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Premiere Pro CS4 Beyond the Basics
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Capturing ambient audio


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Premiere Pro CS4 Beyond the Basics

with Chad Perkins

Video: Capturing ambient audio

Many of you not only edit video but shoot video as well, or at least have some say in the production of the video that you'll be editing. So in this chapter, I want to give you some tips for shooting video and even if you don't shoot video and don't work in the production side of things, I think these tips might still help you as an editor. For example, in this movie, we are going to look at using Ambient Audio or Capturing Ambient Audio in the field. A lot of times, as we'll see in this example, let's just go ahead and play this example, and notice the audio of the different clip.
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  1. 4m 11s
    1. Welcome
      56s
    2. What's new in the dot release
      57s
    3. Using the exercise files
      2m 18s
  2. 18m 54s
    1. Capturing ambient audio
      3m 12s
    2. Getting plenty of coverage
      1m 48s
    3. Telling a story with camera angles
      3m 18s
    4. The 180 degree rule
      2m 13s
    5. Framing shots
      3m 25s
    6. Allowing "emotional space"
      1m 40s
    7. Overcranking and time lapse
      3m 18s
  3. 11m 38s
    1. Why is metadata important?
      1m 40s
    2. Browsing and adding metadata
      6m 4s
    3. Creating metadata with Speech Search
      3m 54s
  4. 33m 12s
    1. When to cut
      7m 38s
    2. Avoiding bad edits
      9m 17s
    3. Using emotional cutaways
      1m 53s
    4. Fixing problems with cutaways
      3m 53s
    5. Pacing edits
      3m 49s
    6. Matching action
      4m 14s
    7. The power of suggestive editing
      2m 28s
  5. 26m 31s
    1. Contrasting targeting and selecting
      3m 17s
    2. Copying and pasting clips
      2m 36s
    3. Replacing clips
      4m 8s
    4. Editing to music
      5m 0s
    5. Using sample rate for precise editing
      5m 34s
    6. Creating J and L cuts
      3m 33s
    7. Working with subclips
      2m 23s
  6. 11m 17s
    1. Ingesting media
      1m 39s
    2. Examining P2 file structure
      1m 31s
    3. Importing P2 files with the Media Browser
      5m 15s
    4. Converting DVCPRO HD to standard 720p
      2m 52s
  7. 38m 11s
    1. Using the Reference Monitor
      3m 0s
    2. Using scopes
      8m 33s
    3. Primary color correction
      10m 11s
    4. Secondary color correction
      8m 28s
    5. Creating a vignette
      2m 28s
    6. Creating a day-for-night shot
      5m 31s
  8. 37m 19s
    1. Censoring video
      5m 30s
    2. Creating a waving flag
      6m 5s
    3. Creating a lens flare
      3m 36s
    4. Creating background textures
      6m 19s
    5. Playing with time
      6m 4s
    6. Using transition effects
      6m 13s
    7. Working with presets
      3m 32s
  9. 15m 30s
    1. Creating a garbage matte
      3m 56s
    2. Removing green screen
      5m 6s
    3. Compositing with blend modes
      3m 32s
    4. Nesting sequences
      2m 56s
  10. 15m 27s
    1. Creating 3D reflections
      5m 0s
    2. Creating growing vines
      5m 52s
    3. Creating a track matte
      2m 39s
    4. Using the History panel
      1m 56s
  11. 42m 25s
    1. Censoring audio using bleeps
      5m 16s
    2. Understanding sample rate
      3m 0s
    3. Normalizing audio across multiple clips
      5m 7s
    4. Recording audio
      2m 24s
    5. Removing audio problems with Soundbooth
      5m 43s
    6. Working with VST plug-in effects
      2m 3s
    7. Mixing audio
      8m 20s
    8. Changing volume over time
      5m 22s
    9. Working with surround sound
      5m 10s
  12. 23m 52s
    1. About this project
      2m 26s
    2. Performing preliminary edits
      2m 35s
    3. Working with multi-camera footage
      7m 27s
    4. Creating a visual "stutter"
      3m 12s
    5. Adjusting color
      8m 12s
  13. 6m 28s
    1. Transferring projects to another machine
      3m 24s
    2. Removing unused footage
      3m 4s
  14. 25m 46s
    1. Choosing a format
      5m 35s
    2. Understanding spatial compression
      2m 5s
    3. Understanding temporal compression
      4m 19s
    4. About HD standards
      5m 46s
    5. Changing footage interpretation
      2m 17s
    6. Getting the film look
      5m 44s
  15. 27m 10s
    1. Working with After Effects
      5m 56s
    2. Creating titles in After Effects
      5m 39s
    3. Working with Photoshop files
      2m 29s
    4. Working with Final Cut Pro
      2m 2s
    5. Working with OnLocation
      3m 12s
    6. Working with Encore
      4m 27s
    7. Introducing Adobe Story for pre-production
      3m 25s
  16. 15s
    1. Goodbye
      15s

