautch: And we grow about 100 different herbs, vegetable, flowers, fruits.) Again, Insert or comma, we try to keep it all local. I now that's going to be valuable.
(BD Dautch: We try to keep it all local.) I love little bites that can work all on their own. I don't know if this is going to go exactly here. But I know that little one-liner is going to be useful, and so on, we go through here not being too strict, but bringing down things that we know we'll want. I know I'm going to need a piece later on that is transitional, moving from the farm scene to the market scene, and I remember that there's a good line about the farm. (BD Dautch: Yeah, there's definitely a movement happening. It's not just here, it's worldwide.
In a way, like I said, it's a renaissance.) Not the one I was looking for, but I like the renaissance bite. I don't really know where it is going to go, so I think I'm going to put it down at the end as a possibility of part of my conclusion. Now let's see if I can find the one I was looking for. (BD Dautch: So there's so many dimensions to it, way beyond-- We have a really good relationship with the restaurants.
The Tuesday afternoon and Saturday morning markets are both downtown within walking distance of, I don't know, 100restaurants.) That's the one I was looking for, I will go ahead and mark its out, back up a little bit. I'm not sure exactly how this will fit in, but it serves a couple purposes. It's moving us from the farm to the market, and it's also connecting the dots in terms of the farm to table concept. So I just want to drop that right about there.
And again, I'm inserting, so everything gets longer. I'm not worried about that, currently my timeline has grown, we are getting into the 3 & 1/2, 4-minute mark, and by the time we finish adding our interviews, it will be even more. But we'll trim it down later. I want to point out one more specific one, and then we'll skip to the end to see how this looks. And it was one I remembered from one of the chefs at the market. I just thought it was really good, this eating local is the way to go, let's listen.
(male speaker: Local is the way we should be eating. I mean, there is no reason for us to go 500 miles. We don't need anything from Iowa or anything from farther than what we can do here. So the farmers market here allows us to have a product from, say, 70 miles, 50 miles, you know, from, say local, Goleta and Oxnard and whatnot.) Not so sure about all those whatnots and details, but something in there is going to work as a really nice man on the scene bite there. And it's going to go somewhere in this vicinity, but I'm going to put it here for now in the open space, so I can deal with it later, and I continue to insert.
(John Downey: You know, I grew up in England where people would go down to the pub and see their friends. Here, you can go to the market.) So there we go, you can get a good idea just from a glance at the timeline of what we've accomplished here. We've woven our interviews in the open spaces between our B-roll scenes. The timeline has gotten quite a bit longer, almost 5 minutes, but that's okay, because as we start to overlap these in true A-roll, B-roll fashion, this timeline will shrink again.
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