IntroductionWelcome| 00:04 | Hi, I am Jason Osder, welcome to
Documentary Editing in Adobe Premiere Pro.
| | 00:09 | In this course we'll look at editing a short
documentary for a client in Adobe Premiere Pro.
| | 00:15 | I'll start by showing you how to organize your project
and media using the Media Browser and Project panels.
| | 00:22 | Then I'll show you how to use
markers to annotate your clips.
| | 00:26 | We'll see how to assemble clips on the
Timeline and edit them into a pleasing story.
| | 00:32 | (video playing)
| | 00:38 | We will be covering all of these features
with a real focus on a specific project
| | 00:43 | with all of its opportunities and challenges intact.
| | 00:46 | Now let's start editing our
documentary in Adobe Premiere Pro.
| | 00:51 |
| | Collapse this transcript |
| Using the exercise files| 00:00 | If you are a member of the lynda.com online
training library or if you're watching this
| | 00:05 | tutorial on a DVD, you have access to the
exercise files used throughout this title.
| | 00:11 | I've already downloaded my exercise
files and they are up here on my Desktop.
| | 00:17 | You can see that the way these are organized
is chapter-based folders that have Premiere
| | 00:21 | Pro project files, and then a Media folder
that has all of the different types of media
| | 00:27 | that will be used in the exercise files.
| | 00:30 | It's also important that you know how to re-
link media in Adobe Premiere Pro, so I want to
| | 00:35 | demonstrate that quickly.
| | 00:37 | You will see when you open most of these
project files, you get a message that the media is
| | 00:41 | missing and you will need to manually
re-link it, but this isn't difficult.
| | 00:47 | Just navigate to that Media folder inside exercise
files, check Display Only Exact Name Matches.
| | 00:56 | Premiere Pro uses the filename to create a
match, and if you check this, then it will
| | 01:01 | just light up for you.
| | 01:03 | If I look in b-roll, I see exactly the footage
that's being looked for and I choose to open it.
| | 01:10 | You may have to repeat this part of the process
once or twice for files that are in different
| | 01:15 | directories; b-roll, interview, and et cetera.
| | 01:19 | I recommend that you use these
exercise files extensively with this course.
| | 01:24 | Before we get started, I have a few more
notes about how to make the most of the exercise
| | 01:28 | files for your learning experience.
| | Collapse this transcript |
| Interpreting a creative brief to establish goals| 00:00 | When editing a documentary for a client the
goals are often communicated in a creative
| | 00:05 | brief document. Let's take a look at the
creative brief that came with this project to help
| | 00:11 | define our goals for editing.
| | 00:13 | Here you see the full creative brief, and
as I am reading through it certain things
| | 00:17 | jump out at me and catch my attention,
because I know they'll be useful themes and ideas
| | 00:23 | for the editing process.
| | 00:24 | The first one is here, merges ideas
from agriculture, cuisine, and ecology.
| | 00:31 | I know right-away that that's going to
be central theme in my farm to table edit.
| | 00:37 | The Santa Barbara Farmers Market has become
a hub for shoppers looking to support area
| | 00:43 | growers and help the environment.
| | 00:45 | I know that the Farmers Market is going to
be a good scene in our documentary, it's part
| | 00:50 | of the process that we're dealing with,
but it also represents community, and I think
| | 00:55 | that will be strong in this project.
| | 00:57 | Last, Chefs and restaurants looking for a way
to distinguish their offerings while providing
| | 01:03 | flavor and nutrition are
turning to local organic growers.
| | 01:08 | I like this because it says that our idea
here is not just about doing good for the
| | 01:14 | environment that, in fact, it's good for the end
customers and a win-win double bottom line situation.
| | 01:22 | These are some good ideas to start out with
and keep in mind as we're going through each
| | 01:27 | phase of the process.
| | 01:32 |
| | Collapse this transcript |
| How to use this course| 00:00 | Before we get started, I wanted to mention
how this course is designed and suggest some
| | 00:05 | ways to get the most out of it.
| | 00:07 | First, I want to point out that all of the
exercise files are available to all users,
| | 00:13 | not just premium users.
| | 00:15 | I encourage you to use these exercise
files because this is a project-based course.
| | 00:21 | It is based around a single short documentary
project and highlights the process used to
| | 00:26 | create it with Premiere Pro.
| | 00:29 | The best way to understand this process is
to spend time looking at the project files
| | 00:33 | provided and seeing how the concepts and
techniques that I teach in each movie play out over the
| | 00:40 | entire development process.
| | 00:42 | Finally, you will notice that there are a
number of project files with the word finished
| | 00:47 | appended to their file name.
| | 00:50 | These project files represent the state of the
project after the tasks in the corresponding
| | 00:55 | movie have been completed.
| | 00:57 | This means that you can track the project
step-by-step, using the finished files if
| | 01:02 | you want to play out the whole movie or
examine the timeline as it looks at the end of any
| | 01:08 | given step in the process.
| | 01:10 | Now let's get started.
| | Collapse this transcript |
|
|
1. Phase 1: Producing for MessageIdentifying messaging concepts| 00:00 | This course is really about understanding how to use
documentary techniques for a motive messaging goals.
| | 00:08 | So let's talk about that in detail a little bit.
| | 00:11 | First of all, this word that's a noun turned
into a verb, turned back into a noun, can be
| | 00:17 | a little confusing.
| | 00:18 | So when we say messaging we're
talking about taking a core message.
| | 00:23 | In this case, the farm to table concept,
but it could be something very different from
| | 00:28 | a different client and turning it into
media, hopefully media that is a motive.
| | 00:35 | So when we say messaging we're saying take
a concept that can be kind of dry and turn
| | 00:40 | it into media that actually speaks to people.
| | 00:43 | So the objective right underneath that broad goal
is always going to be about making a connection.
| | 00:50 | When we're messaging we're always trying to
make a connection to individuals, and I think
| | 00:54 | that's somewhat of a constant.
So how do we make a connection?
| | 00:58 | I say, tell me a story, stories are very
important, and as a consumer myself this is really how
| | 01:04 | I feel, and it's very easy to turn that consumer desire,
tell me a story into a part of the way that you edit.
| | 01:12 | Next, have characters, people make sense to me.
| | 01:17 | People come across, very important to have
characters and possibly one single character
| | 01:23 | to represent your story.
| | 01:25 | Another thing I like to do when
messaging is work with micro and macro.
| | 01:31 | Connect to small story to a larger point, and
I think we have all the potential ingredients
| | 01:35 | to do that here with the farm to table story.
These are just some ideas to get started.
| | 01:40 | There is no set rules for how you do messaging,
and there's going to be a lot of people with
| | 01:46 | a lot of ideas from the client side and
the creative side or if you work at an agency.
| | 01:52 | This is really a large discussion but hopefully this
gives you some grounding as to where to start.
| | 01:57 |
| | Collapse this transcript |
| Tips for working with interviews| 00:00 | Once we've identified some messaging
concepts, we put those concepts into play in the way
| | 00:05 | that we produce a video.
| | 00:08 | Now in this case, the video's already have
been shot, and we're entering in at the editing
| | 00:12 | stage, but I still want to pause and look
at some quality of the interviews that were
| | 00:16 | created just to create some tips and pointers
for when you're out there shooting videos yourself.
| | 00:23 | I'm in Premiere here, but I want to switch
over to my workspace for Metalogging, and
| | 00:29 | this is actually one of my
favorite things about Premiere.
| | 00:31 | As we have a Metalogging setup that lets us
navigate our media very easily, and we can
| | 00:38 | open it directly off of the drive, meaning there
is no need to bring it into the project.
| | 00:44 | If our goal is just to review--as it is now--
we can actually do that right inside the media
| | 00:50 | browser without actually creating any
clips yet to edit with. We'll do that later.
| | 00:56 | So here I am at my interviews, and I'm going to
make some space here so I can see their full names.
| | 01:02 | Those are the interviews I have to work with,
and I'm going to start opening them one by one
| | 01:07 | and just seeing what we've got.
| | 01:09 | Here if I scroll through, this is going to be one
of our main interviews with the farmer named BD.
| | 01:16 | And one of the first things I noticed here
is I like the framing fairly well, and I like
| | 01:21 | that he is on location. He's got this
orchard in the background, and I think that really
| | 01:25 | fits with the subject of the interview.
| | 01:27 | So there is one of the pointers is shoot
your subject in a place that makes sense.
| | 01:32 | As I go through I noticed that I've got this style
of sit-down interview, and it is done on location.
| | 01:39 | I also have this interview with our chef named
John Downey, and again this is that sit-down type.
| | 01:46 | These other ones at the Farmers Market are more
standup interviews, and we'll look at them in a second.
| | 01:51 | Another thing I noticed as I'm looking at the
sit-down interviews in particular is something
| | 01:55 | I can play for you right here an example of.
| | 01:58 | (John Downey: Where people go down to the pub
and see their friends, here you can go to the market
| | 02:03 | and see your friends. It's a social event, almost, you know, so--)
| | 02:08 | I like that bite. At the very beginning
he's talking about growing up in England,
| | 02:12 | and the reason I like it, it goes back to
that messaging goal of developing characters
| | 02:18 | and tell me a story.
| | 02:19 | I always like it in these types of interviews
when there's personal angles to the story.
| | 02:24 | Where I grew up it was like this,
but here we have the market.
| | 02:28 | That type of thing works really well.
| | 02:31 | So these other interviews are different
versions of what I call the running gone or stand-up
| | 02:36 | interview at the market.
| | 02:37 | And we have to look at these a little bit
differently because the possibility exists
| | 02:41 | for camera problems or
lighting problems, audio problems.
| | 02:46 | So when we look through these, we're looking
for quality, and we're listening and looking
| | 02:50 | at the visual at the same time.
| | 02:52 | I did notice one other thing in one of
these interviews, and I want to point it out.
| | 02:57 | Listen to what happens here.
(male speaker: Every Tuesday and Saturday.)
| | 03:03 | Let me back it up so you hear the question.
(female speaker: And how often do you pick up here?)
| | 03:12 | So how often do you pick up here?
Every Tuesday and Saturday.
| | 03:16 | Well, every Tuesday and Saturday is really
not a bite, it's not something that's usable
| | 03:21 | without context, so listen to
what the interviewer does next.
| | 03:24 | This is very smart.
(female speaker: And why do you buy organic local?)
| | 03:28 | (male speaker: Because it tastes better.)
| | 03:32 | (female speaker: When you answer a question, could I have
you repeat the question in your answer, so you can
| | 03:36 | answer in complete sentences.)
Do you hear what she did?
| | 03:40 | She knows she doesn't want to hear her voice in
the final edit, so she gave a little instruction
| | 03:45 | to the subject to answer in a full
sentence and repeat the question and the answer.
| | 03:50 | Now he does it again, and he
actually does something usable.
| | 03:54 | (video playing)
| | 04:05 | (male speaker: Starting over?)
(female speaker: Yeah, sure.
| | 04:10 | What's your name, and where are you from?)
| | 04:12 | (male speaker: My name is Justin West,
and I'm from restaurant Julianne.)
| | 04:15 | (female speaker: And how often do
you pick up from Earthtrine Farms?)
| | 04:19 | (Justin West: I pick up from Earthtrine
Farms every Tuesday and Saturday.)
| | 04:22 | Okay, he's starting to get it.
| | 04:24 | If you play this to the end, you'll
see that he continues to improve.
| | 04:28 | He starts with these like two-word answers,
then she gets him to speak in full sentences,
| | 04:32 | and finally by the end he gets comfortable, and he
actually has some flow and doesn't seem all that flat.
| | 04:39 | So these are just some things to
look at as you evaluate interviews.
| | 04:43 | You spend a lot of time looking at
interviews and hopefully shooting interviews, so you
| | 04:47 | want to always be learning for what's good and
what's bad for the next time you go out to shoot.
| | 04:52 |
| | Collapse this transcript |
| Tips on B-roll sequences| 00:00 | Along with interviews the other major
ingredient for a documentary are observational shots
| | 00:06 | and sequences, also called B-roll.
Basically, shots of things happening.
| | 00:11 | We're already in our Metalogging setup, but
I want to take a closer look at the B-roll
| | 00:17 | and an easy way to do that is going to be
to go full screen with this frame using the
| | 00:22 | Tilde key, and then I also
want to switch over to thumbnails.
| | 00:27 | So I basically see all of my B-roll just
spread out in front of me, and just by mousing over,
| | 00:33 | I'm able to scroll, see what these shots are all
about. So here are some of the things I notice.
| | 00:39 | First of all, I love intentional shooting,
I like to be able to look at a glance and
| | 00:45 | be like that's a shot of, that's a shot of
a box, that's a shot of BD walking, this is
| | 00:52 | a shot of a truck pulling out.
| | 00:54 | It may seem like the simplest thing in the
world, but one of the important things to
| | 00:58 | learn about shooting B-roll is to be
intentional to shoot something on purpose.
| | 01:04 | The second thing I'm noticing, and you
have to look a little closer is good variation
| | 01:10 | of framing, I'm talking about wide shots,
tight shots, and medium shots, and what I
| | 01:16 | see is in a sequence like this you can't
see it right-away, but this stays wide on our
| | 01:22 | chef as he is talking and going through his
herbs, and this shot--the B shot--even though
| | 01:28 | it starts wide most of it is tight, and I
can see right-away that I'm going to be able
| | 01:33 | to connect this shot with this
shot, and it's going to work well.
| | 01:37 | There is a lot of other places that I see
that variation of framing. Nice wide, here,
| | 01:42 | will be good for establishing, and a nice
tight, here, on these radishes is going be nice
| | 01:48 | during the Farmers Market scene.
| | 01:50 | Two more things I've noticed
and they're really important.
| | 01:54 | One is good shots with people, and I mean
candid shots, so I really like this here,
| | 02:01 | because it's our main character named BD,
but we have a nice long shot of him doing
| | 02:06 | his thing in a natural way
interacting with people and smiling.
| | 02:11 | So I like that a lot, and then I also like
when there's clear sequencing when I can see
| | 02:16 | that things are going to go together in a
logical way, and without even scrolling over
| | 02:21 | I already see that in a sequence where
things are being picked here and here again with
| | 02:26 | the variation in framing then produce is being
packed, and eventually the truck drives away.
| | 02:34 | Right in the early stages evaluating the
footage I know that sequences like that are going
| | 02:39 | to be truly valuable in the edit.
| | 02:42 | As an editor you may not always have
complete control about what gets shot in the field.
| | 02:47 | You always want to evaluate the footage you
get, pick out the best stuff, give some feedback,
| | 02:52 | and use it as a lesson for those opportunities when you
really are out in the field directing your own shoot.
| | 02:56 |
| | Collapse this transcript |
| Researching background and history| 00:00 | Now that we've taken a look at both the
interviews and the observational shots there is one more
| | 00:05 | content element that I want to
evaluate, and that's these historical scans.
| | 00:10 | They're all right here in the exercise files
under original scans, and I want to open all
| | 00:15 | three, but I want to open them in Photoshop,
which is going to be a better way to make
| | 00:18 | that evaluation than inside Premiere.
| | 00:24 | I have a few goals in mind for these
historicals, so let's think about those goals first.
| | 00:30 | First of all, I think these can add some
variation to the look, it's really nice to have that
| | 00:35 | beautiful footage, outdoor footage,
Farmers Market footage, but I think when we go to
| | 00:40 | these historical stills it's going to
provide some variation that will be kind of nice.
| | 00:45 | Second, as I look at the content here
certainly my favorite thing is this picture of BD, I
| | 00:51 | already know BD is a main character, and when
you can take him back into his past visually
| | 00:56 | that's going to just up the ante on that
connection we want to make with the viewer.
| | 01:01 | Likewise, I think something like this is
going to be nice to establish the Farmers Market.
| | 01:05 | I'm starting to see this little mini scene
that takes us back to the beginning, probably
| | 01:10 | in the first half of the piece, and
I think this is going to work well.
| | 01:14 | At that moment, the look is going to change,
and the pacing is going to change, and I think
| | 01:18 | we have the right material to do that with.
| | 01:21 | If I look at one more I am a little less
excited about this one it doesn't seem to add much
| | 01:26 | compared to this, which I think is
the better shot of the Farmers Market.
| | 01:30 | The last thing I am going to do is a bit
more of a technical evaluation just to see how
| | 01:35 | large my photos are, what the resolution is?
| | 01:38 | All I care about now is just to check the
size and resolution to make sure that I have
| | 01:42 | enough pixels to work at any video
resolution, and I have more than enough here.
| | 01:47 | This will need to be doctored a little later, but
for now that's going to be fine, so just Cancel.
| | 01:52 | And then the very last thing, and it's obvious,
and it's important, I'm sure you've noticed
| | 01:57 | it already, is that these images are pretty
distressed. I'd like to take a close look at
| | 02:03 | what that distress really looks like, so I'm
going to bump up to a 100%, and you see that
| | 02:09 | it is pretty severe.
| | 02:12 | If we start to try to work with this kind of
pattern from printing it may look ugly in video.
| | 02:18 | There are some tricks and ways to get around
this, but for now it's enough to make a mental
| | 02:22 | note and say I want an old-timey look, but I
don't wanted to be just like this with this
| | 02:28 | stippling, that's not going to work well.
| | 02:30 | When doing historical research, especially
at early phases of a project, it works to cast
| | 02:35 | a wide net, you may not know yet if these
images will work their way into your edit,
| | 02:40 | but they might just be working their way
into your mind, you might be learning more about
| | 02:45 | your subject that may come out with editing the images
or may just come out in a different way in your edit.
| | 02:50 | So I would just encourage you that if you have
the opportunity to spend time with historical
| | 02:54 | images to go ahead and do it even if you're not
quite sure how it might fit into your edit.
| | 02:59 |
| | Collapse this transcript |
|
|
2. Phase 2: Preparing to EditOrganizing the ingest process| 00:00 | Editing is a lot about organization, and I
mean organization at all parts of the process.
| | 00:06 | But that being said, organization at the early
stages of the process is particularly important.
| | 00:12 | This is when you can make a real
difference with a solid foundation, let's see how.
| | 00:16 | There is going to be a lot of different
methods to organizing your footage and largely it's
| | 00:21 | going to depend on the project you're doing.
| | 00:24 | So in this case, let's go through steps that
are effective for this project, and you can
| | 00:28 | extrapolate to your own work.
| | 00:30 | As you can see, Adobe Premiere Pro is set
up as an editing interface, and I want to
| | 00:35 | switch Workspaces to the Metalogging
workspace where this work is meant to be done.
| | 00:41 | You can see right-away that my Project pane
is nice and big, front and center, and also
| | 00:46 | that my Media Browser is available and not
hidden behind the Project pane, which means
| | 00:50 | I can drag things from the Media
Browser into the Project directly.
| | 00:54 | Next, I have little use for this Icon View, I much
prefer the List View, that looks much better to me.
| | 01:02 | Quickly I'm going to make a couple of bins
just to organize the main types of footage.
| | 01:07 | That's one for A-roll or interviews and
also one for B-roll or observational shots.
| | 01:15 | Now you may wonder why I'm talking about
interviews and observational, but writing down A-roll
| | 01:20 | and B-roll, and it's a very simple reason
I prefer the alphabetical order of A-roll,
| | 01:24 | B-roll, because that'll sort very, very easily.
| | 01:28 | The next thing I want to do is rearrange
some of my column heads to have the information
| | 01:33 | that's most important to me
closest to where I need to see it.
| | 01:38 | So, as I go through I prefer to have
description available, because I am going to make some
| | 01:44 | notes in Description.
| | 01:46 | Frame Rate to me is unimportant, so I'm going
to go ahead and open my Metadata Display and
| | 01:52 | inside the Premiere Pro Project Metadata I
don't need Frame Rate everything is the same
| | 01:58 | frame rate in this project so
that's just wasted information for me.
| | 02:03 | Next Media Start and Media End are less
important, but I do like to have Log Note nearby and
| | 02:10 | Media Duration nearby and then also the Good
column, which I will use to indicate certain
| | 02:18 | things to remember later and the color-coded
labels less important, but I might use them,
| | 02:23 | so I'll move those after Media Duration.
