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Premiere Pro CS5 Essential Training
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Avoiding bad edits


From:

Premiere Pro CS5 Essential Training

with Chad Perkins

Video: Avoiding bad edits

Now we're going to take a brief look at what constitutes a bad edit, so you know and not to make those. This is one of the worst edits I've possibly ever seen and this is a clip from "Ninja Death 3." And here a guy and a girl are playing coy, kind of flirting a little bit, and then it cuts to something else, a different scene entirely, which is a little jarring just because it seems like they were kind of like flirting or kind of here. Not the worst edit ever, but they are somewhere else, and then all of a sudden it cuts back to the first couple, and all of a sudden they are embracing.
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  1. 4m 1s
    1. Welcome
      55s
    2. What is Premiere Pro CS5?
      1m 41s
    3. Using the exercise files
      1m 25s
  2. 16m 44s
    1. The Premiere Pro workflow
      2m 21s
    2. Adding footage to the Timeline
      2m 19s
    3. Understanding timecode
      3m 3s
    4. Making basic edits
      5m 15s
    5. Getting familiar with the interface
      3m 46s
  3. 21m 59s
    1. Setting up a new project
      3m 48s
    2. Creating a new sequence
      5m 30s
    3. Capturing and ingesting footage
      2m 51s
    4. Importing files
      5m 23s
    5. Sorting and organizing clips
      4m 27s
  4. 33m 19s
    1. Making a rough cut
      4m 0s
    2. Making preliminary edits
      4m 55s
    3. Creating overlay and insert edits
      4m 16s
    4. Using video layers to add B-roll
      3m 47s
    5. Using ripple edits and ripple delete
      3m 1s
    6. Performing slip edits
      2m 54s
    7. Using the Razor tool
      3m 51s
    8. Moving edit points
      3m 47s
    9. Navigating efficiently in the Timeline
      2m 48s
  5. 28m 45s
    1. The job of an editor
      2m 59s
    2. When to cut
      5m 54s
    3. Avoiding bad edits
      6m 31s
    4. The pacing of edits
      3m 47s
    5. Using establishing shots
      2m 44s
    6. Using emotional cutaways
      2m 1s
    7. Fixing problems with cutaways
      2m 48s
    8. Matching action
      2m 1s
  6. 21m 38s
    1. Using markers
      3m 31s
    2. Replacing clips
      2m 36s
    3. Exporting a still frame
      1m 51s
    4. Creating alternate cuts
      1m 25s
    5. Rearranging clips in the Timeline
      2m 15s
    6. Targeting tracks
      2m 32s
    7. Disconnecting audio and video
      5m 0s
    8. Reconnecting offline media
      2m 28s
  7. 9m 46s
    1. Adjusting the rubber band
      3m 13s
    2. Adjusting clip position
      1m 21s
    3. Moving the anchor point
      2m 50s
    4. Adjusting clip size and rotation
      2m 22s
  8. 8m 15s
    1. Changing the speed of a clip
      1m 58s
    2. Using the Rate Stretch tool
      1m 57s
    3. Playing a clip backward
      4m 20s
  9. 10m 26s
    1. Understanding pixel aspect ratio
      5m 15s
    2. Understanding frame rates
      2m 15s
    3. About HD standards
      2m 56s
  10. 10m 32s
    1. Using layered Photoshop files
      2m 31s
    2. Animating clip position
      3m 33s
    3. Fading layers in and out
      4m 28s
  11. 12m 40s
    1. Applying transitions
      6m 2s
    2. Using transitions effectively
      4m 41s
    3. Setting up the default transition
      1m 57s
  12. 38m 31s
    1. The importance of ambient audio
      6m 35s
    2. Cutting video to music
      7m 38s
    3. Changing audio volume over time
      9m 55s
    4. Fixing audio problems
      9m 57s
    5. Censoring audio
      4m 26s
  13. 16m 25s
    1. Creating censored video
      5m 22s
    2. Creating a lens flare
      2m 20s
    3. Creating a logo bug
      3m 27s
    4. Creating background textures
      5m 16s
  14. 13m 23s
    1. Intro to compositing
      1m 11s
    2. Removing a green screen background
      9m 14s
    3. Compositing with blend modes
      2m 58s
  15. 22m 37s
    1. Adjusting white balance
      2m 24s
    2. Increasing contrast
      3m 5s
    3. Adjusting luminance
      4m 30s
    4. Creating cinematic color
      5m 21s
    5. Creating a vignette
      3m 12s
    6. Creating a day-for-night shot
      4m 5s
  16. 16m 5s
    1. Creating titles
      4m 55s
    2. Creating a lower third
      9m 12s
    3. Animating rolling credits
      1m 58s
  17. 14m 13s
    1. Exporting sequences from Premiere
      3m 57s
    2. Exporting with the Adobe Media Encoder
      2m 13s
    3. The most common formats and codecs
      4m 42s
    4. Exporting portions of a sequence
      1m 54s
    5. Rendering letterboxed footage
      1m 27s
  18. 6m 46s
    1. Examining the other apps that come with Premiere
      4m 25s
    2. Working with Final Cut Pro
      2m 21s
  19. 20s
    1. Goodbye
      20s