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Premiere Pro CS4 Beyond the Basics
5h 38m Intermediate Dec 03, 2009

Viewers: in countries Watching now:

In Premiere Pro CS4 Beyond the Basics, Adobe Certified Instructor Chad Perkins explains how to take video editing from simple nuts and bolts to an art form. He shares tips for shooting video in the field to get the most from a subject and get the best footage for a project. He demonstrates how to build a project through the careful use of cutaways, pacing, and suggestive edits. He covers special effects, color correction, and keying and compositing, integrating all these concepts as he builds a music video project from scratch. Exercise files are included with this course.

Topics include:
  • Working with P2 media
  • Keying compositions using garbage mattes and green screen
  • Using transition effects, lens flares, and 3D reflections
  • Compositing with blend modes
  • Understanding spatial versus temporal compression
  • Recording, mixing, normalizing, and fixing audio
Subject:
Video
Software:
Premiere Pro
Author:
Chad Perkins

Capturing ambient audio

Many of you not only edit video but shoot video as well, or at least have some say in the production of the video that you'll be editing. So in this chapter, I want to give you some tips for shooting video and even if you don't shoot video and don't work in the production side of things, I think these tips might still help you as an editor. For example, in this movie, we are going to look at using Ambient Audio or Capturing Ambient Audio in the field. A lot of times, as we'll see in this example, let's just go ahead and play this example, and notice the audio of the different clip.

We are going to see three different clips. Listen closely to the different audio in the clips. (Audio Playing) So you'll notice that we are actually using the audio from the camera, very little noise here. Then when we go to the wider shot, we have a lot more noise and hmm, and then it gets quiet again, as we get closer. Now, such wild jumps in audio are one of the many telltale signs of an amateur video production. Audio is a big giveaway of the professionalism of any production.

So what we want to do is, when you are shooting video, you want to capture what they call Ambient Audio. In another words, the audio of the environment just gets several minutes of the audio of where you are shooting. Sometimes if you can't capture that audio, you'll need to do some sound design and actually create some synthetic audio from scratch. So I have this ambient office audio clip. This is basically just audio noise of an office. I am going to add this to my Timeline here, and you'll notice that even though the audio changes with every clip here, this ambient office audio clip is the same throughout. That gives the whole shot a sense of continuity and therefore, professionalism.

So now let's listen to it with the ambient office audio clip. (Audio Playing) So that's a lot more continuous. We could go in here with the Audio Mixer. Go into the Window menu and open that up here, Window>Audio Mixer, and we could balance these. I might want to turn down the original audio a little bit, and also turn down the ambient office audio. We don't want that too loud. Try that one more time. Just some subtle noise in the background.

You could see as she shuffles her arms around, we are still getting some of the audio from her clothes shuffling, makes it sound more realistic, but this continual audio tone adds a great deal of professionalism to the whole video production. Now, as I mentioned, these tips can help you, as an editor, even if you don't work in production, because if they didn't record audio for whatever reason, if you are dealing with film, they don't have audio, or if the audio wasn't that good, maybe they didn't get this ambient environmental audio that we are talking about here, you can construct it by using sound design.

You can get audio loop samples, that type of thing, or you can go and record similar audio tone of a similar environment and then put that into your Timeline as well. So, you might have to fake it, but it's this concept of providing continual audio from shot to shot that really adds the professionalism.

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