| | 02:26 | Now there is still going to be some stuff
down at the end here, less important to me,
| | 02:30 | but I'm going to edit every single column, I
just want to make sure that the things most
| | 02:34 | important to me Description, Good column, Log Note,
and Media Duration will all be nearby my footage.
| | 02:40 | Okay, the last step in this organizational
groundwork is just to import the interviews
| | 02:46 | and the observational shots, So because we
have access to the Media Browser right here,
| | 02:51 | I'm going to move right to my exercise
files into the Media folder and one at a time I
| | 02:57 | can bring in all of my B-roll, and I'm going
to drag it directly to that folder I created,
| | 03:06 | and likewise up one level to the interviews
take all of them, drag directly to A-roll.
| | 03:16 | And briefly if you use the Tilde key to
look at the Project Panel full-screen, you can
| | 03:21 | see that all of my major media has been imported,
and it's already falling out into the natural
| | 03:26 | structure that I set up.
| | 03:28 | Now these are really just first baby steps,
but we're started in a good direction.
| | 03:33 | We haven't done anything major to our footage,
but we've put it into our project in a way
| | 03:38 | that's organized and going to be easy for us to
start adding more metadata and logging our footage.
| | 03:42 |
| | Collapse this transcript |
| Choosing an interview logging method| 00:00 | We've already taken a
brief tour of our interviews.
| | 00:03 | But now it's time to actually digest and annotate
the interview content for the purpose of editing.
| | 00:09 | But how are we going to do that?
| | 00:10 | Let's pause to consider, because some
strategic thinking at this point will go a long way
| | 00:15 | to a smooth process.
| | 00:16 | There are a lot of ways to go about logging,
but for me the goal is always the same.
| | 00:22 | As the editor, you need to become very
familiar with the footage, and you need to be able
| | 00:26 | to fine shots and bites
quickly when it's time to edit.
| | 00:30 | So there's a lots of ways to do this,
but the goal is really always the same.
| | 00:34 | There's different ways to do this, because
there's different types of editors, and because
| | 00:38 | there's different types of projects.
| | 00:40 | Even though you may like one method, a different
method might be better for a different project.
| | 00:45 | I find that longer projects require me to
do more off-line work outside the interface
| | 00:50 | more notes, more transcribing. Where shorter
projects, I often get by right in the interface
| | 00:55 | with things like markers.
| | 00:58 | Traditionally, all of the content for a
documentary was fully transcribed, meaning, all of the
| | 01:03 | interview question and answers were
written out and descriptions were written for all
| | 01:07 | the observational material.
| | 01:09 | Many editors insist that this is the best
and only way to keep track of your material.
| | 01:15 | Interestingly, I was recently at a panel on
an editing master class, and I was surprised
| | 01:20 | that many of these master editors no
longer like working with transcripts.
| | 01:25 | They feel that it's not as useful to see the
words and they really need to see the footage.
| | 01:30 | So there's definitely pro and con on both
sides of the transcribing argument, and now
| | 01:34 | Adobe Premiere Pro can do
automated transcripts as well.
| | 01:38 | That's not going to be the same as a human
transcript, and it's not going to work on
| | 01:42 | largely observational footage, but
it does give you one more option.
| | 01:46 | So transcripts are something to
consider, but not a must have.
| | 01:50 | At the end of the day, it's going to be
important to do what's right for your project.
| | 01:55 | As I said this largely depends on how long your
project is how much footage and things like that.
| | 02:01 | I find when there is more that I can sort
of hold in my mind, I write down less, but
| | 02:05 | in a larger project, more writing is necessary.
| | 02:08 | At the end of the day this
time is really important.
| | 02:12 | I find in my own project that as much as the
notes I make are important just the time spent
| | 02:17 | with the footage is important.
| | 02:19 | As often as I go back to my notes, there's
just something that I remember, but I remember
| | 02:23 | it from the careful logging at this stage.
| | 02:26 | So I've said it before, and I'll say it again,
there is many ways to do this part of the process.
| | 02:31 | The important thing is to pause for a moment,
consider your project and pick a methodology
| | 02:37 | that's really going to work,
that will pay off later.
| | 02:42 |
| | Collapse this transcript |
| Adding interview metadata| 00:00 | In Adobe Premiere Pro a lot of the actual
logging--that is adding annotations to our
| | 00:06 | clips--happens right inside the Project Panel.
| | 00:09 | And that may be new if you're coming from a
different nonlinear editor used to adding
| | 00:13 | metadata as you bring in footage from a tape.
But in Adobe Premiere Pro, it's very normal
| | 00:19 | just to be editing your metadata columns in the
Project Panel, which is what we're going to do now.
| | 00:24 | I've already rearranged these columns to
be using the ones that are most important to
| | 00:28 | me in particular Log Note and Description.
| | 00:31 | I'm going to click on the Media
Duration column head to order this by duration.
| | 00:37 | I want to see the longest of my
interviews rise to the top as they are now.
| | 00:43 | See a 31 minute interview and then an eight
minute interview and then some of my shorter ones.
| | 00:48 | That's naturally going to put these in an
order where I'm dealing with the things that
| | 00:51 | are probably most important to the
project first, and that's very much what I want.
| | 00:57 | Now I'm going to use the Log Note column,
and I want to use it to just capture any of
| | 01:02 | the important logistical information.
| | 01:05 | Mostly people's names, maybe where they work,
the types of things that would go in a lower third.
| | 01:10 | A little later I'm going to edit the actual
clip names and so I might lose some of that
| | 01:15 | information at that point.
I want to make sure I have it here in Log Note.
| | 01:20 | So starting with this first interview we can
see that it's BD the farmer, it's long, and
| | 01:26 | I already know from a quick glance that
this is going to be an important interview.
| | 01:33 | Moving down I have John Downey who is
the chef, it's also going to be featured.
| | 01:41 | And then I get into some of these shorter
ones, and I may go in and listen to a bit
| | 01:46 | of the interview to get the information out,
but I'm also not that concerned if I don't
| | 01:52 | have absolutely full information.
| | 01:55 | So in the case of Jonathan I don't actually have
his last name, but I'm not terribly worried about it.
| | 02:02 | In the case of Owen I have his first name
and where he works but I don't have his last
| | 02:06 | name, so again I am not going to stress
about it just going to write down what I have.
| | 02:12 | It could be even later on a producer is
placing some phone calls to get the exact name of
| | 02:17 | someone but frankly we don't even know if
these clips are going to make the cut or not.
| | 02:20 | So for now let's just make sure that the
information we have stays in our project.
| | 02:26 | Okay, so that column now captures all of
that important information, and that means that
| | 02:32 | I can move over into the actual clip names,
and without worrying about it I actually change
| | 02:37 | these clip names to be whatever is going be
most meaningful for me in the edit process.
| | 02:45 | So that's how I like to see it.
| | 02:46 | This detailed information, last name, and
where he is from, let's sort of demote that
| | 02:50 | over to the right and during the
editing process that's what I need to know.
| | 02:54 | It's BD, this is his full interview.
| | 02:57 | This is the chef, John Downey,
and this is also his full interview.
| | 03:04 | Jonathan is a market vendor, and that's
probably what I need to know more than his name when
| | 03:08 | I'm actually editing.
| | 03:12 | Justin is a chef visiting the market,
Owen is also a chef visiting the market.
| | 03:18 | So we'll just call him Chef 2 for our purposes
in this column, and last Sarah is a Market Patron.
| | 03:28 | Okay, now I sort of have my quick-draw clip
names here, and I've got my longer log notes
| | 03:35 | with the information.
| | 03:37 | The last thing I want to do at this stage
is use the Description column but I'm going
| | 03:40 | to use it in a very specific way.
| | 03:43 | I basically have two types of interviews here,
a traditional sit-down, like BD, and John Downey
| | 03:50 | is also done in the traditional sit-down
interview. But if you take a look at the Market Vendor
| | 03:57 | and some of these others they're just shot
standing up at the market, and I usually refer
| | 04:02 | to that as a run & gun interview.
| | 04:05 | You might have a term you like better, it's
also called a vox-pop interview, which stands
| | 04:10 | for voice of the people that kind of
stand up, give me your thoughts for a second.
| | 04:15 | And couple of different names for those but
they're really different than the sit-down
| | 04:19 | interview, and that's what
I want to know at a glance.
| | 04:22 | In the sit-down interview it's going to be
very good to use for things like voiceover
| | 04:26 | but in a run & gun interview it's very hard
to cutaway from that interview, you really
| | 04:30 | have to see the person and their surroundings.
So I've added metadata to these three columns.
| | 04:36 | We've got clip names that are informative
and Description about what type of interview
| | 04:40 | it is and then our Log Note that's going to
be particularly handy when we go back to do
| | 04:45 | our lower-third identifications.
| | 04:48 | We're just moving one step at a time here
and slow but steady progress is definitely
| | 04:53 | a good way to proceed in the
early parts of your project.
| | 04:58 |
| | Collapse this transcript |
| Logging interviews with markers| 00:00 | Markers are one of several ways that we can really
annotate our footage right inside Adobe Premiere Pro.
| | 00:06 | They work something like Bookmarks, or post-it
notes. Just a very simple way to tag the things
| | 00:11 | we want, specific areas in an interview so that
we can find them later. Let's see how it works.
| | 00:18 | I want to open up the interview with BD in
the viewer, it's our longest most important
| | 00:22 | interview, so it makes sense to start there.
And then I'm just going to play, and I'm going
| | 00:26 | drop a marker with M where there are good
beginnings of bites. Let's listen, and then
| | 00:33 | we can discuss what we hear.
| | 00:39 | (female speaker: So I'm going to start, and if
you could kind of introduce yourself and the
| | 00:44 | farm and what kind of produce you grow here.)
(BD Dautch: Okay. My name is BD Dautch,)
| | 00:50 | So that's going to be my first marker at my
name, let's backup, so we can get right on it.
| | 00:55 | (video playing)
| | 00:58 | And then I'm not going to worry too
much about his um, where he starts. I just want
| | 01:01 | to mark the beginning of what he is saying.
| | 01:04 | So we drop a marker in there, and we can
see it over here in our marker's window.
| | 01:08 | We can also write what it's for, right here.
And what I like to do is use the language
| | 01:13 | of the person speaking, so if he says
my name is I'll just start it with that.
| | 01:20 | And we can't see it too well over here in
this box, but I know what I wrote, and we
| | 01:23 | can also expand that box if
necessary to see more of it later.
| | 01:27 | So then we continue, and we're really
listening for strong beginnings of bites, sometimes
| | 01:33 | they'll come close
together, sometimes they'll be
| | 01:35 | a while, let's listen again.
| | 01:37 | (BD Dautch: Okay. My name is BD Dautch, and I have
Earthtrine Farm, and we've got about 10 acres in Ojai
| | 01:45 | and 5 acres in Carpinteria that we're farming on.
It's all certified organic by CCOF, which is a
| | 01:52 | certifying organization. And we grow about 100 different--)
| | 01:59 | So, I'm not so concerned about the details of
organic, but when he starts a new idea, we grow.
| | 02:04 | In fact, let's listen to it a little bit more.
(BD Dautch: ...herbs, vegetables, flowers--)
| | 02:09 | This is something I think I could use as
its own bite, so I want to work my way back
| | 02:14 | to where he starts that new sentence, we grow.
(BD Dautch: ...which is a certifying organization. And we grow--)
| | 02:24 | There it is again, leaving my playhead
right around there, I also want to take a
| | 02:27 | look at the waveform monitor, here it is.
| | 02:31 | Audio waveform, and sometimes I like to place
my markers by getting exactly where that word
| | 02:36 | begins, and I can see it here. So.
(BD Dautch: And we grow--)
| | 02:40 | So right around there, again, I am not
too worried about the and, we can work on that
| | 02:44 | later, but again, M and then just the
beginning of his sentence, we grow, and we work our
| | 02:51 | way through the interview just like this.
| | 02:54 | You may not want to live totally in the
waveform here, because you could miss something in
| | 02:58 | the visual what someone is saying. So I move
back and forth between those, I mark things
| | 03:04 | that are the beginning of a good sentence
that I think is usable, and I'm not too strict
| | 03:09 | about this, so if something is repetitious, or
I know I've marked that idea better somewhere
| | 03:14 | else I don't mark everything just for the sake of
marking it. I mark things that I think I really may use.
| | 03:21 | So you can see that I've worked my way all
the way through this long interview, and you
| | 03:25 | can see all of the markers here in the
Marker's pane as they worked out, you can jump to any
| | 03:30 | of the markers by clicking on them here and
listen to this cool thing I found right at
| | 03:35 | the end of the interview.
| | 03:36 | (BD Dautch: ...which has a small town feel, but it's
a big time market. Makes it one of the best in the world.)
| | 03:45 | So it was right at the end, we may or may
not use it, but that idea of one of the best
| | 03:49 | in the world, I mean that's a bite that might
come in handy, so it does go to show you even
| | 03:54 | if things are getting a little slow toward
the end of the interview, make sure to listen
| | 03:57 | to everything, you never
know what you might need.
| | 04:00 | I have already worked through the other
interviews as well, so let's just load them up and look
| | 04:05 | at a few highlights.
| | 04:07 | Here we can see some of the good bites from
John Downey the chef and what I realized when
| | 04:12 | I did this was a lot of his best stuff
does come at the end, so I like this one about
| | 04:17 | the quality, guess it's about the middle.
| | 04:24 | (John Downey: You know, it's the quality of the
produce that you can find, the freshness of the
| | 04:27 | produce that you can find, the variety,
and the care that goes into producing it.)
| | 04:34 | So that was something I really liked from
this interview, I was also paying attention
| | 04:38 | like this bite's, to places that connect
in this interview where he talks about the
| | 04:43 | farm and the farming and the farmers.
| | 04:46 | Also again, don't worry about his, "Ah, uh,"
we're not looking for that right now, it's just
| | 04:51 | the heart of the content that we're looking for.
| | 04:54 | So, lots of good stuff here, and I went
ahead and did all of our running gun interviews
| | 04:59 | as well. They were shorter, but it was good
to look at them and put some marks down.
| | 05:05 | Let's look quickly at Owen.
| | 05:07 | Here we see Owen, he was real flat at the
beginning--I think I would rather look at his picture.
| | 05:12 | By the way, I wouldn't use the
audio waveform when you're doing this running gun
| | 05:16 | stuff, there's too much that can happen in
the shot that you might need to know about.
| | 05:20 | The light could change, person can move out
of frame, so I always look at the interviews
| | 05:24 | with this running gun stuff. And yeah,
this bite here that starts eating local, this
| | 05:29 | was like when I listened to it, I was like,
that's a keeper, that's going to make the
| | 05:32 | cut, and see if you know what I mean.
| | 05:34 | (male speaker: Local is the way we should be eating.
I mean, there is no reason for us to go 500 miles.
| | 05:39 | We don't need anything from Iowa or anything from farther than
what we can do here. So the farmers market here allows us
| | 05:44 | to have a product from, say, 70 miles,
50 miles, you know, from, say local.)
| | 05:50 | So clearly, that's a big part of what we're
talking about in this piece, and it just goes
| | 05:54 | to show you never know
where you're going to find it.
| | 05:56 | When I heard that, I was like, that's a keeper.
| | 05:59 | So that's annotating interviews with markers,
I think you can see how it's going to be very
| | 06:04 | easy to jump to the
things that we need later on.
| | 06:07 | I think it's also clear that as much as I'm
annotating and making markers, the most important
| | 06:11 | things I tend to remember, I'm not going to
forget this great bite about eating local,
| | 06:16 | it's too important to our piece.
| | 06:21 |
| | Collapse this transcript |
| Adding notes to B-roll clips| 00:00 | We're beginning to dig deeper into our footage,
but before I start to assemble it on a Timeline
| | 00:05 | I want to make some notes or
annotations on the B-roll, or observational shots.
| | 00:11 | We've already started a pattern with our
interviews, and I want to continue that pattern in our
| | 00:15 | annotations but also adapt it so
it works better for the B-roll.
| | 00:19 | Let me show you what I mean.
| | 00:21 | For each one of these the B-roll shots I want
to open up the shot and take a quick glance,
| | 00:26 | and I always want to add in the
description just a quick note of the framing.
| | 00:30 | I find it very useful as an editor.
| | 00:32 | If I have a quick glance placed just to see is it a
wide shot, a medium shot, a close-up what have you.
| | 00:38 | So this is a wide shot, I'll usually skim
through to see if it changes drastically,
| | 00:44 | it does go to sort of a medium wide here but
in general we're talking about wide framing,
| | 00:49 | which is what I want.
| | 00:51 | Also I want to note that, in this case, I'm
pretty satisfied with the clip names already.
| | 00:56 | With the interviews I wanted to change all
of these to match exactly what they were from
| | 01:00 | my point of view, but in this case, just to
see Carp_Farm_Loading, that's fine for this,
| | 01:05 | I don't need to change anything there.
| | 01:09 | In this case, we have a wide shot, but there
is something very specific going on here and
| | 01:13 | sometimes when that happens, especially in
this case, I think we might be able to use
| | 01:17 | this for establishing the location. So
I'll just make a little note, but I won't make
| | 01:21 | these notes every time just when it's very
specific like that, something in the footage
| | 01:26 | or something that I want, of course.
| | 01:29 | This is not a wide shot, it's more of a
medium shot so I do want to be precise.
| | 01:35 | And so on, here I have this shot that's
called Tour, where he is working, and though
| | 01:42 | what's important here is that this is the
medium shot, and that the B angle goes much tighter.
| | 01:48 | You see that, that's going to
match up nicely with the wide shot.
| | 01:52 | So I want to make sure that I
have medium here and close-up there.
| | 01:57 | Now these terms, they're not ironclad, right,
there is no exact rule when does something
| | 02:01 | become a medium shot and a wide shot.
| | 02:04 | I mean that's pretty clearly a close-up but
what's important here is you know what you're
| | 02:08 | looking for, not that you match
some exact thing out of a textbook.
| | 02:13 | This process continues.
| | 02:17 | When there is a very clear camera move, like that
pan that follows the truck, I will also note that.
| | 02:25 | So this one would become wide shot pan.
| | 02:32 | Just like to check them, see what happens in the
course of this shot and then make my little annotation.
| | 02:42 | Start with medium shot here but if we
follow it through you see that framing change, we
| | 02:46 | go to close-up, I actually kind of like
this close-up shot and the medium shot.
| | 02:50 | I think I might get two shots out of this
one clip, so I'll make a little notation.
| | 03:00 | This one works the same way, so we start with the
wide but we also have a close-up before the end.
| | 03:12 | On each one I like to scan through
just to see if there is a framing change.
| | 03:17 | So here we go from medium, and
then we also have wide at the end.
| | 03:29 | Starts with the close-up, and
then we have a pan at the end.
| | 03:37 | So I get to this one, and I really like it
as a wide shot with little bit of a pan in
| | 03:42 | there, doesn't start to pan
right-away, but a little later on.
| | 03:58 | This part here I like, that pan yeah.
| | 04:06 | I think that might really be
useful, I'm liking the look of that.
| | 04:10 | So in this case I want to mark it as wide
shot pan, and I'm just as I'm looking at this,
| | 04:17 | and I'm logging, I'm thinking
that could be my opening shot.
| | 04:20 | So I'm going to make a log note of it
right there and go ahead and mark it good.
| | 04:24 | And that's pretty much my pattern here, I
mark things with their framing, occasionally
| | 04:28 | with a good check mark and then if there's
a note that I find really, really, relevant.
| | 04:34 | Just keep working through the whole thing.
| | 04:35 | So you can see that I've got into the bottom
of my list just going through each clip and
| | 04:40 | adding the same information.
| | 04:42 | Sometimes I like to glance at my entire list,
so the shortcut for that is to be over the
| | 04:47 | Project Pane and the Tilde key, and we can
see absolutely everything, and I like that
| | 04:52 | sometimes just to scan down and take a glance.
| | 04:55 | at what's the distribution of my shots, how
many times did I mark something that was good,
| | 05:00 | here are my specific notes when I
realized there was something really important.
| | 05:05 | Here's a good example, so it's Farmers_
Market_Broll, but it's got BD in the shot.
| | 05:09 | I thought that was important enough to go
ahead and make an extra note, because BD is
| | 05:13 | my important character.
| | 05:15 | I find it very organic to work this way,
I'm not worried too much that I capture every
| | 05:19 | single piece of information.
| | 05:22 | More I'm trying to put down the things that I
see is important, editing is a very personal
| | 05:26 | process, and it is down to your opinion.
| | 05:28 | So don't be afraid to inject those
opinions and thoughts that you're having while you
| | 05:32 | look at the footage right in your logging.