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Premiere Pro CS5 Essential Training
5h 6m Beginner Apr 30, 2010

Viewers: in countries Watching now:

In Premiere Pro CS5 Essential Training, author Chad Perkins shows not only how to edit video with Premiere Pro, but he also explains how to use video to tell compelling stories. This course covers the Premiere Pro workflow from a high level, providing a background on how projects go from start to finish before diving into basic clip adjustments, such as color correcting scenes for more dramatic impact, applying transitions effectively, and slowing down and speeding up clip playback. The course includes creative techniques, such as making titles and removing a green screen background from a shot. Exercise files are included with the course.

Topics include:
  • Adding footage to the Timeline
  • Creating dynamically linked content
  • Making overlay and insert edits
  • Moving edit points
  • Playing a clip backwards
  • Understanding pixel aspect ratio and frame rate
  • Applying motion effects
  • Cutting video to music
  • Compositing with green screen and blend modes
  • Correcting color
  • Creating titles and lower thirds
  • Exporting sequences
Subjects:
Video Video Editing
Software:
Premiere Pro
Author:
Chad Perkins

Avoiding bad edits

Now we're going to take a brief look at what constitutes a bad edit, so you know and not to make those. This is one of the worst edits I've possibly ever seen and this is a clip from "Ninja Death 3." And here a guy and a girl are playing coy, kind of flirting a little bit, and then it cuts to something else, a different scene entirely, which is a little jarring just because it seems like they were kind of like flirting or kind of here. Not the worst edit ever, but they are somewhere else, and then all of a sudden it cuts back to the first couple, and all of a sudden they are embracing.

So we didn't really tell the complete story. We don't know how they went from being coy and flirty and far away to embracing each other and being really close, and he is kind of like in mid-sentence arguing with her. So, emotionally there was a huge section there that we didn't see and we're seeing another part of the story instead. So we're not really seeing the complete story. Let's look at that edit, and see if you could feel how uncomfortable it is as we go back and forth without really giving the viewer the complete story. (Music playing) (Female speaker: Brother, where are you going?) (Male speaker: To go talk to a teacher!) (Male speaker 2: So tell me, what am I? Why do you treat me so well?! Tell me!!) So again, emotionally as we cut back to these people, we missed something.

The editor did not give us a clue about what's going on. So, be aware of that. And sometimes you're given a movie to edit where it wasn't written very well or wasn't directed very well and there's not too much you can do, but that's still, again, as an editor you're the last line of defense with the story. So, you've got to try to come up with the way to tell a better story than that. Now, let's talk about jump cuts. Jump cuts are when we jump from one frame to the next and from one frame to the next it just doesn't make sense visually.

In this clip from the "Night of the Living Dead" they are fiddling with the TV set, and this guy here our main character is fiddling with the rabbit ears, and as we advance frame by frame, there is a frame where he goes to sit back down again and then in one frame he is sitting down, and then in the next frame he's completely sitting down. Now, that's totally okay, because we assume that he's going to finish sitting down, so it's not the end of the world. However, the audio is consistent from that frame to that frame, so we refer to this when it's just kind of an extra leap like that, as a jump cut.

So, again it's very subtle. It's a very small thing, but let's see if we can detect that jump cut. (Male speaker 3: Play with the rabbit ears!) (Tv announcer: As incredible as they seem?) So, it almost seems like as he was about to sit down that he just warped into sitting position. So, again, if there wasn't consistent audio, then it would be okay but because there is consistent audio, it doesn't really make sense. He kind of like warped into a sitting position, and so again that's referred to as a jump cut. Here is a more glaring example of a jump cut.

In this clip from "Santa Claus Conquers the Martians," this robot enters this room here, and he breaks down Santa Claus's door and then he enters in. And we have this medium shot of him coming in and he enters. He takes several steps into the workshop there. And then in the next cut, when we cut back to it being a wide shot, he is right in front of the door. So again, that's a jump cut. It's jarring. That's not what happened. We saw him take several steps into the room and then we cut back to him he is by the door and he is not moving as much.

Like here he is in walking formation, like his arms and legs are in the process of walking, and then when we cut back here he is standing still, almost like the director said "action," and we needed him to take a few steps in and the editor should have cut it like right here or something. Let's watch this scene, and see if you could see the jump cut in motion. (Dramatic music playing) So, again you can see that it kind of warped backwards when we cut.

Again, that is a jump cut. Now, this next idea isn't really avoiding bad edits. It's avoiding bad pieces of footage. Here in this clip I have footage of a hopping ferret, very cute. And then towards the last half of the clip he is kind of off-screen most of the way. And then this is me doing the camera work, by the way. I did a terrible job. Admittedly I'm an awful cameraman. Also too the first little part of the clip we don't even see the ferret. So, this isn't really a bad edit, but we take the chance of boring or fatiguing the audience, because we're showing them something they don't really need to care about.