It's actually very helpful.
| | 05:37 |
| | Collapse this transcript |
| Preparing archival images with Photoshop| 00:00 | So far we've taken a close
look at all of our video media.
| | 00:04 | But I want to do a similar thing and take
a close look at the stills that we have to
| | 00:08 | use, these are archival scans
that we've made in an archive.
| | 00:12 | Here you see are three original scans, they are
in the original scans folder in the exercise files.
| | 00:18 | I want to open all three of these in
Photoshop where we'll do this work, so I'm going to
| | 00:22 | right-click and just Open
With and choose Photoshop CS6.
| | 00:28 | You can see all three of our scans lined up
in Photoshop, and in this case, my work involves
| | 00:33 | two things, one is an analysis of the content,
what do I really have here that same sort
| | 00:38 | of logging thinking, but the other is
actually some technical prep to make this more usable
| | 00:44 | in our Timeline in Premiere Pro.
| | 00:47 | Now I like to do a little light prep at the
beginning just to make things easier to work
| | 00:51 | with, but make no mistake I'm not trying to
do the final Photoshop work on these scans.
| | 00:57 | That will come later, but these are so rough
and ragged looking that I want to do a little
| | 01:01 | bit of preliminary work just to
make them easier to edit with.
| | 01:05 | Often that starts with cropping, sometimes
you might want to use the actual headlines
| | 01:10 | but in this case, I'm not interested in any
of the words, I'm really just interested in
| | 01:14 | this picture of BD.
| | 01:16 | So with our Crop tool I'm going to start
by just getting the part that we want here.
| | 01:22 | And I am going to go close to the edges here,
I'm not interested in getting any of that
| | 01:26 | white edging, but I'm also
not wanting to cut it off.
| | 01:30 | So, right there is how I want to
crop it, and we'll go ahead and crop it.
| | 01:36 | You can see that we're quite a bit bigger
here, but I'm not going to worry about that
| | 01:40 | now, I'm not going to resize this, I
might take a look just what is its size.
| | 01:45 | So it's pretty big but for the moment I'm
not going to change its actual size, what
| | 01:49 | I will do is make it 72 dpi, so we can do that
without resampling the image and just plug-in 72.
| | 01:57 | By the way, if you're unsure about this part
at all, go ahead and check out that Photoshop
| | 02:02 | Essential Training, lots of great information.
| | 02:05 | We can't go too deep into Photoshop
here, but it's such a useful tool.
| | 02:10 | So we've done Resolution, we've done cropping,
now I want to look a little closer and try
| | 02:16 | to get the look of this just a
little more visually pleasing.
| | 02:21 | It's not going to be easy, but I
think we can make an improvement.
| | 02:24 | I can go one step closer, there we go.
| | 02:27 | So first I'm going to duplicate the layer
so I have my background pristine in case I
| | 02:32 | need to go back to it.
| | 02:35 | And on this new layer I want to apply a Gaussian
Blur, but I also want to stay nice and organized
| | 02:40 | so I'm going to call that Blur, and then
we're going to add a Gaussian Blur, and the reason
| | 02:46 | for this is we're going to eliminate
this effect we're getting from the printing.
| | 02:51 | Let's take a look at his face, there we go.
| | 02:55 | And you can see with a one pixel blur we go
between the original and the blur, and you
| | 03:01 | can see right away we're not
distracted by all that stippling.
| | 03:05 | So you might edge this up a little bit more
or a little bit less, and we're just looking
| | 03:10 | for the point where it's not soft
but we can see the contrast better.
| | 03:15 | So before, after, I would say that's a real
improvement, and I would also say we're not
| | 03:21 | going for perfection here just improvement.
| | 03:24 | So go ahead and say OK.
| | 03:26 | I want to do a couple more things but I want
to do them as what are called Adjustment layer.
| | 03:30 | So if we do want to go back and tweak layer
we won't have rendered this altogether, we'll
| | 03:35 | still have these open layers to play with.
| | 03:38 | So go ahead and add an
Adjustment layer for Brightness/Contrast.
| | 03:44 | And so with a little more contrast we can start
to bring BD's features out a little more and
| | 03:52 | just play with the brightness.
| | 03:53 | I'm not sure if it's a little darker or a
little brighter, but it looks like a little
| | 03:57 | bit darker plus a little extra
contrast and again we've made an improvement.
| | 04:01 | I always like to do sort of the before and
after eye test to make sure I'm doing no damage.
| | 04:06 | So it's before, after and
things are starting to look better.
| | 04:10 | I want to do one more thing, and it's just
a preference thing, you might do it now, you
| | 04:14 | might do it later, you might do it not at all,
but it's adding a little bit of a Sepia tone.
| | 04:19 | I want these to look kind of old, and they
already look old but when we put that sepia
| | 04:23 | color in, it really
indicates what we're talking about.
| | 04:28 | I'm noticing that I don't have access to a
lot of my color effects, and that's probably
| | 04:32 | due to the mode of the photograph, so let's
check that out and see if we indeed need to
| | 04:38 | switch from Grayscale to RGB.
| | 04:41 | So that's going to be a good idea for video
anyway, but in this case, we're never going
| | 04:44 | to be able to add the Sepia tone, which of
course is a color, in Grayscale mode. So we
| | 04:49 | do need to be in RGB color,
and we don't want to merge.
| | 04:55 | So now everything looks the same but we've
changed the mathematics underneath, and I
| | 04:59 | can just simply go to one of my photo
filters to try Warming, I kind of like Sepia, and
| | 05:07 | then we can see how much we put in there.
| | 05:13 | You can see it's really a light effect, even
up at the top it's still not that dramatic.
| | 05:17 | But we don't want to be all the
way up there, maybe in the 70 range.
| | 05:22 | Okay, this look that we have here is going
to be much more usable than we had before,
| | 05:26 | and that's all we're really going for now.
| | 05:29 | Granted we're probably going to have to go
back in later and do some more doctoring,
| | 05:33 | but let's just save this off, and let's save
it as a different format and a different name,
| | 05:37 | because this is the file we're
really going to use for editing.
| | 05:40 | So I'm just going to do File > Save As and
although these started as TIFFs in our original
| | 05:46 | scan, I want to save
them as Photoshop documents.
| | 05:51 | That means all of my layers and adjustment
layers will stay intact, and if I decide that
| | 05:56 | the Sepia is not exactly what I want it's going
to be very, very easy to go in there and change it.
| | 06:02 | Scroll this down so we can see where we're
saving, and what you'll see is if you're following
| | 06:07 | along we already have a
folder for treated images.
| | 06:10 | If you're not working with these exact files, go
ahead and make yourself a new folder to save these in.
| | 06:16 | And in this case, I'm not going to
resave because I already have BD_MS_sepia.
| | 06:20 | That's what I would save it as, but in
this case, Cancel because it's already there.
| | 06:27 | Moving on to my next scan, many of the
steps are going to be exactly the same.
| | 06:33 | So we start with the crop, and as I look
closely I'm basically making an editorial decision
| | 06:39 | right here and now, which is I'm going to
use this top one, and although I know these
| | 06:44 | ones are here I'm not even going
to bother with the ones down below.
| | 06:48 | I don't think they're very strong images,
and I can always go back and get them, but
| | 06:52 | I'm not going to bother to
prepare them at this point.
| | 06:55 | I'm just going to do our
crop, going to check our Size.
| | 07:02 | More than what we need we can always go
smaller later, but I do want to make it 72.
| | 07:08 | And now this part is pretty interesting
because the next couple of steps we can probably pull
| | 07:13 | from the one we've already done.
| | 07:16 | So I can go over here, and if I just break
this tab off, and I'm noticing I haven't done
| | 07:24 | my blur yet but the order doesn't even really
matter, I can take my two filters, move them
| | 07:29 | over, you see I get that nice highlight and of
course I get a note that I've again forgotten
| | 07:35 | to change its mode, not a big deal.
| | 07:38 | RGB mode, grab the Filters from BD, now we've
applied them, let's go ahead and do our Blur.
| | 07:51 | Again the Blur is a filter not an adjustment
layer, so it's just Blur and Gaussian Blur.
| | 07:57 | This stage is likely to be a little bit
different as well, we're still set on 1.1 Pixels of
| | 08:03 | Blur, which is what we had the first time.
| | 08:05 | When we get a good spot to see something
like his face and again before after, I actually
| | 08:12 | think this one could blur a
little more and still be improved.
| | 08:17 | Yeah, I think something like that would be fine.
| | 08:21 | So now you can see that I've got a similar
look on this one as I do on the one of BD.
| | 08:26 | Neither one is absolutely perfect, but we
can always go back and make adjustments.
| | 08:31 | If I look at my last scan, when I take a
close look at this, this is the only photo that
| | 08:38 | I think is really truly interesting.
| | 08:40 | Close-up of the apples, back of the old
timey look is not that interesting to me.
| | 08:45 | This one is interesting, but it's not
as good as the one I just looked at.
| | 08:49 | It's very similar to someone selling food,
and I feel like this is a better shot if I'm
| | 08:53 | telegraphing that idea.
| | 08:56 | So when I look at this one my
judgment is basically not to bother for now.
| | 09:00 | I know I've got some more old timey shots
of the market, but I'm not going to bother
| | 09:04 | doing this work at the moment.
| | 09:06 | So what we're doing here is partly technical
preparation in Photoshop, but it's partly editorial as well.
| | 09:13 | We're seeing what we have, we're treating
what we think we want to use, and we're also
| | 09:16 | eliminating some things
that are less important to us.
| | 09:21 |
| | Collapse this transcript |
| Pulling selects and presenting ideas| 00:00 | When you're doing this type of producing and
editing for a client, a big point of emphasis
| | 00:05 | is how you communicate with
your client during the process.
| | 00:09 | Let's take a look at some options you have
when you're really early in the process, but
| | 00:13 | maybe there's a need to
show progress with the client.
| | 00:16 | I often think of these as a presentation
opportunity, and it might take a number of forms.
| | 00:21 | Maybe we're doing a keynote presentation with video,
or we talk through it, or maybe we're setting
| | 00:26 | up some kind of PDF or one-off website, where
our client, if there is a large group of them,
| | 00:30 | can scroll through and get an idea of
where we're coming from with the piece.
| | 00:35 | So inside Premiere Pro, all we're going to
worry about are the types of exports that
| | 00:40 | would be common at this stage.
| | 00:42 | You may know how to export already, so I'm
just going to quickly look at some different
| | 00:45 | ways to export that are
particularly useful here.
| | 00:48 | Of course, I am going to base this work
on the logging work I've already done.
| | 00:52 | It's going to make total sense to skip right
to places where I've made a good check mark
| | 00:56 | or a special note, because they would
probably build right into my presentation.
| | 01:01 | So in this case, I have already identified
what I think might be my opening shot, so
| | 01:05 | if I'm going to give a presentation, I might
start the whole presentation with just a little
| | 01:10 | bit of video, and I always imagine myself
just talking through these presentations,
| | 01:14 | so saying something like our video opens
with a beauty shot, so here is the beauty shot.
| | 01:20 | There it is, and if I find the part that's a
pan that I like, it's toward the end, there's that pan.
| | 01:27 | All I want to point out is we can export
directly from here, create an in point and an out point,
| | 01:33 | this is if we're going to edit,
I love that natural sound too.
| | 01:41 | And if that's about what
we want, we hit our out point.
| | 01:45 | So I want to export directly from the source
viewer using this in and out, and in a format
| | 01:50 | that'll go directly into
my keynote presentation.
| | 01:54 | So that just File > Export, if you choose
Media, we're automatically going to export
| | 01:59 | from the source viewer with the
in and out, which is what we want.
| | 02:02 | And then I just seem to pick something that's
going to work well in the presentation format I want.
| | 02:07 | I often use H.264, and let's say we're going
to keynote, and when I'm in the Apple family,
| | 02:14 | I like to choose something like Apple
TV, because it works really smoothly.
| | 02:19 | Then I'm going to match the resolution and
the frame rate to the resolution and frame
| | 02:24 | rate that I'm using.
| | 02:25 | Now if you're using something like PowerPoint,
you can also choose this setting, but then
| | 02:30 | you're going to want to edit the extension,
not to be the Apple extension, which is M4V,
| | 02:36 | but to be something more generic like MP4.
That MP4 file should drop right into your
| | 02:42 | PowerPoint, but another option would be to
go further down the list and pick a setting
| | 02:47 | that you know will work with the
presentation software that you're using.
| | 02:51 | Always you want to match where you're working,
so in this case we are working 480p at 23.976,
| | 02:58 | but this will be different.
| | 03:01 | So even if you have chosen Apple TV, you should
match your Apple TV to one of these that matches
| | 03:07 | the resolution where you're really working.
For our project it's this one right here.
| | 03:13 | I think you've seen things like this before,
so I'm not actually click Export, but for
| | 03:17 | each video clip that you wanted to include
in your presentation, you would make a similar
| | 03:22 | export just in to out of a source file.
| | 03:26 | The other type of export I like to use
at times like this is just a still image.
| | 03:31 | If you're doing a website presentation or
you just want to talk through some of your
| | 03:35 | characters--which I think is a good idea to
introduce your characters in a presentation
| | 03:39 | like this--you just might want
to take a still image of them.
| | 03:43 | I'm going to go down to one of these that
we marked BD, and it also says close up, and
| | 03:48 | when I'm hopping is I can find sort of a candid
shot of BD to use rather than using his interview,
| | 03:53 | which, we can use his interview, but I
think it's going to be more attractive.
| | 03:57 | If I use the arrow keys to step through and
maybe just find a shot where he is looking
| | 04:03 | good, and we could present.
| | 04:05 | Let's see, turn back toward us BD, okay, something
with out his tongue, something in focus, something
| | 04:16 | just like that might work well.
| | 04:18 | When we found the exact frame we want for
a still in our presentation, we just need
| | 04:23 | to capture that still, and that's done with
a little camera button, it's hiding behind
| | 04:28 | here, so we Export Frame and here we can pick
JPEG, or maybe TIFF, for our presentation, and
| | 04:37 | again, I'm not going to bother clicking OK,
you've probably done plenty of exports, and
| | 04:41 | there's plenty of
instruction in the Essential Training.
| | 04:44 | My point here is selecting both small video
clips and still images that are valuable to
| | 04:50 | tell your story to your client before it's cut.
| | 04:54 | You'd be surprised how much keeping the
client in the loop this way can help the process,
| | 04:59 | make their comments more useful when they give them,
and just make them feel more part of the process.
| | 05:05 |
| | Collapse this transcript |
|
|
3. Phase 3: Rough CuttingStructuring the edit| 00:00 | There are a lot of approaches to planning
an edit, and this is a good thing, because
| | 00:04 | there are lot of different types of
projects and a lot of different types of editors.
| | 00:08 | For myself, I definitely do
different things on different projects.
| | 00:11 | For instance, on a longer piece with a lot of
sources, I may do a more traditional editing
| | 00:16 | script or paper edit, including all of the
time code details for the important bites.
| | 00:20 | I am also a big fan of more visual techniques,
like Index Cards, which are classic, or working
| | 00:26 | with a team on a big Whiteboard.
Whatever the tool, the goal is always the same.
| | 00:31 | You want to find a way to organize your
content prior to starting the edit, to create some
| | 00:36 | sort of guideline or road map, so you have an
idea of the structure before you start to execute.
| | 00:42 | In this case, I want to work very simple and
organically for the amount of material we have.
| | 00:46 | I am just going to start by listing some
of the highlights from my logging process, I
| | 00:51 | am going to organize it
into shots and also bites.
| | 00:55 | I'm not being terribly detailed, and I'm not
trying to get everything, it's just the things
| | 00:59 | that have jumped out at me that I know
are going to be helpful to tell this story.
| | 01:04 | So some of the shots that I really enjoyed,
including that open, and also some of the things
| | 01:09 | that I think will go into scenes like on the
farm and prep and pack where everything gets
| | 01:14 | packed up and ready to go.
| | 01:16 | I think those are going to make good
scenes and separately I've listed the bites, not
| | 01:21 | by the exact bite, I've already done that
with the markers, but by some of the ideas
| | 01:25 | that I want to incorporate.
| | 01:27 | In the second round or if these were on
index cards, maybe just by shuffling, I start to
| | 01:32 | organize these and they sort
of fall into a natural order.
| | 01:36 | So I've put the order of the scenes and
shots and also kind of the bites or ideas that I
| | 01:42 | think will go with them, and I'm just sort
of alternating here and making little notes
| | 01:47 | like, this is a mini-scene or history is based on
stills, and again, I'm sort of seeing a progression here.
| | 01:53 | So, when we get to the market, I think we're
partly talking about how the market is a place
| | 01:58 | for community and connection, but we're
also starting to transition to our final idea,
| | 02:02 | which is the farm to table concept, that this
is a full path from the farm to the kitchen,
| | 02:09 | to the table, and by the time we are at
Downey's Restaurant, we are really going to be making
| | 02:13 | that point strongly.
| | 02:15 | And then I still have a note for my clothes, which
I'm not sure about, and I'm actually okay with that.
| | 02:20 | As we edit, we're going to notice more
things and although nothing is jumped out at me as
| | 02:24 | the best way to close this piece, I'm
confident that when I continue working, I'll realize
| | 02:29 | a way to fill in those question marks.
| | 02:32 | The idea here is simply to apply a little
bit of nonlinear thinking before we actually
| | 02:36 | get to the nonlinear editor.
| | 02:39 | Sometimes I do it this way, sometimes I use
other techniques, and sometimes I come back
| | 02:43 | to the stage later in the process, if I feel
like I need little space from the edit, and
| | 02:48 | I want to go back to that whiteboard or
those index cards, shuffle them around again and
| | 02:52 | just think about my structure.
| | 02:54 | You don't always need to do an exercise like this, but
I find that I tend to, and I find that it's helpful.
| | 02:59 |
| | Collapse this transcript |
| Assembling B-roll shots| 00:00 | In every edit there's a point where we turn
that corner, and we stop just looking at things
| | 00:05 | and making notes and start to actually edit on the
timeline, and we've reached that point in this project.
| | 00:10 | There's lots of ways to do this, but what's notable
here is I'm going to start by assembling my visuals.
| | 00:17 | Some editors like to lay down their interview
bites first and they call that a radio edit,
| | 00:21 | in other words, what we'll hear, gets laid
down first, and then we put the visuals over it.
| | 00:26 | I tried to fight that temptation, I try to speak
with my visuals first and then put in some of the bites.
| | 00:33 | You may say it's an academic distinction,
but I believe that by focusing on the visuals
| | 00:37 | first in the process, we've a better
shot of telling a more visual story.
| | 00:41 | So that's exactly where I want to begin.
| | 00:43 | You can see we're still set up in our
Metalogging mode, and I want to change our Workspace layout
| | 00:49 | for something better for these next steps.
| | 00:52 | And in particular I plan to use some storyboard
editing here, so I want to get setup, so I can do that.
| | 00:57 | Let's start by changing our Workspace, and
I'm going to start with the CS5.5 Workspace,
| | 01:03 | but I'm going to actually adapt it from there.
| | 01:07 | So now we have a familiar editing layout,
but what I really want is a much bigger project
| | 01:12 | pane, so I can look at that as thumbnails and
really it's the B-roll thumbnails that I need.
| | 01:20 | So we'll just make that, take
up that same real estate for us.
| | 01:24 | Once I get my timeline ready we might
get a little bit more space out of this.
| | 01:30 | So I want a nice big timeline, and in fact,
the media browser is going to be more or less
| | 01:34 | irrelevant for this stage.
| | 01:36 | So we'll setup something like that and then,
I think I can get away with a little more
| | 01:41 | real estate, let's see,
yeah, something like that.
| | 01:48 | So now I can really see a
lot of thumbnails across there.
| | 01:52 | So down in the timeline I want to start
real organized in terms of how we edit with
| | 01:56 | our tracks, and in particular I want to
edit my B-roll down onto Video 2 when it first
| | 02:03 | comes down, and likewise, we'll get
that natural sound down onto Audio 2.
| | 02:11 | We're going to wind up putting our
interviews on Video 1 and Audio 1.
| | 02:16 | In Premiere, you can
actually name these if you like to.
| | 02:19 | So I might go ahead and call that
B-roll, and that's, that should be good.
| | 02:29 | We want to just arrange these so that we can see
them, and we do want to make sure that's active. Great.
| | 02:36 | Now what we can do is some storyboard editing,
which isn't always my favorite way to work,
| | 02:41 | but because of some of the reasons I said,
focusing on the visuals, and because our goals
| | 02:46 | are really only a quick assembly of shots
on the timeline, I think this is going to
| | 02:51 | be really fast and efficient.
| | 02:53 | We've already decided and talked about a
really good opening shot we have, so let's just go
| | 02:57 | ahead and find that.
| | 03:01 | There it is and what I'm going to do is just do
some quick in and outs right in storyboard mode.
| | 03:07 | I can see where that pan that like starts.
| | 03:09 | So I'm going to mark it out first using the
O key and then an in point using the I key,
| | 03:17 | and this is just like marking in and out in the
source viewer, only we're doing it in storyboard mode.
| | 03:23 | And just like that I'm going to start building
a very simple timeline, so I've got my opening,
| | 03:29 | I want some of those on the
farm shots that we talked about.
| | 03:33 | And I see one right there,
so we've got some in and out.
| | 03:38 | Now, again, I'm not being terribly careful,
maybe I'd like to have not 3 minutes
| | 03:45 | like I've got here, not like a shots really
going be five to ten seconds, but somewhere in between.
| | 03:50 | So just a nice even distribution of these,
and I'll probably need one more shot for that
| | 03:57 | "on the farm scene." I want to save some of
these for picking and packing, so some generic
| | 04:04 | shot and hopefully something with BD in it.
I want to see what's going on with this.
| | 04:10 | Yeah, that's a nice establishing shot I think.
| | 04:13 | It's a little bit hard to tell in
storyboard mode which part I'll want.
| | 04:18 | So again, I'm not going to be too careful here.
| | 04:21 | I think that part is going to work in,
notice when I push Play, it actually plays up top
| | 04:28 | here, but I'm not opening in the
source monitor, which saves me some time.
| | 04:32 | So we'll mark a quick out, and we need in
and out, and again, timing and actual content
| | 04:41 | are going to be adjusted here, so
I'm not even really looking at it.
| | 04:46 | I might twirl these down, so at least,
yeah, I'd like to see the thumbnails there.
| | 04:50 | So that's a very quick
representation of the very beginning.
| | 04:55 | I caught one other thing with my eye that
I like, but I don't think I'm going to use
| | 04:59 | it at the beginning.
| | 05:00 | I think I'm going to save it to the
end, it's this very nice close-up.
| | 05:04 | Let's see if we can find it.
| | 05:07 | If we scrub through this, I see some nice
rack focusing and somewhere around there--
| | 05:16 | working in and in out for adjustment later--but
I'm actually not going to put this in my first scene.
| | 05:22 | I'm going to put it at what I
think it's going to be the end.
| | 05:25 | So somewhere in the three to four minute range,
because at the moment, I don't know if I'm
| | 05:30 | going to use this at the beginning and the
end, and I know that I need something for
| | 05:33 | the end, so just as a placeholder,
I'm going to put this down at the end.
| | 05:38 | So I've got my opening little visuals, and
I've got something in place for the end, I
| | 05:44 | just want to start building the next scene,
and then we'll skip ahead to see how this
| | 05:48 | looks when we're done.
| | 05:49 | That next scene is the "pick and pack" scene
and it gets easier as you go, because you
| | 05:55 | notice, and you know where your stuff is.
| | 05:57 | So I know I'm going to want some of these
shots, looks like I've got a medium of BD
| | 06:05 | and then these nice close-ups of BD.
I'm probably going to need some each of that.
| | 06:11 | There's some things way too long on the
timeline just trim it up for now without worrying about
| | 06:16 | it, and if you need something in our two
shots from the same clip, that's also no problem.
| | 06:28 | So I'm not even really editing these for
content yet, I just want a nice even distribution.
| | 06:33 | It's sort of like laying
the paint on the palette here.
| | 06:36 | These shots are also going to be really nice,
the wides and the tights, I am just going
| | 06:44 | to tighten there for now,
and we just proceed to build.
| | 06:51 | There's one shot I've already noticed that I
know goes in this scene, and I want to point
| | 06:56 | it out, because it's a
little special. It's right here.
| | 06:58 | You see the way the truck leaves, that's a
really nice transitional shot, and I know
| | 07:03 | that after we pick and pack,
we need to go to the market.
| | 07:07 | And as I said, I love to speak with my visuals,
so if I can get this marked right where it
| | 07:13 | pulls out, in and out, this is the process,
and I just want to show you how this timeline
| | 07:23 | looks when it's all finished.
| | 07:25 | Here you see how our timeline looks with our
major scenes assembled just as their rough visuals.
| | 07:31 | We've done our farm introduction scene, and
I'm just looking at the thumbnails for now.
| | 07:36 | I'm not even playing, the timings are so off,
that I'm not even playing, this timeline,
| | 07:40 | with the big black holes and the rough edits, I
just want to see my ingredients on the timeline here.
| | 07:47 | So I've got my little opening section,
I've got my pick and pack section.
| | 07:53 | I'm leaving a hole here, we haven't put the
historical photographs in, but I know they're
| | 07:57 | going to go right around
there before we go to market.
| | 08:00 | Here I've got the actual market scene, the
Downey's Tour Kitchen, and then at the very
| | 08:06 | end I've put a little
placeholder in for my last shot.
| | 08:11 | If I look at the whole timeline, it's also
ending just short of three minutes, that's
| | 08:16 | probably going to drift around a
little bit, but I've accomplished my goals.
| | 08:20 | I've gone from only organization in the
Project pane, to some of my visuals coming down onto
| | 08:26 | the timeline in an organized way.
| | 08:28 | And I've based this on the guideline or
roadmap that I made in the last step when I organized
| | 08:34 | and planned my edit.
| | 08:35 | So, one step at a time, very methodical, and
in this case, focusing on the visuals before
| | 08:41 | we even worry about the words.
| | 08:42 | I like that in particular, and when I sort
of look at this all assembled, I know that
| | 08:47 | I'm starting to see a visual story here,
and that's really important to my process.
| | 08:52 |
| | Collapse this transcript |
| Assembling interviews| 00:00 | We are about midway through our initial
assembly of this piece. And I'm pleased, because by
| | 00:05 | focusing on the visuals first, we've
laid down a visual structure for our piece.
| | 00:12 | Now we need to do the equivalent process
with our bites, by just getting the things that
| | 00:16 | we think we're going to use, down onto the
timeline in the rough positioning of where they belong.
| | 00:22 | The first thing I want to do is rearrange
the interface a little bit to be a little
| | 00:26 | more conducive to this type of editing.
| | 00:28 | Again, I'm going to start with a pre-built
workspace, which is the CS6 Editing Workspace.
| | 00:35 | But I like to adapt it a little, in
particular, I like to have a nice big Project pane.
| | 00:40 | So put that over there, not quite that big,
and then my Markers seem to have disappeared.
| | 00:48 | So I want to make sure that
they're available, there they are.
| | 00:52 | I think I don't need the Media browser, so
I can use some of that real estate, and of
| | 00:59 | course, whatever I load up,
we're going to see those markers.
| | 01:02 | Working with the A-roll, there we go,
that's kind of what I am going looking for, but I
| | 01:07 | think I want a little
more timeline real estate.
| | 01:11 | So maybe we can just put markers right there, yeah,
that's about what I want, a little more vertical space.
| | 01:19 | This is a real strength of Premiere Pro, I
really kind of like to customize my interface.
| | 01:24 | And I find that in different parts of the
process, I use it completely differently.
| | 01:29 | The idea here is we're going to
find the interview bites that we want.
| | 01:33 | And we're actually going to
insert them into these blank spaces.
| | 01:36 | That's not how the final piece is going to
work, but it's going to allow us to get our
| | 01:40 | content down onto the timeline very
quickly where we can manipulate it further.
| | 01:45 | So let's get everything targeted properly,
and I kind of want to leave those thumbnails
| | 01:49 | open for reference, and it's up to you,
but you certainly can name the tracks.
| | 01:56 | So that'll be my interview track, and Audio
1 can become VO, as a note that sometimes we
| | 02:05 | don't have to use the
visual with the audio here.
| | 02:08 | These interviews can be voiceover.
| | 02:10 | Okay, let's go to the BD interview, which we
know is our biggest most important, and I
| | 02:17 | think I'd prefer to see him,
not the Audio Waveforms.
| | 02:21 | And now we've got all of our handy markers
and some of them at the beginning are going
| | 02:25 | to be very useful for our introduction.
| | 02:27 | So I want a little more Marker space, so we
can actually see our annotations, there we go.
| | 02:38 | (BD Dautch: Okay. My name is BD Dautch, and I have
Earthtrine Farm, and we've got about 10 acres in Ojai--)
| | 02:46 | A lot of times I actually mark my out first,
I get to the end of the bite I think I want,
| | 02:51 | then I kind of scrub back, listening and watching
and the in right around when he starts
| | 02:59 | (BD Dautch: Okay. My name is BD Dautch--)
| | 03:00 | Now he says, okay, which I don't
love, but we will trim that up later.
| | 03:04 | I'm going to use Insert here, and I'm just
going to allow this timeline to sort of grow
| | 03:08 | as I add these things.
| | 03:09 | And again, it will shrink down later.
Make sure everything is targeted properly.
| | 03:15 | Yup, that's how I want it to look, and just go
through here, again, I'll be somewhat liberal
| | 03:21 | because I can always remove things.
| | 03:26 | (BD Dautch: And we grow about 100 different
herbs, vegetable, flowers, fruits.)
| | 03:34 | Again, Insert or comma, we try to keep it all local.
I now that's going to be valuable.
| | 03:43 | (BD Dautch: We try to keep it all local.)
| | 03:45 | I love little bites that can work all on their own.
I don't know if this is going to go exactly here.
| | 03:49 | But I know that little one-liner is going
to be useful, and so on, we go through here
| | 03:54 | not being too strict, but bringing
down things that we know we'll want.
| | 03:59 | I know I'm going to need a piece later on
that is transitional, moving from the farm
| | 04:04 | scene to the market scene, and I remember
that there's a good line about the farm.
| | 04:12 | (BD Dautch: Yeah, there's definitely a movement
happening. It's not just here, it's worldwide.
| | 04:16 | In a way, like I said, it's a renaissance.)
| | 04:19 | Not the one I was looking for,
but I like the renaissance bite.
| | 04:25 | I don't really know where it is going to go,
so I think I'm going to put it down at the
| | 04:28 | end as a possibility of part of my conclusion.
| | 04:32 | Now let's see if I can find
the one I was looking for.
| | 04:37 | (BD Dautch: So there's so many dimensions to it, way beyond--
We have a really good relationship with the restaurants.
| | 04:47 | The Tuesday afternoon and Saturday morning markets are both downtown
within walking distance of, I don't know, 100restaurants.)
| | 04:58 | That's the one I was looking for, I will
go ahead and mark its out, back up a little bit.
| | 05:03 | I'm not sure exactly how this will
fit in, but it serves a couple purposes.
| | 05:08 | It's moving us from the farm to the market,
and it's also connecting the dots in terms
| | 05:12 | of the farm to table concept.
So I just want to drop that right about there.
| | 05:18 | And again, I'm inserting,
so everything gets longer.
| | 05:21 | I'm not worried about that, currently my
timeline has grown, we are getting into the 3 & 1/2,
| | 05:27 | 4-minute mark, and by the time we finish
adding our interviews, it will be even more.
| | 05:31 | But we'll trim it down later.
| | 05:33 | I want to point out one more specific one, and
then we'll skip to the end to see how this looks.
| | 05:37 | And it was one I remembered
from one of the chefs at the market.
| | 05:41 | I just thought it was really good, this
eating local is the way to go, let's listen.
| | 05:48 | (male speaker: Local is the way we should be eating.
I mean, there is no reason for us to go 500 miles.
| | 05:52 | We don't need anything from Iowa or anything from farther than
what we can do here. So the farmers market here allows us
| | 05:58 | to have a product from, say, 70 miles, 50 miles,
you know, from, say local, Goleta and Oxnard and whatnot.)
| | 06:06 | Not so sure about all those whatnots and
details, but something in there is going to
| | 06:10 | work as a really nice man
on the scene bite there.
| | 06:14 | And it's going to go somewhere in this vicinity,
but I'm going to put it here for now in the
| | 06:20 | open space, so I can deal with it
later, and I continue to insert.
| | 06:26 | (John Downey: You know, I grew up in England where
people would go down to the pub and see their friends.
| | 06:31 | Here, you can go to the market.)
| | 06:33 | So there we go, you can get a good idea
just from a glance at the timeline of what
| | 06:37 | we've accomplished here.
| | 06:39 | We've woven our interviews in the
open spaces between our B-roll scenes.
| | 06:45 | The timeline has gotten quite a bit longer,
almost 5 minutes, but that's okay, because
| | 06:49 | as we start to overlap these in true A-roll,
B-roll fashion, this timeline will shrink again.
| | 06:54 |
| | Collapse this transcript |
| Building sequences and scenes| 00:00 | We're at a really interesting part of our edit.
| | 00:03 | I sort of liken this to painting with oils,
and if you've ever painted with oils, you
| | 00:07 | know that a lot of blending of the colors
happens right on the canvas. This is similar.
| | 00:13 | We've already laid down our "colors", that is
our B-roll and our interviews, but we haven't
| | 00:19 | blended them together yet, and
that's the craft of actually editing.
| | 00:22 | So, we'll be doing that quite a bit, and
we're going to start it right here and now.
| | 00:27 | To work on the timeline, I like to
have a little more space on the timeline.
| | 00:30 | So I will go ahead and change workspaces,
and I find I am doing this a lot in Adobe
| | 00:35 | Premiere Pro, and I think that's just fine.
| | 00:37 | I like to usually start with one of the pre-built
ones, in this case, the Editing (CS5.5) is
| | 00:44 | going to be almost perfect, because I've got
the full length of timeline, don't need markers
| | 00:49 | anymore, might need to go to the
Project Bin, but not a whole lot there.
| | 00:53 | I might do something like get myself just a little
more timeline real-estate to see more. Okay.
| | 00:59 | I am set to edit, and I am going to start
at the very beginning, and just start to see
| | 01:05 | what I'm working with here, and kind of
massage it into place how I think it's going to work.
| | 01:10 | I am not being too particular or too careful here,
but I'm doing that next layer of actually editing.
| | 01:16 | And in this case, I definitely like the shot,
and I definitely like the natural sounds.
| | 01:21 | (video playing)
| | 01:26 | But what I seem to have missed is the nice
pan in that shot that I remember from my logging.
| | 01:30 | So it's going to be really easy to use the
Slip tool and just find where that pan hits.
| | 01:35 | So I want to make sure that the portion of
the shot I am using is the heart of the pan.
| | 01:41 | (video playing)
Yeah. That's going to make it nice open.
| | 01:45 | I am going to do something now that might
be a little controversial, which is I'm going
| | 01:50 | to very quickly throw a default transition, a
fade up dissolve on the beginning of the clip.
| | 01:56 | And the reason I say controversial is we're
really just doing the very first part of rough cutting.
| | 02:01 | So technically, it's not
really time to add transitions.
| | 02:04 | But I won't do this much, it's just that, in
this case, I want to indicate to myself that
| | 02:09 | I am, in fact, creating an opening, and I don't
know if it's going to be this fade up at the
| | 02:14 | beginning or something different.
| | 02:16 | But this just creates a
little marker to saying hey,
| | 02:18 | this is the beginning. And if I play it, I
think you can feel what I am talking about.
| | 02:23 | (video playing)
| | 02:28 | Okay. It feels like a beginning now, and I want
to continue to build out this scene that we
| | 02:32 | initially called, On the Farm.
| | 02:35 | And this first shot here, I really like, I
think this is a great way to introduce BD.
| | 02:41 | He's in a wide framing, and
he's doing his thing on the farm.
| | 02:45 | So that's a keeper.
| | 02:47 | This one, I am less sure about.
I don't think this really works at our open.
| | 02:51 | I think it might work later in the scene about
picking, or it might not work at all in the cut.
| | 02:56 | What I am going to do, in that case, is I am
actually going to drag it all the way down to the end.
| | 03:00 | And this is something I like to do from time
to time, it's sort of a way of saying, I don't
| | 03:05 | know where this goes, but, you know, I picked it initially,
and I want to sort of leave it on the timeline
| | 03:10 | in case I need it later.
| | 03:11 | You can't do that when you're painting a
painting, but you can when you're editing.
| | 03:15 | And now, I sort of have left myself a
gap here, literally the gap is right there.
| | 03:20 | But really, it's sort of like I have this wide
open shot, and I have got this BD establishing shot.
| | 03:25 | But I just feel like I need a little
something more to create the texture of this opening,
| | 03:30 | and I think I've already seen what I need.
| | 03:32 | And it's this shot that I initially put at
the end thinking I might close with it, and
| | 03:36 | now I am thinking the opposite that it
should actually be the first or the second shot of
| | 03:40 | the piece right after that wide pan.