So, make sure that every frame of video is juicy. As good as it can possibly be. So, I might start there with the ferret just about to come on screen, and then he comes on screen, and then he runs away, and the audience is going to assume that he ran off screen, because he is going that way and most of his body is away anyways. So, really this is the best part of this clip. We might even consider jumping off or cutting it there. But anyways, we don't want to show the audience anything they don't absolutely need to see.

Here's another more humorous example from "Jesse James Meets Frankenstein's Daughter." Apparently, he has to go out and find somebody named Wanita and I don't recall the plot line why he needed to do that, but this evil scientist is trying to get him to remember Wanita and so she keep saying it over and over, and it's hilarious. (Male speaker: Wa-ni-ta?) (Female speaker: Yes! Wa-nita.) (Male speaker: Wan-ita? Wan-ita?) Okay, so we probably could have done with one or two less Wanitas there and I'm not sure how that could have been done in editing, but we could have maybe cut away to something, as we'll talk about later in this chapter.

We could fix some problems by cutting away to other things, but this is just long. I mean as an audience member, I'm sitting here and watching this saying, yes I get it, I get that you're trying to pronounce Wanita. I get that that's who you are going after. I don't need to be told this over and over again. Let's move on with the story. So, again, only the best. When we're making our edits, we want to give the users the best of our footage, the best of the story. Anything that's extra, let's get rid of.

Find answers to the most frequently asked questions about Premiere Pro CS5 Essential Training.


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Q: When attempting to open the project exercise files into Premiere Pro CS5, an error message appears: 
This project contained a sequence that could not be opened. No sequence preview preset file codec could be associated with this sequence type. 
What could be causing the error, and how can the files be opened?
A: There are a few possible explanations. 

First, if the projects are not importing correctly, the error could be with the codecs being used on a particular machine. Check to make sure the Video Previews codec setting matches the file type being used.

Another possible issue could stem from using the trial version of Premiere CS5. Some codecs for encoding MPEG formats are available only with the full version of Premiere CS5. 

Additionally, the "Video Previews" codec setting for the Custom Sequence Presets could cause the issue if it is defaulting to “I-Frame Only MPEG”. Changing the setting to Microsoft AVI might fix the problem.


Lastly, if the projects are not importing into Premiere, try importing the video footage by itself, rather than the entire project file.
Q: How does one perform internal edits within a piece of video in Adobe Premiere? For example, if I have a single clip of video, comprised of multiple segments strung together, how would I go about removing gaps and/or cleaning up each segment and then assembling the clips in a desired order? Most tutorials emphasize laying down multiple clips on the Sceneline or Timeline, but not editing one clip of video.
A: To remove footage from a single video clip:
  • Drag the Current Time Indicator (CTI) to the first frame of the segment to be deleted, click the Split Clip button in the Monitor panel, drag the CTI to the last frame of the segment to be deleted, and then click the Split Clip button again.
  • Delete the segment by clicking on the clip and either choosing Edit > Delete And Close Gap, or pressing the Delete or Backspace key. That will remove the segment and the rest of the projectwill slide over to the left to fill the gap.
Q: I can't view the exercise files.
A: Most of the video clips in the training were encoded using H.264. If you are on a PC, you may need to download the latest version of the free
QuickTime player from quicktime.com. Be sure to install QuickTime with your Adobe applications closed. QuickTime installs a series of codecs on your
machine, and many Adobe apps require QuickTime components to function properly.
Q: Why are many of the video files H.264 if some users must download additional components to view them?
A: This is one of the most common video formats in the world right now, certainly for distribution. This is because it is currently the most optimal
way to provide high quality video at the low files sizes that we need to be able to distribute these assets online. Even though it may require an extra
download for some users, this is the best way to be able to get you the highest quality exercise files. There isn't another video standard that is
cross platform that is free and that works as well as H.264.
Q: What is the most effective way to import a JPEG into Premiere Pro (i.e. best quality resolution, best playback speed)? When I import a photo as a JPEG and add it to a sequence, only a very small part of my photo is shown, because of the high resolution of these photos. Should they be resized in Photoshop first? Will changing it using effects provide the quality I am looking for?
A: Images can be scaled down using the Scale Transform in the Effect Controls panel as explained in the training. You can also scale down the images in Photoshop to match the size of your sequence in Premiere. But I prefer to use the Scale Transform as it gives me more flexibility and allows me to "zoom in" (aka scale up) photos without loss in quality. You'll probably want to make sure that the proportions of the image match the sequence though.
Q: Does Premiere Pro offer Z-axis editing like After Effects?
A: Premiere Pro does not offer 3D as After Effects does, but you can use the Basic 3D effect in Premiere to simulate that environment.
 
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