So, I am going to go ahead and drag this.
| | 03:46 | And I'd want it to be the second shot of
the whole piece, so I am going to hold Command
| | 03:51 | which is going to force an insert, and
now, I think I am going to like this edit.
| | 03:56 | (video playing)
| | 03:58 | Now, we have to play with the sound obviously,
and we may find a better spot in this shot.
| | 04:05 | But I'll tell you why I like this.
| | 04:06 | It's one of the themes that we started
with when we discussed our messaging concepts,
| | 04:11 | and it's that idea of macro and micro.
| | 04:14 | And ideas like that can work in a number of
ways, some deeper and some more on the surface.
| | 04:19 | In this case, it's more on the surface.
| | 04:20 | I like the visual idea of starting with the wide
shot and then going to the very tight close-up.
| | 04:26 | I am going to massage this a little bit later.
| | 04:29 | I think there may be a rack
focus that I can play with as well.
| | 04:32 | But for now, I'm starting to get this working, a
little more BD there, and I am going to play it back once.
| | 04:40 | (video playing)
| | 04:58 | Okay. The middle shot is a little long, and
obviously, the natural sound needs to be patched up.
| | 05:03 | I'll probably be bringing
in some music in this part.
| | 05:06 | But what I've done is created the visual
associations that I want for this first scene, which is
| | 05:12 | to go from the wide establishing shot, and my new
idea, which is this tight shot, and then establish BD.
| | 05:19 | So, the last thing I am going to do is not
get deeply into the interview, but just create
| | 05:25 | the overlap that I think is going to work,
and that's BD introducing himself while we're
| | 05:30 | still on that shot.
| | 05:31 | So, notice the way that I've
already organized my tracks.
| | 05:35 | I can just slide this under, and start to
create the feeling at the beginning that I want.
| | 05:41 | (BD Dautch: Okay. My name is BD Dautch,
and I have Earthtrine Farm--)
| | 05:47 | And obviously, we need to get that okay
out of there, but we are headed in the right
| | 05:52 | direction, and we've crafted this first scene.
| | 05:55 | Now, what I'm going to do is work
through each of these visual portions.
| | 05:59 | I am going to order the shots in a similar
way, not making them perfect, but just sort
| | 06:04 | of creating the indications that I need
as an editor to come back and polish later.
| | 06:09 | I'm asking myself, how does this scene work?
| | 06:12 | And I'm doing enough work on the scene so that
I've indicated to myself, yes, that's how it works.
| | 06:18 | Now, you just need to make it pretty.
| | 06:20 | I'm going to skip ahead so you
can see how this process winds up.
| | 06:25 | If you take a close look at this timeline,
you can see where in each scene I've tightened
| | 06:31 | up the shots, massaged them to be roughly
where I want them to be, in this case, we're
| | 06:36 | looking at a scene that's purpose is to
move us from the farm packing up the vegetables
| | 06:42 | on our way to the market.
| | 06:44 | And you can see that the order that I've
established works for packing and then ultimately on ending
| | 06:51 | the scene with that shot
of the truck moving away.
| | 06:56 | In many cases, I have created not deep work
with the interviews, but just a little bit
| | 07:00 | of overlap how I think the
interview is going to go into the scene.
| | 07:04 | Listen how this one works.
| | 07:06 | (BD Dautch: As fresh as possible
and immediately get it into the shade--)
| | 07:11 | I'm looking for those types of connections.
| | 07:13 | How am I going to move from an
interview and into the next scene?
| | 07:18 | Take a close look at this timeline, and see some
of the choices I've made on each and every scene.
| | 07:24 | This is a good time to watch
the whole timeline through.
| | 07:26 | Up until now, it's been really hard to see
as a whole thing, and in fact, the big holes
| | 07:32 | in it still make it a little bit hard to see,
but it's just starting to come together.
| | 07:37 | I'll remind you also of
that metaphor of painting.
| | 07:40 | You'll notice that we're not bringing more
stuff in from the media too often, we're mostly
| | 07:46 | just working with the ingredients that are
already down there on the timeline, and making
| | 07:50 | them work in the way we want them to.
| | 07:55 |
| | Collapse this transcript |
| Editing interview bites on the Timeline| 00:00 | Things are starting to come together on our piece, but
we need to put some more attention to our interviews.
| | 00:06 | We've already sort of worked over our visuals, and
now it's time to do the equivalent work with the bites.
| | 00:13 | Everything is set up pretty much ready to
work, I do want to twirl down the track called
| | 00:18 | the VO, so we can see those waveforms, and that's
going to be very useful for this type of editing.
| | 00:24 | And I am going to zoom in a little bit, and
again, focus on the first section here with BD.
| | 00:30 | So this is the time where we're going to do
two things, basic cleanup on the audio, and
| | 00:35 | also a little bit of rearranging, to actually do
that dreaded radio edit that I said I don't really like.
| | 00:42 | But now is the time to do it, to basically
figure out what's being said in our piece.
| | 00:48 | So let's start by listening.
| | 00:50 | (BD Dautch: My name is BD Dautch, and
I have Earthtrine Farm, and we've--)
| | 00:56 | So that beginning looks pretty clean, I
just want to make sure that as we come into
| | 01:00 | him there's nothing else we're missing.
| | 01:03 | (video playing)
| | 01:06 | So in fact, we just want to make sure
that that okay is not audible and the waveforms
| | 01:11 | will help us with that.
| | 01:14 | And so precisely we can just get it
right there and know that we are exactly at the
| | 01:19 | beginning of our bite. Close.
| | 01:22 | Now I might not do the absolute fine work
here, because there's going to be a chance
| | 01:26 | later to do that really fine trimming.
| | 01:30 | But I want to get really into the ballpark
here, or I would say more than the ballpark,
| | 01:34 | I want to get pretty darn close.
| | 01:37 | (BD Dautch: Okay. My name is BD Dautch,
and I have Earthtrine Farm--)
| | 01:43 | This type of editing, it takes a lot of
listening, because we need to weed the garden
| | 01:46 | of things we don't want, and make
the transitions relatively clean.
| | 01:52 | (BD Dautch: Carpinteria that we're farming on.
It's all certified organic by CCOF. And we grow--)
| | 01:57 | So I want to use ripple to
extend that just a little bit.
| | 02:01 | What I'm not doing is dealing with
these jump cut yet. That will come later.
| | 02:06 | I am just going to actually leave the jump cuts in
there but just try to get the audio sounding smooth.
| | 02:11 | (BD Dautch: ...organic by CCOF. And we grow about 100
different herbs, vegetables, flowers, fruits, and we sell
| | 02:22 | mostly at the farmers market, and also we sell to caterers,
schools, restaurants. We try to keep it all local.)
| | 02:31 | This is a pretty important part of our
piece, because BD is doing a big job for us
| | 02:35 | here at the beginning.
| | 02:37 | He's going to layout a lot of the
information that we actually need for this cut.
| | 02:41 | So I am going to work
this over pretty carefully.
| | 02:44 | Here we have got something interesting.
| | 02:46 | (BD Dautch: We try to keep it all local.)
| | 02:48 | I like that, but I am wondering in a
sort of what's around that bite, what's before
| | 02:53 | or after it that might make it work even better?
| | 02:56 | Sometimes, again, Ripple is really useful,
and I can just with the waveforms up, and
| | 03:01 | let's see what he says right before that.
| | 03:05 | (BD Dautch: Only one store, we try not to do
any shipping, we try to keep it all local.)
| | 03:09 | So I like the shipping part, but I don't
think I need anything prior to that, so.
| | 03:16 | (BD Dautch: And only one store, we try not to do any--)
| | 03:18 | Yeah, and I am not too concerned with the
one store, but I like the shipping part.
| | 03:23 | So, you see how this goes, we just work
through each bite, I am going to do one more, and
| | 03:27 | then we'll skip ahead and
look at the final result.
| | 03:30 | (BD Dautch: It becomes a celebration of life
and as well as a culinary celebration.)
| | 03:37 | So as I work through this, and I realize
that I'm really cutting an introduction with
| | 03:42 | BD here, this doesn't feel like it belongs
anymore, it feels much more like a conclusion
| | 03:46 | in the introduction.
| | 03:47 | And I am going to do a trick that I have
shown you before, which is I am just going to take
| | 03:51 | this, and I am going to move it out of the way.
| | 03:53 | And I am going to take it off the timeline,
I'm just going to move it clear to the end
| | 03:56 | of the timeline, and when I put things there,
it's kind of a little note to myself, like
| | 04:01 | I might need this later, and it's not unusual
to sort of generate some bites at the end here.
| | 04:05 | May be I'll use them, maybe I'll just wind up
to leaving them, I am not quite sure, always
| | 04:10 | easy to close a gap, and we are getting close.
| | 04:15 | Let's skip ahead so we can listen to both
the final result of this section with BD,
| | 04:19 | and we can listen to how the edits
worked out on some of our other interviews.
| | 04:23 | So you can see that I finished this process
of cleaning up the interview bites, matching
| | 04:29 | them together and
generally tightening things up.
| | 04:32 | Most of the time it went eliminating things
and simplifying, but I want to give a full
| | 04:36 | listen to BD's built introduction here. And
disregard the jump cut. Sometimes I actually
| | 04:41 | close my eyes when I am listening to this type
of edit just to be like, have I accomplished
| | 04:46 | what I want to do, which
is to get the voice right?
| | 04:48 | So let's see how we like it.
| | 04:50 | (BD Dautch: My name is BD Dautch, and I have
Earthtrine Farm, and we've got about 10 acres in Ojai,
| | 04:58 | that we're farming on. It's all certified organic by CCOF. And
we grow about 100different herbs, vegetables, flowers,
| | 05:08 | fruits, and we sell mostly at the farmers market, and also
we sell to caterers, schools, restaurants. We have to pick
| | 05:17 | it as fresh as possible and immediately get it into the shade.
We try not to do any shipping. We try to keep it all local.)
| | 05:28 | So I am liking that pretty well, you
know already that I like to let the visuals do
| | 05:32 | the work, but I also see a necessity here
to do some talking and introduce the topics
| | 05:38 | of the whole piece, and I think the way this
is cut, BD is really doing that work for us,
| | 05:42 | and that's exactly what I want.
| | 05:44 | I like you go ahead and listen to some of the
other trim downs and selections, for instance,
| | 05:49 | here's where BD is now currently making
that transition to the market, also this is the
| | 05:54 | section where we've yet to add the
historical images, but we will do that soon.
| | 06:01 | (BD Dautch: And in 1978 somebody started a farmers market
in Santa Barbara. The first one.)
| | 06:04 | So that's going to be our transitional
bite, and we sort of know the purpose of each
| | 06:07 | of these, because we've looked at them before.
| | 06:09 | So I just would encourage you to play through
some of these trim downs to see how it's working
| | 06:14 | out in this edit.
| | 06:19 |
| | Collapse this transcript |
| Adding other media types to the Timeline| 00:00 | We have a singular goal in this movie.
| | 00:02 | There is a couple elements that we
haven't even introduced to the project.
| | 00:07 | I'm thinking of two things, the stills
that we prepared earlier and also music tracks
| | 00:12 | that we have to work with.
| | 00:14 | What I want to do now is just incorporate
both of these items into the Timeline and
| | 00:19 | into the project, not worrying too much
about exactly how they will work, I am not going
| | 00:24 | to animate the photos, and I
am not going to mix the music.
| | 00:27 | I am just going to get the rest of the elements
that don't appear on our Timeline yet to appear
| | 00:31 | there, so all of my
ingredients will be available to me.
| | 00:34 | I need to use my Media Browser so I what to
open that Window, and then I want to create
| | 00:40 | just a little bit more
space so I can navigate. Great.
| | 00:44 | Now I want to go to where I saved those
stills with the PSDs that we worked on already, and
| | 00:56 | those are our treated images.
| | 00:58 | I want to do both of them, but I want to
stay organized up in my Project Panel as well so
| | 01:03 | that I mean a new bin for stills and then
just a drag of both of these into that bin.
| | 01:10 | But we are going to have some
choices and they are important.
| | 01:14 | In this case, Merge All
Layers is going to be just fine.
| | 01:18 | Later on if we want to go back and make
edits to the Photoshop file we can do that, but
| | 01:22 | this is not a case where we're
working with separate layers.
| | 01:25 | So go ahead and bring them in all as Merge
Layers and same thing with our second shot. Great.
| | 01:33 | We've created a stills folder here, and I
also want to create a music bin, and we just
| | 01:41 | need to navigate to where our music is,
and we can bring both of those in.
| | 01:52 | Okay, let's get them on the Timeline, and at
least with the stills, we already know basically
| | 01:58 | where they're going, which is
in this section right here.
| | 02:02 | So we're not going to animate them or do
anything fancy yet, we're just going to incorporate
| | 02:09 | first the market still.
| | 02:11 | There's going to be plenty of time for the
timing on these, so just slug them in there
| | 02:18 | kind of where they belong, I often
like to sort of split the difference.
| | 02:22 | So I have got X amount of time open on my Timeline,
and I am just going to fill these with both of them.
| | 02:29 | I am going to situate them, I said, I'm
not doing detailed work but that doesn't mean
| | 02:33 | I want to frame it so that you
know his face isn't in the frame.
| | 02:37 | So I'm just going to
quickly go ahead and reposition.
| | 02:42 | It's all about content at this stage.
| | 02:45 | I'm not concerned are we moving up or down on
BD, I'm just concerned it's a shot of BD's
| | 02:51 | face, and here again.
| | 02:56 | My concern isn't the perfect final it's just that
I've got a visual representation of what the content is.
| | 03:04 | Okay, let's work on the music, scroll down
a little bit, make my self some space, and
| | 03:10 | I am going to put music on
two tracks Audio 3 and 4.
| | 03:12 | So I'll go ahead and name
those with music 1 and music 2.
| | 03:20 | Now sometimes, and this piece may be one of
those times it's actually going to be fine
| | 03:24 | to have all your music on one track, but
I'd like to alternate them in case there is an
| | 03:28 | overlap in music we have two tracks
to work with and slide things around.
| | 03:34 | So if you listen to the two tracks of music,
for me they really fit pretty easily with
| | 03:40 | the two major scenes we have here
which are the farm and then the market.
| | 03:44 | So this one, Silent Charm.
| | 03:47 | (music playing)
| | 03:52 | I thought right away that's our farm track,
and if we give a little listen to where we
| | 03:56 | are remember that we have these great
nats to work with too at the very beginning.
| | 04:01 | So I don't want to bring it in before nats, but...
(video playing)
| | 04:12 | ...I think somewhere around where
| | 04:13 | we cut to this tight shot, I am sort of
envisioning a little bit of a rhythmic transition where
| | 04:17 | the music comes in.
| | 04:19 | And as I listen to this there are some
weird sounds at the beginning that I wasn't too
| | 04:24 | fond of, let's take a close look.
| | 04:27 | (music playing)
| | 04:28 | Yeah, that spacey sound, not really
doing it, but it's really when the guitar comes
| | 04:33 | in that I like it so go ahead and eliminate that
with a quick in and then just drag that music
| | 04:39 | down onto our new music 1 track.
| | 04:44 | Okay, it's long so identify where we make
that transition to the Farmers Market around
| | 04:49 | there, and trim this back, there's going to
be plenty of times for adjustment later, and
| | 04:55 | let's deploy our second track called
Delayed Goodbye starting right there.
| | 05:01 | (music playing)
| | 05:04 | Yeah, I like that change in tone, it
really feels like we're moving from one place to
| | 05:09 | the other I think when we
switch tracks like that.
| | 05:12 | So lets incorporate that, and we'll
go ahead and move them down on Music 2.
| | 05:16 | Again I'm not sure if I am really gong to
need 1 and 2 in this case, but in case I need
| | 05:22 | to sort of finesse that transition having
them on separate tracks--or checker-boarded
| | 05:27 | as we call it--means that I'll be able to slide one
under the other and create a smooth transition if necessary.
| | 05:34 | So currently if you watch this cut I would not
call it a rough cut, but I would call it an assembly.
| | 05:41 | I think at this point when all the ingredients
are incorporated basically in the right order
| | 05:46 | nothing has been massaged or finished to a
degree of perfection but everything is represented
| | 05:52 | on the Timeline and I'm
comfortable calling that an assembly cut.
| | 05:57 | Go ahead and give it a watch while we didn't
watch our full cut too much as we were building
| | 06:01 | it, now our process is going
to be to watch and change a lot.
| | 06:06 |
| | Collapse this transcript |
| Completing the rough cut| 00:00 | For me, rough cutting is really one
of the most fun parts of editing.
| | 00:05 | So far we've really worked with one hand
tied behind our back. Let's work on the visuals,
| | 00:10 | let's work on the interviews, but now, it's
all at that point where it's all coming together.
| | 00:17 | If we take the painting metaphor, it's all
there on the canvas, and we are doing the
| | 00:22 | fine work, we are really bringing out the
features and the strong points, the themes
| | 00:27 | and ideas of our painting or
our documentary, if you will.
| | 00:31 | So I want to take a close look here and see the
types of things that we're doing in this stage.
| | 00:37 | The emphasis is going to be on timing in
parts but also on content. And there's going to
| | 00:42 | be parts where what we need is still in the
Project panel and hasn't come down to the timeline.
| | 00:47 | We are going to go back to
our media to search for things.
| | 00:50 | So let's give ourselves a little more
timeline room by closing this whole frame. Great.
| | 00:57 | So we can see our whole timeline, and I'm
even going to collapse our tracks here so
| | 01:03 | we can see every single element that's in play.
| | 01:08 | So now we are actually looking at
the entire timeline. There we go.
| | 01:15 | We can really see everything.
| | 01:17 | And a good way to proceed, I think, is
going to be to compare and contrast.
| | 01:22 | Generally, when I am doing this type of work,
I am making a lot of little adjustments, and
| | 01:27 | sometimes they don't become clear
until you see a before and after.
| | 01:31 | So let's go ahead and launch the first part
of BD, his intro through to about here, where
| | 01:37 | we make this transition, and then I want to compare
to after I've spent some time really rough cutting.
| | 01:44 | (BD Dautch: My name is BD Dautch, and I have
Earthtrine Farm, and we've got about 10 acres in Ojai,
| | 02:04 | that we're farming on. It's all certified organic by CCOF. And
we grow about 100 different herbs, vegetables, flowers, fruits.
| | 02:13 | And we sell mostly at the farmers market, and also we sell
to caterers, schools, restaurants. We have to pick
| | 02:23 | it as fresh as possible and immediately get it into the shade.
We try not to do any shipping. We try to keep it all local.)
| | 02:35 | Okay, that's the assembly cut version.
| | 02:38 | Now let's see the changes when
we move to a rough cut version.
| | 02:43 | Okay. When I launched our opening,
I noticed a few things.
| | 02:46 | I noticed some timing
things and some awkward cuts.
| | 02:50 | I certainly noticed some jump cuts that need
to be covered, and I certainly wanted to create
| | 02:55 | something at the beginning, a temporary
title so that we at least had a placeholder, and
| | 03:00 | we know editorially how it works.
| | 03:03 | That title is not very attractive,
but I think it will give you the idea.
| | 03:07 | So comparing to what we just watched, look at
the difference between that and the new opening.
| | 03:12 | The content is pretty much the same,
but the editing is much, much smoother.
| | 03:17 | (BD Dautch: My name is BD Dautch, and I have
Earthtrine Farm, and we've got about 10 acres in Ojai.
| | 03:38 | It's all certified organic by CCOF. And we grow about
100 different herbs, vegetables, flowers, fruits.
| | 03:49 | And we sell mostly at the farmers market, and
also we sell to caterers, schools, restaurants.
| | 04:01 | We have to pick it as fresh as possible
and immediately get it into the shade.)
| | 04:08 | Okay, can you see all the differences?
First of all, we've really smoothed things out.
| | 04:12 | I think we've established a nice
little rhythm coming into the piece.
| | 04:16 | Second, did you notice that when I needed
a cover shot, this piece that was sort of
| | 04:20 | in and then out again, this is that same
clip that I decided I don't want in the open, I
| | 04:24 | moved it to the end, and
then I needed some coverage,
| | 04:26 | so I moved it back. But it's really hanging
together, and I think you can really see the
| | 04:30 | difference between an assembly and a rough cut.
| | 04:34 | Now I want to move back to our assembly
timeline and take a close look at another scene,
| | 04:39 | see another before and after.
| | 04:41 | I would actually encourage you to look at
the entire timeline before and after, but
| | 04:46 | I am going to highlight a few areas.
| | 04:47 | So you can see how we've improved the
beginning of the cut by adjusting the timing, by adding
| | 04:55 | certain things, creating some pauses, even
adding a temporary title as a placeholder.
| | 05:01 | Now let's look at another part of
the cut and see how it came together.
| | 05:04 | I want to look at the portion
with John Downey, the chef.
| | 05:08 | So I am going to play this scene right here,
and then we are going to look at the changes
| | 05:12 | between the assembly and the rough cut.
| | 05:14 | (John Downey: I'm John Downey. I'm the owner of Downey's Restaurant.
I'm a chef at Downey's Restaurant. We've been here for 30 years.
| | 05:28 | And as I say, we opened this restaurant in 1982, and in about 1983
BD came through the back door. Scallions and tarragon.
| | 05:42 | We'll use the tops in a leafy greens mix, which is one of
the fish garnishes. We'll take Swiss chard and turnip tops, maybe.
| | 05:58 | Then moving on, we have beautiful Swiss chard. I'm a great fan of Swiss chard.
He's dedicated, it makes you want to cry with how dedicated he
| | 06:12 | is to producing the very best.)
| | 06:19 | Okay. Let's go ahead and take a look at all of the
changes that come between this assembly and the rough cut.
| | 06:24 | I do want to point out that
this is very much my process.
| | 06:27 | I just am watching and noticing, making changes
as I go, but I'm skipping a lot of the details
| | 06:34 | so that you can see the results.
| | 06:36 | These changes when taken individually are
so subtle, you have to take a step back and
| | 06:40 | see the forest for the trees.
Let's look at how the John Downey scene wound up.
| | 06:45 | Okay, you saw the way that the
scene with the chef was working.
| | 06:50 | Now I want to show you after the
edits how it's working in the rough cut.
| | 06:54 | It's been tightened and smoothed out.
I think it's quite a bit better.
| | 06:58 | (John Downey: We opened this restaurant in 1982,
and in about 1983 BD came through the back door.
| | 07:13 | We'll take Swiss chard and turnip tops.
| | 07:20 | He's dedicated, it makes you want to cry with how
dedicated he is to producing the very best.)
| | 07:33 | (BD Dautch: Incorporates everything that I look for--)
| | 07:35 | So you can see that the chef scene has
really come together, and among other things,
| | 07:40 | it's connecting better with BD's story,
and that was always an important goal for me.
| | 07:45 | Let's watch one more finished section, which
is the end, and what I want to point out here
| | 07:49 | is that the end was largely assembled not during the
assembly period, but in fact, during this rough cut period.
| | 07:57 | And that's not totally unusual.
| | 08:00 | The reason is that endings are hard and the more you
edit, the more familiar you get with your content.
| | 08:06 | So all those little things that I've noticed,
but not used or moved to the end, you can
| | 08:10 | see how I've shuffled them around here.
So let's just watch the new ending.
| | 08:14 | (BD Dautch: ...in life, from family, to economy, to community.
It becomes a celebration of life, as well as a culinary celebration.)
| | 08:40 | So you can really see some of
my thought process with the ending.
| | 08:44 | Remember this shot?
| | 08:46 | It was at the beginning, at the end, and now it's
at the beginning and the end, and I sort of like it.
| | 08:51 | It brings us full circle, and it's really
kind of a pretty shot and then this shot turns
| | 08:56 | out to be important too at the end.
| | 08:59 | I realize that interactions with people
seeing BD again, smiling, and actually talking to
| | 09:05 | people at the market that, that was really
going to be the right feeling to end the piece.
| | 09:10 | The same thing with BD's last bite here,
and notice that about half of these shots are
| | 09:15 | new to the timeline, between the assembly and
the rough cut, and there's nothing wrong with that.
| | 09:21 | It's always acceptable to dig back into
your media and figure out is there something I
| | 09:25 | need is there something better.
| | 09:28 | At the end of the day rough cutting is a very
organic process, and I find it very enjoyable.
| | 09:34 | It's nothing more than repeatedly looking at
your timeline, watching it, and attenuating
| | 09:40 | yourself to different
improvements that you can make.
| | 09:43 | It's often true that you just don't know the next
thing to do before you've done the thing before it.
| | 09:50 | That was the case with my ending here. I
just didn't understand how it would work until
| | 09:54 | I got to this stage of the edit, and creatively you just
need to leave yourself open to the process in that way.
| | 10:04 |
| | Collapse this transcript |
| Presenting the rough cut and receiving feedback| 00:00 | As much as rough cutting is an activity,
something you do, it's also a milestone in the process,
| | 00:07 | an opportunity to get feedback and/or approval.
| | 00:11 | Now this can be a little controversial, because not
all clients are really prepared to view a rough cut.
| | 00:18 | If they don't understand what a rough cut is or
why it's rough, it can become sort of a risk/reward.
| | 00:25 | That's the way I would like to look at it.
| | 00:27 | Certainly I work with some editors that are
very reluctant to share something rough, but
| | 00:32 | I would say that really
depends on the circumstances.
| | 00:35 | The potential advantage is to get
constructive feedback and also in a business sense to get
| | 00:40 | approval of the rough cut, knowing that
you're moving forward with a portion approved.
| | 00:45 | The risk is that you'll have a negative
reaction from your client due to the overall roughness.
| | 00:51 | If your client doesn't understand what to
look for in a rough cut, you may spend a lot
| | 00:55 | of time explaining, no, the audio is not
really going to be like that or no, the titles are
| | 01:00 | going to be fixed, and you don't want
to go down that path, that's the risk.
| | 01:04 | So it's important to consider
the experience level of the client.
| | 01:08 | If you're working with a client that primarily
does PR or activism, and you're really handling
| | 01:14 | a video project for them.
| | 01:16 | Maybe consider putting a little
more polish on before you share.
| | 01:20 | On the other hand if your clients are video
professional, they might look at rough cuts
| | 01:23 | all the time, and it's the process they need.
So communicate about this.
| | 01:28 | And then when you do, do review,
keep it focused on the editorial.
| | 01:33 | That's the point of a rough cut review, and
if your client is not getting that, you are
| | 01:37 | probably not getting an
effective review out of it.
| | 01:40 | Last, one trick I do if you're really not
sure is rather than just sharing online, which
| | 01:45 | of course is technically easy, see if you
can invite your client into your space, into
| | 01:50 | your studio to watch together.
| | 01:52 | If they then start to go down one of those
paths of say getting annoyed by the music
| | 01:56 | or distracted by something that's not really
the point of the rough cut, if you're there
| | 02:00 | with them, you can really talk them through it.
| | 02:03 | So there it is you'll have to
decide on your projects went to share.
| | 02:07 | But I don't think it's necessarily always
a good thing or always a bad thing, rather
| | 02:12 | this risk/reward analysis should give
you the best answer for your project.
| | 02:17 |
| | Collapse this transcript |
|
|
4. Phase 4: Incorporating Still Images and Motion GraphicsPlanning moves on photographs| 00:00 | Previously, we did some work to treat our still
images so they would work a little bit better in video.
| | 00:07 | Now I want to go a step further, and in
Photoshop, I want to take some time to plan how the moves
| | 00:13 | on these photos, the
animations, will really work.
| | 00:17 | Let's open these in Photoshop.
| | 00:21 | We've selected two photos to work with, and we've
already done a rough crop and a rough treatment.
| | 00:26 | I don't want to actually change or
edit these photos at all right now.
| | 00:30 | I just want to use some tools in Photoshop
to help me conceptualize what the animations
| | 00:35 | are going to look like.
| | 00:37 | I'm going to do a Save As, because the work
I'm doing does not really belong in the project.
| | 00:43 | It's purely for planning purposes.
| | 00:46 | So we can do Save As to the Desktop and then
add a helpful extra word so that we know this
| | 00:51 | is not a production file,
but just a planning file.
| | 00:54 | So I'll just add that word PLAN in all caps.
| | 00:59 | Now that we're saved I
want to add another layer.
| | 01:03 | So go ahead and add a layer.
I'm going to call that layer Frame.
| | 01:11 | On the Frame layer what I want to do is make
a visual frame that is the exact size of our
| | 01:17 | raster that is our video frame.
| | 01:20 | So with my Rectangular Selection tool, I
can use, not Fixed Ratio, which would allow this
| | 01:27 | to slide around, but actually Fixed Size,
which will be an exact number of pixels.
| | 01:33 | In our case that's going to be 854 wide by
480 tall, which is basically the standard
| | 01:42 | definition widescreen numbers.
| | 01:45 | Now you want to match this to
whatever resolution you're working with.
| | 01:49 | It probably won't be standard definition.
| | 01:52 | It might be something like
720 or 1080 resolution here.
| | 01:56 | You will always want to match this to
the actual resolution you're working in.
| | 02:00 | Now that we've set the Selection tool you
can see that it is always selecting that size
| | 02:05 | and these are true pixels.
| | 02:08 | Now usually I like something better
visually than just the dotted box here.
| | 02:13 | So I'm going to go ahead
and stroke this selection.
| | 02:19 | I like to pick a color that's
really going to show up on anything.
| | 02:22 | Remember, this is just a guideline.
| | 02:24 | You're never going to see
this ugly color in your piece.
| | 02:29 | A width of four pixels should work perfectly,
and now even if we deselect we now have a
| | 02:36 | layer that is a frame that is
the exact size of our raster.
| | 02:41 | What I use this for is to plan my move
and also plan the sizing of the image.
| | 02:47 | So the first thing I'm noticing is I'm
basically just a little wider than my frame here.
| | 02:55 | Not enough that I want to trim this down
or crop out the edges or shrink this at all,
| | 03:00 | because having a little bit of leeway
with my frame allow me to move up and down.
| | 03:04 | I'll probably go a little smaller than this
in Premiere so I get his arms in when I go
| | 03:09 | down, but we'll see I'm not
trying to make the photo fit too tight.
| | 03:14 | I'm just trying to make sure that I have
enough pixels for what I'm trying to do and not a
| | 03:18 | tremendous amount of access.
| | 03:21 | So when I talk about planning your photo
move I'm literally talking about creating this
| | 03:25 | frame and moving it around to make some
decisions and see if you need any edits to the photos.
| | 03:31 | This is the move I'm planning, probably with
the photo down around 85% or 90% so it appears
| | 03:39 | a little wider in the frame.
| | 03:42 | Let's see how the very similar
technique works with our other photo.
| | 03:46 | I switch to the other photo, but I also want
to break off this tab in its own window and
| | 03:52 | the reason is because that'll let me just
sort of steal my frame layer the same way
| | 03:56 | I stole these adjustment layers earlier
and drop that frame in right at the same size
| | 04:02 | to this other image.
| | 04:04 | So now I'm in the same place,
and I can start experimenting.
| | 04:08 | That framing looks like it would be
pretty good, and it essentially exists at 100%.
| | 04:13 | It's pretty tight, but good.
| | 04:16 | I'm looking at this photo, and I think what
I want to execute is a zoom and what I might
| | 04:21 | do is duplicate my frame so I can represent
both the beginning and the end of the zoom.
| | 04:31 | So Frame Copy, its purpose
may be to be a large frame.
| | 04:39 | So I can take that, and with a little bit of
a transform, sort of experiment and say, how
| | 04:45 | large might I want to go with my zoom?
| | 04:50 | Just like I moved the frame on the other one I'm
basically conceptualizing how tight or wide I might go.
| | 04:58 | In this case, I think my widest cropping would
be about there and my tightest would be about
| | 05:04 | there, and in fact, I don't want a huge
zoom that's going to be very noticeable.
| | 05:09 | So probably it's going to
be in-between these two.
| | 05:12 | Again, it would be possible to throw another
crop on here and crop out some of the stuff
| | 05:18 | I don't think I'll need, but I'm
not so confident that I won't need it.
| | 05:23 | It's not like its white edging or
something you wouldn't want to see in there.
| | 05:27 | So I think I'm going to leave this at the
size it is and plan on zooming where my tightest
| | 05:32 | point is around this frame
and my widest point is here.
| | 05:36 | My gut tells me that that's a lot of movement.
| | 05:38 | So probably it's going to be in-between those
two, not the extremes, but I've created some
| | 05:43 | bounding to the move I want to make.
| | 05:46 | Always remember, if you want to maintain these
frames it's a really good idea to do a Save As.
| | 05:52 | There's no reason to leave these frames in
your production file, because you don't want
| | 05:56 | to see them in your video
under any circumstances.
| | 06:01 | This way if we want to come back to these
planning PSDs, they're here for us but they're
| | 06:05 | not going to get confused
with the production documents.
| | 06:10 | The beauty of this technique is it allows
you to think about and conceptualize those
| | 06:14 | photo moves in an environment that
separate from the editing environment allowing you
| | 06:19 | to really concentrate on
what's important editorially.
| | 06:24 |
| | Collapse this transcript |
| Animating images| 00:00 | Now it's time to actually create the
animations that will make our still images move.
| | 00:05 | Now, there's more than one tool for doing
this, After Effects is obviously very popular,
| | 00:11 | and you may know how to do it already, so
I'm not going to linger on all the details
| | 00:15 | about keyframes. I just want to do this with a
methodology that really fits with our workflow on this project.
| | 00:22 | For more details on these methods, you can always look at
the Essential Training title on Adobe Premiere Pro.
| | 00:28 | Here is the spot in our sequence where this
is actually going to happen, but I don't want
| | 00:33 | to build it here. I want to make a new
sequence just to build these animations, and I think
| | 00:38 | you'll understand why after
you see how I'm going to do it.
| | 00:41 | So let's go ahead and make a new sequence, matching
in parameters to the one we're already working with.
| | 00:50 | That's our settings, and
we make our new sequence.
| | 00:53 | I've been very careful about staying
organized in this project, and now that there is more
| | 00:57 | than one sequence, I think it's a very good
idea to name them, so we'll call this animate
| | 01:02 | stills, just kind of a functional sequence
to work on, and then we'll rename our real
| | 01:07 | sequence Farm to Table, and of course
we'll want to get a New Bin for our sequences.
| | 01:19 | Now that the preliminary work is done, let's
go ahead and bring our two images down onto
| | 01:26 | this new timeline, and we're just going to
take our time animating here and then bring
| | 01:30 | it into a regular sequence when we're ready.
| | 01:34 | There's our treated images,
already imported from before.
| | 01:38 | And we have BD. I'm going to extend
it and give him a nice long time here.
| | 01:44 | 20 seconds is more than I could ever need,
15 is still more than I could ever need, but
| | 01:50 | that's going to work fine for right now, and
then the market shot, and we'll extend it
| | 01:55 | to about the same length.
| | 01:58 | If you remember, we want to sort of program
a tilt or pedestal move on BD. We want them
| | 02:03 | to go from his shirt up to his face,
so we end the shot on his face.
| | 02:09 | So open this up and into the Effects Controls.
| | 02:12 | Now, I put this on a
separate sequence for a reason.
| | 02:17 | What I want to do in both of these moves is
do the full extent of the move and get the
| | 02:22 | speed right here in this sequence.
| | 02:25 | Basically what I'm trying to do is make more
movement than I need, essentially make a video
| | 02:30 | clip that I can then edit into
and out of, trim as I see fit.
| | 02:35 | A lot of problems that people have with these
moves on stills is the starting and stopping,
| | 02:41 | so my solution to that is to just create handles,
make that move go longer than I need it, and
| | 02:46 | then I can just cut into
exactly where I want it.
| | 02:49 | So let's program our motion, and I'm going
to start way down the bottom, and I'm going
| | 02:59 | to end up on BD's face.
| | 03:03 | Before I actually go up and down, I want to
see if I want to reduce this scale at all,
| | 03:08 | so I'll play with the scale a little
bit just mostly for the end framing.
| | 03:14 | I want BD to end in close up, but maybe not
100% close up, something like that, so I
| | 03:20 | wind up at 88%, but the judgment was all visual.
| | 03:26 | When I do these moves, I often like to start
the keyframing at the end, so I'll proceed
| | 03:32 | right to the end of the shot.
| | 03:35 | I'm not too concerned about being at the very
edge, because I can always move that keyframe.
| | 03:40 | And the first thing I'm going to program in
is my end state, and I'm actually going to
| | 03:44 | go, in this case, beyond the framing I want
and animate all the way to the top of the image.
| | 03:50 | That way if I have to dissolve or have a
transition, it's going to be there for me.
| | 03:56 | And we keyframe, and we
move back to the beginning.
| | 04:04 | I make my motion creating a keyframe, and I
tried to keep the right to left out of there,
| | 04:15 | but I can always fix that over here as well,
and let's just take a first glance at the
| | 04:20 | speed, because honestly that's all
I care about right now is the speed.
| | 04:35 | That speed is going to work for me. I think
that's just fine, and realize, I'm not going
| | 04:39 | to be using a lot of this part. I'm going
to cut in somewhere around here and then cut
| | 04:44 | out and just have this little
bit of a vertical move on BD.
| | 04:48 | So the last thing I'm going to do is
regardless of where these keyframes landed, I'm going
| | 04:52 | to pull them to the extremes.
| | 04:55 | So what I have is a move that goes end to end and
is programmed at the speed that I want it to go.
| | 05:03 | The process on this one is going to be very
similar except we have to get zoom involved,
| | 05:07 | as well as position.
| | 05:09 | My goals are a little different here, too,
because with these types of zooms I like it
| | 05:14 | to be very, very subtle.
| | 05:16 | So again, I'm working on the speed, but I'm
going to try to get this speed to where it's
| | 05:21 | almost not noticeable.
| | 05:22 | I think that little bit of floating,
zooming in and floating can be kind of nice.
| | 05:29 | Process is very much the same, of course
eventually we're going to get keyframes going on both
| | 05:34 | scale and position.
| | 05:35 | Again, I'm going to frame for the tightest
that I want, and I'm either visually referring
| | 05:40 | or mentally referring to the work I did in
Photoshop with those frames, and that was
| | 05:44 | about my tightest position.
| | 05:48 | We need both Position and Scale working, and then we
can drag back to the beginning, rescale and reposition.
| | 06:04 | And I like to check that I
like the framing at both ends.
| | 06:08 | I think we went a little too far there.
| | 06:11 | I think I'd like to start the framing
with this woman on the edge of the frame.
| | 06:16 | Let's see what our speed and move looks like.
| | 06:24 | That's very much the idea, but it's
actually a little too fast for me. I want it to be
| | 06:29 | slower and more subtle than that.
| | 06:31 | I've used up my full 15 seconds, but that's
fine, I can just extend this and then move
| | 06:38 | those keyframes further away, maintaining the same
move in style and position, but just slowing it down.
| | 06:47 | Yeah, that's pretty much what I had in mind.
| | 06:52 | So the purpose of this sequence is just to
animate these--or I should say pre-animate
| | 06:57 | them--just to create the motion with enough
room on either side that I can edit them in.
| | 07:03 | So let's go ahead and edit them in.
| | 07:04 | It's going to be mostly a
function of copy, paste and then trim.
| | 07:08 | If I copy the clip from here, and then I
want to switch over to our real sequence, where
| | 07:14 | I'm going to paste it. It is important that I
position the playhead about where it's going
| | 07:19 | to go, although that's going to need some
adjustment, but I also want it to land on
| | 07:24 | Video 3, so I want to make sure that
only Video 3 is targeted when I do my paste.
| | 07:30 | Okay, we see we have more than enough here,
but there's one other important thing, which
| | 07:36 | is I want to end right around when BD's face
is in frame, so right around there is where
| | 07:43 | I want to end, so I'll trim back to there.
| | 07:46 | And then I can match that with the end of the
clip, and I can trim the other end to match there.
| | 07:58 | Now, I might need a little
more adjustment, let's see.
| | 08:03 | (video playing)
| | 08:08 | We're not getting super smooth playback
without a render, but I think this is close.
| | 08:13 | I want to land about there.
| | 08:14 | Now, I want to show you why these handles
pay off, because now, if I remove the old
| | 08:21 | version, and I bring this down into that space,
look how easy it is to make a transition here.
| | 08:31 | If I reapply that default transition, and I
play it back, you see that these are already mixing nicely.
| | 08:36 | I don't have any of that ragged start/stop
that you sometimes have with these photos.
| | 08:43 | The other beauty of the way I've made these
photos is they basically act like clips now.
| | 08:48 | If I decide to use this in a different spot
or decide that it needs to be a little longer,
| | 08:52 | I know that I have that motion
programmed exactly where I want it.
| | 08:57 | Now that I've got this animated still in
position, all I have to do is a similar copy and paste
| | 09:03 | for this first still to add the zoom.
| | 09:06 | You can do that on your own because it's easy,
and I want you to remember that the way we've
| | 09:10 | built this, we're not stuck with anything.
We can continue to make adjustments just like
| | 09:15 | we would to a normal clip.
| | 09:20 |
| | Collapse this transcript |
| Creating a title graphic in Photoshop| 00:00 | Our next step here is to replace this
temporary title that we put in earlier, just for timing,
| | 00:06 | with the real title and look that
we want to the use in the piece.
| | 00:09 | I'm going to start by just deleting the
temporary one, because frankly, I think it's kind of
| | 00:16 | ugly. And now the next thing I want to do is
to prepare to make the real title in Photoshop.
| | 00:22 | I want to export one frame of
this background video for reference.
| | 00:26 | I am going to do something toward the
end, but before that transition starts.
| | 00:31 | So that'll work right around there, and I
basically just want some background for both layout
| | 00:36 | and for sort of the color scheme to match.
| | 00:41 | JPEG will do just fine, and I don't care so
much about the name, but what I will do is
| | 00:49 | put this on the desktop to be easy to find.
That's actually all for Premiere Pro for right now.
| | 00:59 | So we can go ahead and quit
Premiere Pro to get it out of the way.
| | 01:06 | Now I want to go to my Desktop and take my
reference still and open that in Photoshop.
| | 01:16 | The point of my reference still is two fold.
| | 01:19 | First of all, it guarantees that
I've got the right size for this title.
| | 01:23 | I've got the raster size from
the video, captured in the JPEG.
| | 01:28 | The other thing is it gives me an idea of the
layout and color scheme that I want to work on top of.
| | 01:33 | So I am going to design my title up here in
this area, but then when it's time to go back
| | 01:38 | into Premiere Pro I'll just
discard this background image.
| | 01:42 | It's just for reference.
| | 01:44 | Because I know some color correction is going
to start at later, and this image has a little
| | 01:48 | bit of a funky yellow glow to me, I am going
to go ahead and add a quick adjustment layer
| | 01:54 | just to balance out that color a little bit.
| | 01:58 | I want to get it a little more purply like sunset,
and I don't really want to go to those greens.
| | 02:09 | Sort of warm it up, and it's too warm.
Something like that.
| | 02:16 | And I am just trying to imitate the color
correction that I think is going to happen
| | 02:20 | in video so that I don't have a
problem with this matching later.
| | 02:24 | Next I am going to start to add my text layers.
| | 02:28 | So with the Text tool I am
just going to type the word FARM.
| | 02:34 | All caps, but I need to make some adjustments.
| | 02:36 | So I don't want italic,
Perpetua is going to work.
| | 02:41 | I think I need to up the size a little bit.
And I want these4 to have a real sort of
| | 02:47 | light and airy feel to them.
| | 02:50 | So I want to see if I can make these a
little taller, and I'll also space them out kind
| | 02:56 | of a lot--what's called kerning.
Let's sort of see how that looks.
| | 03:07 | It's getting there.
| | 03:11 | For the Color, I like to go ahead and use an
eyedropper and get into a color that is present
| | 03:20 | in my background here.
| | 03:24 | I don't want to go too light.
I don't want to go too dark.
| | 03:26 | It's mostly a gray black, but I want
it to sort of, little bit of a match.
| | 03:32 |
Yeah. You see I have the tonality now.
| | 03:37 | That's looking pretty close to what I want,
and it also has some flexibility that if I
| | 03:42 | reduce the Opacity or change the way it's
compositing, I can probably get it to mix
| | 03:47 | a little bit with the background.
So I think that'll all work well.
| | 03:51 | So now I have the word FARM looking how I like it
and for the most part TABLE is going to look the same.
| | 03:57 | So I can just duplicate that layer, and
we've maintained all of the style there, and now
| | 04:15 | I just need the word, to, so I can duplicate again,
but this time I'll have to change the style a bit.
| | 04:25 | I also like to keep my layers ordered.
| | 04:27 | Now this won't matter to the image
at all, but it can say FARM to TABLE.
| | 04:32 | I think that's a good idea.
Now just the to layer.
| | 04:41 | Be lower case, and it needs a few adjustments.
| | 04:44 | We'll go italic, and we need
to remove some of this fanciness.
| | 04:50 | So let's get it's kerning back under control,
and I don't think we need to stretch it vertically.
| | 04:56 | We want to make this look just kind like a
little subtle word to, and I want
| | 05:03 | to actually visually center it.
| | 05:08 | That is looking much, much
cleaner to me, and I'm really liking it.
| | 05:13 | The last thing I want to do is actually
turn off the Background layer, because when we
| | 05:17 | bring it back into Premiere Pro we
don't need to see this background.
| | 05:22 | It's just been for
reference, and there is our title.
| | 05:27 | I want to make sure to save this
properly, and that means saving it as a PSD.
| | 05:32 | Right now, it's still everything built on
top of this Background, so let's go ahead
| | 05:36 | and do Save As, make sure Photoshop is selected,
make sure you have the Layers, because that's
| | 05:44 | what you want, and let's give it an
informative name and save it on the Desktop. OK.
| | 05:55 | Now we're all ready to import
this title into Premiere Pro.
| | 05:58 | There are other tools to use to make titles,
but I like to choose the tool that's most suited
| | 06:03 | for the job and for this type of
title I think that's definitely Photoshop.
| | 06:08 |
| | Collapse this transcript |
| Animating a title graphic in Premiere| 00:00 | We've just build a title for our
video in Photoshop using Layers.
| | 00:05 | Now it's time to import that title
into Premiere Pro and animate it.
| | 00:10 | We need to import that
Photoshop file that we just made.
| | 00:14 | There is no need to really look
at it because we just made it.
| | 00:18 | In this case, I want to do File Import, and
I want to go to the version of the file that
| | 00:23 | I created ahead of time.
It's here in the exercise files.
| | 00:26 | You probably saved your own on the Desktop,
and you can use either, but I've provided
| | 00:31 | a version for you. Just in case there are some small
discrepancies, we can all stay together in our example.
| | 00:38 | Okay, this is important, and we're going to
choose something different than we did last time.
| | 00:44 | First of all, you can see that our
background layer was already turned off, which is as we
| | 00:48 | want it, but I don't want to merge
all layers. What I want is a sequence.
| | 00:53 | I need to have all three of this layers, TABLE, to, and
FARM lined up so that I can bring them in one at a time.
| | 01:02 | You can see that our title was now
imported as a folder, and inside that folder I have
| | 01:09 | each layer of the PSD as a graphic, and I
have a sequence that represents all of them.
| | 01:16 | Just as I organized, I want to do one more
step, because every type of media I have I've
| | 01:22 | got a root level folder for.
| | 01:25 | I want to go New Bin/titles and then move
this new Title package in as well as the Temp
| | 01:33 | Title that's still in the project, even though
we don't need it anymore. It was just temporary.
| | 01:38 | Okay, here is where we really want to work.
| | 01:42 | And what I want to do is open this
sequence that has the graphic layers.
| | 01:50 | Here you can see all three layers, and what
I want is for them to come in one at a time,
| | 01:57 | first FARM, then to, then TABLE.
| | 02:00 | So make these into a little inverted stack,
and just approximating, I'm going to go for
| | 02:07 | about a second in between each.
We'll be able to adjust that later.
| | 02:12 | And then I'm going to throw a simple Default
Transition on them, and I'm not that worried
| | 02:19 | if we're overlapping a little bit. I haven't
quite decided what the aesthetic will be like here.
| | 02:24 | So we'll line them up so they are
overlapping but just a slight bit.
| | 02:30 | So one starts to fade in right
as the other one is finishing.
| | 02:35 | And then we'll also extend here because we
want to have plenty of footage to work with.
| | 02:41 | And I'm really not that concerned about going
too long, because we can just cut this off later.
| | 02:46 | Okay, I think that will be enough, and I think
for timing is good, but it won't be a problem
| | 02:52 | to come back in here later.
| | 02:54 | We can give it a quick watch up here on top of
black, and of course they are coming in one at a time.
| | 03:04 | So now back on our main Timeline, I've still
marked where this old graphic was, and I want
| | 03:11 | to move the whole sequence down onto
Video 3 creating what is known as a nest.
| | 03:17 | I'm noticing that that audio from the nest
is coming down, and it's going to interfere
| | 03:21 | with my music, I don't want that so I want to
quickly lock my audio track so I don't create a problem.
| | 03:31 | Now no audio will come down.
| | 03:32 | I'm going to start that a little earlier
because remember they fade up one at a time now.
| | 03:38 | Okay, we've just got a look at this to see
if we're in the ballpark or not, and I like
| | 03:41 | to bring it all the way to the beginning.
| | 03:43 | So first moment of our piece, got a nice image,
natural sound, let's see how the title's working.
| | 03:50 | (video playing)
| | 03:57 | I got to say my timing is almost exactly
what I want. There's just a few more steps to
| | 04:02 | make this work well.
| | 04:03 | And as you can see, our goal is nothing fancy,
just something that feels really natural and
| | 04:08 | organic with our material.
| | 04:10 | So I want to trim this back to about the
middle of the video transition, and I want to create
| | 04:19 | its own transition but a shorter one.
| | 04:22 | I'm just want to not draw attention to this
fade out. I'm hoping we can just kind of get
| | 04:26 | it to mix in with the other transition
and not call attention to itself.
| | 04:32 | That part looks good. There's one
more trick that I really like here.
| | 04:37 | I have this idea that I can sync with the pan.
| | 04:41 | So I'm going in one direction, and I have a
feeling if I put a little bit of animation
| | 04:47 | on this in that same direction or maybe the
opposite direction, I'm not quite sure yet,
| | 04:52 | I'll get something attractive.
| | 04:54 | Now the nice part about working with the nest is now I
want to animate all three elements, not individually.
| | 05:02 | So I can make my keyframes here
on the nest or on the sequence.
| | 05:05 | So go ahead and load that up into the viewer, and you
see that I'm now controlling the effects on the whole nest.
| | 05:14 | So the rest of this won't be difficult. We
can throw a keyframe at the end where we want
| | 05:20 | the things to land.
| | 05:22 | And I just want to experiment with a little
bit of motion starting at the beginning so
| | 05:31 | that the title will move in sync with the pan.
| | 05:35 | There we can see that little bit of motion being
created, and it might even be too much, let's see.
| | 05:41 | Move this keyframe outside the transition
so it stays in motion, and let's see if we've
| | 05:48 | got what we like, we may need to
render this to get a good idea.
| | 05:51 | It's becoming a pretty
complex effect to play in real time.
| | 05:54 | (video playing)
| | 06:00 | Too much motion. It is what I'm looking for, but it's
just going too far. I want to start it much tighter.
| | 06:10 | I just feel like the subtlest bit of
motion is going to help this piece.
| | 06:17 | (video playing)
| | 06:23 | For now that's exactly what I'm looking for.
| | 06:26 | There is still going to be time to make some
tweaks, especially when we adjust the color
| | 06:30 | of the image and also the
composite of the graphic.
| | 06:35 | But for now, we've really
represented the way I want this to look.
| | 06:40 |
| | Collapse this transcript |
| Presenting graphics work| 00:00 | At each major stage of development, it's a
good idea to share your work with your client,
| | 00:06 | and at each stage there
are different priorities.
| | 00:09 | So we've just built this
really nice title graphic.
| | 00:13 | And it's going to be a good idea to share
it for approval for a number of reasons.
| | 00:18 | Graphics tend to be time
consuming and sometimes expensive.
| | 00:21 | So if the clients going to want to change, if
you've got a misspelling, or they don't like the color.
| | 00:27 | You want to know that sooner not later.
| | 00:29 | At the same time you need to be careful
about sharing graphics because you don't want to
| | 00:33 | share a highly-compressed file, they need to
see the full quality looks of the graphics.
| | 00:39 | There are a couple of good choices here.
| | 00:41 | One is to make a high quality
export of a short piece of the video.
| | 00:46 | So we really only need to show this first
ten seconds, seven seconds, something like
| | 00:51 | that, really just to there.
| | 00:54 | So if I move my work area much shorter, and
then I go to Export > Media, I can just make
| | 01:03 | sure that I'm only exporting the Work Area
just a little bit, in fact just over eight
| | 01:08 | seconds, and then I can just Match Sequence
Settings ensuring that I'm going to make an
| | 01:13 | output that's exactly the quality of the
sequence I am working on, no compression here.
| | 01:20 | I'm not going to actually do the
export, you've done that plenty of times.
| | 01:24 | I just want to point out that this is
going to make a relatively large file.
| | 01:28 | But because it's only eight seconds the
data may still be small enough to email or post
| | 01:33 | online without a problem.
| | 01:35 | Anyway you cut it it's better than sending a
low-quality representation of graphics work
| | 01:40 | because no one wants to look at that.
| | 01:43 | Of course your other choice is to export a still,
and that might very well be effective in this case.
| | 01:49 | If I was going to export a still, I would
get the best frame possible toward the end
| | 01:53 | when this is as composed as possible, and
I would just go ahead and make the still.
| | 02:00 | Again you've scene this before, you would just
give it an informative name, attach it to an email.
| | 02:05 | I might do both or call the
client up and ask what they want.
| | 02:09 | But the opportunity to share this type of
work is pretty important because a lot of
| | 02:14 | time it goes into it.
| | 02:16 | Actually not that I think about it I would
probably share the video because I am just
| | 02:20 | enthralled with how these natural
sounds are working with the title.
| | 02:28 | Why would you not want to share that
first eight seconds with your client?
| | 02:36 | I know I would.
| | 02:41 |
| | Collapse this transcript |
|
|
5. Phase 5: Fine-CuttingPerforming an editorial evaluation| 00:00 | There is no exact definition of fine
cutting or how it differs from rough cutting, but
| | 00:06 | it is the stage in between the rough
cut and the picture lock for finishing.
| | 00:10 | So the emphasis is on
editorial tweaking and timing.
| | 00:15 | Presumably, a good rough cut has most of
your ingredients down on the Timeline, and fine
| | 00:21 | cutting is about watching closely and
making improvements across the board.
| | 00:26 | In particular, I'm looking for issues
of timing and editorial, that is content.
| | 00:32 | And I'm not focusing on certain finishing issues such
as color correction, final compositing, and audio mix.
| | 00:40 | The first step in fine cutting is really
to take a close watch of where your cut is.
| | 00:46 | But remember, you're trying to tune in to
editorial issues and timing issues and tune
| | 00:51 | out distractions like mix
issues and color issues.
| | 00:56 | I'm going to go ahead and watch the entire
Timeline, and I'm going to prepare my interface
| | 01:01 | to make it easy on myself.
| | 01:02 | I'm going to collapse my tracks, set my
Timeline so I can see as much as possible,
| | 01:13 | and then I may make my Viewer somewhat bigger.
| | 01:20 | It may be a compromise if you don't have enough
real estate, but something like that should work.
| | 01:25 | So I'm going to play all the way through,
and you can do this on your own, but I usually
| | 01:30 | do this with a notebook in hand, and
I am focusing on the time code here.
| | 01:35 | So when I make a note I
can know exactly where it is.
| | 01:39 | Now this is a short piece, so time code is
going to be more important on a longer piece.
| | 01:43 | Okay, I'm going to press Play
and watch. You do that on your own.
| | 01:50 | (video playing)
| | 01:59 | Okay, here are some things that I noticed.
| | 02:03 | I noticed one area that I felt like there
may be some editorial opportunities, and that
| | 02:08 | is here, it's sort of the end
of the Farmers Market section.
| | 02:13 | I'm only using one bite from one person
here at the Farmers Market, and it's good,
| | 02:18 | but I wonder if there's not more.
| | 02:21 | And I'm not totally satisfied about this
transition to the restaurant, particularly this shot
| | 02:26 | with the cash register is not
really catching my eye in a good way.
| | 02:31 | So a little bit of editorial attention here
in the center, and here are some examples of
| | 02:36 | some timing things I noticed,
generally at transitional moments.
| | 02:41 | Check this section out when we transition
from the farm to the second section with history
| | 02:47 | and also the music changes.
| | 02:49 | Basically this is doing exactly what I want
editorially, but the timing is not quite right,
| | 02:54 | and I know it can be improved.
| | 02:59 | (video playing)
| | 03:07 | Similarly, the end works fairly well, but I
know I can time things better with the last
| | 03:12 | couple of shots and the music.
| | 03:14 | See if you can see the same
opportunities that I'm seeing here.
| | 03:19 | (video playing)
| | 03:32 | Partly what I'm noticing here are mix issues,
and we're not going to deal with that immediately.
| | 03:36 | But I also think that there are some
improvements to timing on these last couple of shots.
| | 03:41 | We linger for a little too long on the out
of focus part of this rack focus, but you
| | 03:46 | can see how detail-oriented we're
becoming in the fine cut evaluation.
| | 03:51 | I want to point out one more type of
thing that I noticed during this evaluation.
| | 03:56 | Probably the most detail-oriented part.
| | 04:00 | Its edits like this that have little
audio glitches that can be improved.
| | 04:05 | (BD Dautch: And we've got about 10 acres
in Ojai, and it's all certified organic--)
| | 04:10 | Did you hear that, how he sort of
steps on his own words in the edit?
| | 04:14 | Those types of things are definitely what
we want to clean up in the fine cut stage.
| | 04:18 | Okay, we have our fine
cutting plan in front of us.
| | 04:22 | Probably we've taken some notes based on this
evaluation, and it's much easier to work off
| | 04:27 | a list during fine cutting.
The pattern just repeats itself.
| | 04:31 | You watch, write down some things, fix them,
jump back in, and watch again, rinse and repeat.
| | 04:38 | Fine cutting involves a lot of iteration.
| | 04:43 |
| | Collapse this transcript |
| Refining scene order| 00:00 | One of the first things that I like to
consider during the fine cutting phase is the order
| | 00:06 | of the scenes or ideas in our piece.
| | 00:09 | Are we deploying our best
stuff in the best order?
| | 00:14 | Sometimes at this phase I go back to the
note card exercise or outlining exercise that we
| | 00:19 | did earlier, and I actually shuffle around
those note cards to try to conceptualize different
| | 00:25 | orders for the piece.
| | 00:27 | In this case, our piece is pretty short, and
there's not really that many possibilities,
| | 00:33 | but during my valuation I did
notice one potential opportunity.
| | 00:38 | Let me show you where it is.
| | 00:39 | When we moved to the scene with John Downey
at Downey's restaurant, we've got an interesting
| | 00:45 | line that we could use in a
different place to introduce BD.
| | 00:49 | Listen to what I'm talking about.
| | 00:58 | (John Downey: We opened this restaurant in 1982,
and in about 1983 BD came through the back door.)
| | 01:09 | Now ignore the audio level. We will fix
that later, and remember that we identified
| | 01:14 | this bite way back at the beginning as an
interesting place where our characters' stories connect.
| | 01:21 | The possibility I realized is we
could use Downey to introduce BD.
| | 01:26 | We could basically start here, start at the
restaurant and use this is as our very first line.
| | 01:33 | Structurally, I think that would work okay.
| | 01:37 | I'm not sure if it would be any stronger,
and normally I would probably do the swap just
| | 01:42 | to see it, but I'm not going to
do that, and let me tell you why.
| | 01:46 | This project is the Farm to Table project,
not the Table to Farm project, and it doesn't
| | 01:52 | make any sense to me just to do a swap to see
when I know that editorially and thematically
| | 01:59 | it's not the direction we're going to go.
| | 02:02 | See, sometimes things are possible, but
they're just not warranted by the material or the
| | 02:07 | mandate of the piece.
And I see this as one of those occasions.
| | 02:12 | Now to be clear, on a longer piece or a piece
with more flexibility, you want to spend more
| | 02:17 | time at this stage really
thinking about the order of the scenes.
| | 02:22 | In this case, I think they're kind of dictated.
| | 02:25 | We have some very clear scenes in terms of
the farm, the farmers market, and the restaurant.
| | 02:31 | And we have a clear mandate from
the client to go from Farm to Table.
| | 02:36 | It's very hard for me to justify shuffling
things around when the mandate is so very clear.
| | 02:42 | But recognize that those are observations
about this particular project and apply this
| | 02:47 | type of thinking to your own project,
particularly a long and complex one.
| | 02:52 |
| | Collapse this transcript |
| Adjusting interview content| 00:00 | One part of my process when fine cutting is
to try to go through one by one address
| | 00:07 | different aspects of the cut.
| | 00:09 | Right now, I want to address
everything about bites carefully.
| | 00:14 | Are there bites that could be adjusted, are
there bites that could be added, is there anything
| | 00:19 | that could be cut in the bites?
| | 00:22 | A couple of these opportunities I noticed
when we were evaluating, but before we start
| | 00:26 | to edit, I want to adjust the Interface.
| | 00:30 | I like the CS5.5 Interface, but I want to
reset it, and this is close to how I like
| | 00:36 | to edit, but I'd like to provide more room
for the timeline, and I don't really need
| | 00:41 | the media browser available.
| | 00:43 | So I am going to go ahead and close that
whole frame, and that makes plenty of room for my
| | 00:50 | timeline, and actually this is
really one of my favorite editing setups.
| | 00:54 | I am going to go head and save it, and
we can call that Jason's Editing Workspace.
| | 01:02 | Of course, you don't have to that, but when I
noticed that I am making the same adjustments
| | 01:07 | time and time again, and you can save a
customization, I say go ahead and do it. Okay.
| | 01:13 | Now let's look at those opportunities, one is an
add in, and it comes here in the farmers market.
| | 01:19 | Let's listen to what's there, and then
we'll listen to the bite that's an opportunity,
| | 01:23 | not to replace, but to add in.
| | 01:26 | (male speaker: We're serving our local customers
our local product, and so--since we can,
| | 01:31 | and since it's an amazing product--
we're happy to do it.)
| | 01:36 | Okay, I think that's part of the point, we are
hooking up the customers with this fresh produce,
| | 01:41 | but as I was evaluating, I remembered
that we have another chef at the market.
| | 01:47 | And although he had some trouble getting
warmed up, toward the end he's got some good stuff,
| | 01:52 | and I thought it might really add to the
point being made by the first chef. Let's listen.
| | 01:57 | (male speaker: And I feel like we're really
lucky to live here in Santa Barbara,
| | 02:00 | where we're kind of on the forefront
for the country, I feel like.
| | 02:04 | We definitely have access to some of the nicest
produce around. I don't know how I'd run
| | 02:09 | my restaurant without all these farms, that's for sure.
This is where the magic starts.)
| | 02:14 | So if you notice, it's the very last
thing he says in this interview. It took him to
| | 02:19 | here to finally really get
some flow in his interview.
| | 02:22 | But what is says there at the end is pretty
nice, especially that's where the magic starts.
| | 02:27 | I want to move over to the Waveform to
properly edit this. There are some ums and ahs, and
| | 02:35 | that might turn out to be a deal breaker with this,
but let's see if we can get something we like.
| | 02:43 | (video playing)
| | 03:21 | Okay, I am going to try this with the littlest
bit of the bite to avoid a lot of the ums and ahs.
| | 03:29 | (video playing)
| | 03:32 | Oops, not that short.
| | 03:35 | (video playing)
| | 03:48 | I like what he says, but it's awfully flat, and
I am not sure it's going to really work out for us.
| | 03:54 | Let's go ahead and position this right
after the bite we're using, and I need to adjust
| | 04:01 | my locks here. I want the natural sounds to
the move when I insert, but I want to make
| | 04:07 | sure the music doesn't
break and stays locked in place.
| | 04:10 | You want to be kind of careful at this stage
of the game when you're doing this.
| | 04:14 | It's easy to mess something up downstream,
and you want to avoid that.
| | 04:17 | So good locking is important, and then also
don't forget to target your tracks that we
| | 04:22 | were adding interview in VO, and
we've tried to be organized here.
| | 04:26 | So let's keep it up.
| | 04:27 | So we've targeted our tracks, locked some
other tracks, marked the bite we want to add,
| | 04:33 | and now we can just do a quick Insert.
| | 04:35 | Now let's play this back. It might need some
massaging, and frankly it might not have been
| | 04:39 | a good idea, let's see.
| | 04:42 | (male speaker: We're serving our local customers
our local product, and so--since we can,
| | 04:46 | and since it's an amazing product--
we're happy to do it.)
| | 04:49 | (male speaker: We definitely have access to some
of the nicest produce around. I don't know how I'd run
| | 04:54 | my restaurant without all these farms, that's for sure.
This is where the magic starts.)
| | 04:58 | Yeah, it needs some clean up, it's debatable,
but he's a little flat. I wish he were more
| | 05:05 | up the whole time, but that line about magic,
and once we get the audio mixed, I think we've
| | 05:09 | got an improvement here.
| | 05:11 | I want to look at one other type of adjustment
to the bites, and it's a type of thing you'll
| | 05:14 | see a lot of, but I just
want to look at one example.
| | 05:19 | It's back here at the beginning, and you
might remember when we evaluated that one of the
| | 05:24 | edits of BD's bites was a little rough.
| | 05:27 | (BD Dautch: ...and it's all certified organic.)
Did you hear that, he kind of steps on it?
| | 05:30 | (BD Dautch: ...acres in Ojai,
and it's all certified organic.)
| | 05:34 | Let's look at some
Waveform and get a closer look.
| | 05:37 | This type of edit really
benefits from the waveforms.
| | 05:40 | So let's make it nice and big and zoom in
little further that way, and I think I see
| | 05:46 | the problem already.
I think it's that there, let's listen again.
| | 05:50 | (BD Dautch: ...acres in Ojai,
and it's all certified organic.)
| | 05:54 | Yep, it's just so one little noise, and in fact,
I think I like the pause with the background
| | 05:59 | noise, it's just that one little bit.
| | 06:01 | So let's get about Ripple tool and see if
we can't just bring that in down to size.
| | 06:09 | We still have music locked so that's not
going to be affected, and let's see what we got.
| | 06:14 | (video playing)
One more time.
| | 06:17 | (BD Dautch: We've got about 10 acres in Ojai.
It's all certified organic.)
| | 06:22 | I wonder if there is a little bit of improvement
on the other side of this edit. Yeah, it looks
| | 06:33 | like this word proceeding is going
to be a problem to us, let's listen!
| | 06:36 | (video playing)
What is that word?
| | 06:40 | (video playing)
| | 06:44 | Okay, it looks like that's it.
(video playing)
| | 06:47 | So that's our best shot, it looks like it's
going to be sort off frame to frame between those words.
| | 06:53 | W might not be totally happy
here, but let's listen again.
| | 06:57 | (video playing)
| | 06:59 | And if we give it one more frame.
(video playing)
| | 07:04 | Then we are getting the end of the word
and so, so I think we have the best possible
| | 07:10 | edit now for this audio edit.
| | 07:12 | It doesn't sound wonderful, but I am pretty
confident that in the actual mix we can still
| | 07:17 | improve this, but in terms of editorial,
it's not getting any better by trimming.
| | 07:23 | Those are just two examples of how you
may adjust bites at the fine cutting stage.
| | 07:27 | You may introduce something new, you may eliminate
something, we didn't see any of those opportunities
| | 07:32 | here, but it does happen that you realize that
bite is just redundant and then this type of thing.
| | 07:37 | Do we have the best edit point on each and
every word, and this type of adjustment really
| | 07:43 | should be done at every edit point.
| | 07:45 | You should take a pass where you
just look at each one of these.
| | 07:48 | I mean an edit like this is going to be fine,
you can see from the waveform, but in other
| | 07:52 | places you want to make sure that you're coming in
and out at the best possible moment on those bites.
| | 07:56 |
| | Collapse this transcript |
| Adjusting B-roll shots| 00:00 | Now that we've looked at our interview
content in a detailed way, I went into at pass where
| | 00:06 | I look at all of the B-roll or
observational content in a similar detailed way.
| | 00:11 | Now often these processes overlap.
| | 00:14 | It's not accurate that I only look at the
interview and then only look at the B-roll.
| | 00:19 | In fact, it's necessary
to massage these in order.
| | 00:22 | So I want to look at a specific part of the
timeline where I noticed an opportunity during
| | 00:27 | our evaluation, but because we've changed the
bites in this area, the things have changed,
| | 00:32 | and we need to adapt to what's really going on.
So it's this shot right here.
| | 00:37 | It follows the new bite from the chef,
and it's this cash register shot.
| | 00:42 | Let's watch, and then we'll discuss some more.
| | 00:44 | (male speaker: I don't know how I'd run my restaurant
without all these farms, that's for sure.
| | 00:47 | This is where the magic starts.)
| | 00:57 | So originally this found its way into the
cut as a transition between the farmers market
| | 01:03 | and the restaurant.
| | 01:04 | In other words, purchase happens, and now we
find ourselves at the restaurant with the food.
| | 01:10 | It's an okay editorial idea, but it's a
little on the nose to me, and visually I'm just not
| | 01:17 | enjoying this cash register shot.
| | 01:19 | At the very least, we could use it shorter
and just see the part where it lights up.
| | 01:24 | But I want to see if we can do a
little more with our content here.
| | 01:28 | This bothered me when we first evaluated,
but it bothers me even more now that we have
| | 01:32 | another strong bite that ends with all of
the magic, and then we go to a cash register.
| | 01:37 | It's just not working for me.
| | 01:39 | Let's go back in to our B-roll bin
and see what might help this situation.
| | 01:48 | I feel like I want something
opposite of the cash register.
| | 01:52 | Something with people, and I'm noticing
that we have this B-roll shot, it's unused, it
| | 01:58 | has people, it's nice and wide, and I want to
open that up and see if it might work for us.
| | 02:04 | I can get this bin out of
the way here. There we go.
| | 02:12 | (video playing)
| | 02:14 | There's a little bit of
motion in the shot, which is fine.
| | 02:17 | I just want to find a place that, that
kind of fills up the frame with people.
| | 02:22 | Also, I think I preferred the end of this
pan where we have more depth in the shot.
| | 02:27 | Yeah, maybe need just something like this.
| | 02:31 | I think this will create more of
a breath movement in our piece.
| | 02:36 | I think I want to use this slow pan back in
the other direction and maybe end when those
| | 02:41 | folks exit frame right around there.
So let's put it out.
| | 02:45 | I am not sure yet how much of this I want.
| | 02:48 | I'm going to start by inserting it on the timeline,
but it might wind up replacing that other shot.
| | 02:53 | Let's see.
(video playing)
| | 02:58 | So I'm going to mark it at the beginning
of the pan, and it might be a little bit much
| | 03:01 | for what we want, but we can work
it out on the timeline eventually.
| | 03:06 | So back on the timeline I'm
going to go ahead and insert this.
| | 03:09 | My music tracks are already
locked, and that's a good thing.
| | 03:12 | I don't want to be breaking my music track here.
I need to insert so everything else pushes down.
| | 03:17 | But I also want to place in this clip on the
right video track, which is the B-roll video
| | 03:22 | track and the natural sound down here.
| | 03:25 | So I'll go ahead and properly
target and go ahead and do an insert.
| | 03:35 | Let's see how this plays out, and it's
definitely going to need some adjustment, and I'm going
| | 03:38 | to go ahead and do that adjustment now,
because it doesn't pay to just chunk something in
| | 03:43 | at this stage of the game and not make it work.
| | 03:45 | (male speaker: ...without all these farms, that's for sure.
This is where the magic starts.)
| | 03:50 | (video playing)
| | 04:05 | Okay, I think this is going to work with
both shots, but I think it in total, it needs
| | 04:09 | to be about half the time.
| | 04:11 | In fact, I would like both of these shots
to fit roughly in the time that the original
| | 04:15 | shot was taking up, and that's
going to take some ripple work.
| | 04:19 | So let's start with our original
shot, and I will zoom in a little bit.
| | 04:23 | And what I want to do is just reduce this
by about half, and in particular I want to
| | 04:27 | see the part where the cash register lights up.
| | 04:31 | So looking up top there, I want to come
into it right before the light goes on.
| | 04:36 | And you can see on the timeline that
I'm reducing the shot by about half.
| | 04:41 | Now same basic deal, and I think it's
more to the end of the shot that I like this.
| | 04:47 | So let's remove a little from the beginning,
and I'm not sure exactly my edit in point,
| | 04:52 | but I'm also not sure that it matters a whole lot.
| | 04:56 | So let's try it about there, and let's just watch this
through and see if we do indeed have an improvement.
| | 05:03 | And you know what? We've been working on this section
quite a bit here, both with the bites and the B-roll.
| | 05:08 | So I'm going to take it back a full
bite so we see with the flow is like here.
| | 05:12 | I'm going to play these two bites, and
then I'm going to play all the way through the
| | 05:15 | beginning of Downey, and let's see if we
have indeed improved this part of our edit.
| | 05:22 | (male speaker: We're serving our local customers
our local product, and so--since we can,
| | 05:26 | and since it's an amazing product--
we're happy to do it.)
| | 05:29 | (male speaker: We definitely have access to some of
the nicest produce around. I don't know how I'd run
| | 05:34 | my restaurant without all these farms, that's for sure.
This is where the magic starts.)
| | 05:39 | (video playing)
| | 05:51 | (John Downey: We opened this
restaurant in 1982, and in about 1983--)
| | 05:58 | Okay, it needs a little bit of work on
timing and quite a bite of work on audio,
| | 06:05 | but I think we have improved this part of the cut.
| | 06:08 | We took sort of a throwaway moment with the
cash register and by adding some interview
| | 06:12 | content and also some better B-roll, we
created a real moment and also a pause in the flow
| | 06:19 | where people can sort of take it in between
the comment about magic, and when we really
| | 06:25 | go into the restaurant scene.
This is what fine cutting is all about.
| | 06:30 |
| | Collapse this transcript |
| Tightening clip timing| 00:00 | This movie is about timing
during the fine cut stage.
| | 00:04 | Now I kind of hear you saying, timing?
I thought all editing was about timing, and
| | 00:09 | technically that's correct.
| | 00:11 | However, our focus here is to look at some
detailed issues with the timing and see how
| | 00:16 | we can improve edits from just simply saying
what we want them to say to actually singing
| | 00:22 | and really working in the rhythm of a piece.
| | 00:25 | I want to look at two specific spots that
are important, but I want you to apply this
| | 00:30 | type of thinking to your entire edit.
| | 00:34 | The first spot I want to look at is actually
the ending, and endings are important and so
| | 00:39 | timing will be important here.
There's also a clear improvement to be made.
| | 00:44 | Let's look at this last shot,
and I'll show you what I mean.
| | 00:51 | (video playing)
| | 00:58 | Two things catch my eye right away.
One's obvious, the music cuts out way too early.
| | 01:04 | So while we can't finalize that right
now, we can briefly fix the problem.
| | 01:09 | I want to go ahead and extend
the music more than what I need.
| | 01:14 | There is still going to be
some more content at the end.
| | 01:16 | In particular I need a callout or a URL as a graphic,
and the music is not going to fade out for a while.
| | 01:22 | That's not my concern at the moment.
| | 01:24 | My concern is getting the timing of this shot vis-a-vis
the shots before it and the music just perfect.
| | 01:31 | So the second thing that's bothering me
here is we have a rack focus, but it just seems
| | 01:35 | to linger a little too long
before it resolves itself.
| | 01:38 | (video playing)
| | 01:43 | It's just a little too long
before it really comes into focus.
| | 01:46 | And there's a few ways to adjust this, but
I'm going to start with slipping the shot,
| | 01:51 | so it resolves and focus a little
sooner to the transition that precedes it.
| | 01:57 | You have to look closely to see the focus
issue, but I'm making sure that I start out
| | 02:03 | of focus and then pretty
quickly resolve that focus.
| | 02:09 | Let's see how it looks.
(video playing)
| | 02:14 | Yeah, that's better already.
(video playing)
| | 02:20 | Now I just want to figure out when to
fade this out, and I do want the shot to linger,
| | 02:25 | and I think I also want sort of a slow
fade-out, because it is the end of the piece, and I
| | 02:30 | definitely wanted to time well with the music.
| | 02:32 | I'm going to open up the waveform here and see
if I can see anything else about this music.
| | 02:39 | Let's listen mostly this time.
(video playing)
| | 02:47 | Okay, I'm sort of looking for an opportunity
for that graphic to come in, and I think there
| | 02:52 | may be a good music sting around here.
| | 02:56 | So maybe I can just fade out in a long way during this
section of music that's just a little bit repetitive.
| | 03:03 | So I'm going to extend that transition, and
I'm going to extend the transition a little
| | 03:10 | more, almost close to 2 seconds.
Let's see how we like this.
| | 03:15 | When you're doing this type of work, I
often find that you really need to take it back
| | 03:19 | a shot or two to get the feeling of the pacing, and you
can't really do timing just watching one shot at a time.
| | 03:27 | (BD Dautch: ...to community...it becomes a
celebration of life, as well as a culinary celebration.)
| | 03:49 | It's better. I want to do some similar
work at the beginning of the piece.
| | 03:53 | It's a little more complicated,
but I think it'll work well.
| | 03:58 | If we watch our beginning, a lot of
it is really working in our favor.
| | 04:05 | (video playing)
| | 04:11 | I'm liking the natural sound, and I'm
liking the timing when the graphics come up.
| | 04:16 | The one area that I think we could improve --
or at least I want to look at--is changing
| | 04:21 | the timing of the background shot.
| | 04:24 | In particular, I'm interested if we can
slide things around so that we get a little more
| | 04:29 | of the mountains coming in, and if we're
lucky I think we can get the mountain silhouette
| | 04:34 | to sort of touch the name a little bit
and make it feel little more integrated.
| | 04:39 | Now what's going to be important here is that
we don't mess up anything that's already working,
| | 04:43 | and in particular, I want to lock those nat
sounds, because I'm already really liking
| | 04:49 | those bird sounds exactly where they come in.
| | 04:51 | Also, I'm not too worried about moving this
pan out of sync with the natural sounds, because
| | 04:56 | there really is no sync here.
We don't see anything that indicates the birds.
| | 05:01 | So that should be no problem.
| | 05:03 | So with this locked, I can slip the shot, and
it's going to be similar to the last one in
| | 05:08 | that during the slip, I'm just looking to slide
those mountains a little more into the shot
| | 05:13 | before we cut away.
| | 05:15 | I don't want to go so far that we lose
the tree, because I like the tree also.
| | 05:19 | So with that change, let's see what we get.
(video playing)
| | 05:30 | Yeah, I think that's better.
| | 05:31 | I mean, it's subtle, but I like the way we're
just getting that little bit of interaction there.
| | 05:36 | I think I want a little more.
| | 05:38 | We are slipped about 3 seconds out of sync,
maybe I can slip about closer to 4 seconds.
| | 05:46 | Let's see what we think.
(video playing)
| | 05:56 | Yeah, we can work a little more on
the actual interaction between the layers.
| | 06:00 | We'll do that later when we look at the composite, but
for now I think we've made a subtle improvement here.
| | 06:07 | And that's really the key to this movie.
| | 06:09 | These improvements are subtle, but they are
improvements, and if you diligently work through
| | 06:14 | your timeline doing this type of fine cutting, the cumulative
effect will really make a difference to the viewer.
| | 06:25 |
| | Collapse this transcript |
| Fine-cutting audio| 00:00 | Fine cutting audio is an
extremely important step.
| | 00:05 | Now this is different than mixing audio. I'm
not concerned with the levels at the moment.
| | 00:10 | What I'm concerned with is getting the best
frame-accurate edits to all of my audio tracks.
| | 00:17 | Let me show you what I mean.
| | 00:18 | Let's start at the beginning with this interview
with BD. I need to unlock all this audio because
| | 00:24 | we're going to be working on it, and I don't
want to listen just to all of the sounds mixed together.
| | 00:29 | I actually want to turn off everything but
the voiceover, so I can really focus on
| | 00:35 | how BD's interview is working.
Okay, without the background noise, let's listen.
| | 00:43 | (BD Dautch: Okay. My name is BD Dautch, and I have
Earthtrine Farm, and we've got about 10 acres in Ojai.
| | 00:51 | It's all certified organic by CCOF.)
| | 00:56 | And what I want to work on is that raggedness
this during the start and stop. When we go
| | 01:01 | from no sound to sound, it's a little rough.
| | 01:04 | And there is two ways to
work on this, they're related.
| | 01:08 | Let's scroll down so we can see the waveform,
and the first of these techniques we've actually
| | 01:12 | seen some of before, which is just finding the
perfect edit point frame by frame, so if we listen.
| | 01:19 | (video playing)
| | 01:20 | It sounds pretty good, but I always like to
know if I extend a few frames do I get into
| | 01:24 | trouble with another word or
do I have a smoother transition?
| | 01:27 | (video playing)
Okay, we do get in trouble with him saying okay.
| | 01:31 | So let's nudge that back one frame at a
time until we find that perfect frame.
| | 01:36 | (video playing)
| | 01:37 | I think one more--and by the way, I'm not
concerned that I'm also editing the video in this case
| | 01:43 | because it's completely covered by a cover
shot, but in some instances you would have
| | 01:47 | to lock this off and adjust separately.
(video playing)
| | 01:52 | Maybe one more frame.
(video playing)
| | 02:00 | I think that's the best we're going to do,
but I might try one more just to make sure.
| | 02:04 | As once you've gone too far
you know you've got the best one.
| | 02:07 | (video playing)
I think so.
| | 02:10 | Okay, so the second thing we have to do is some how
blend this transition from no noise to BD talking.
| | 02:19 | And the work we do here is going to be
careful work and then when we turn the other audio
| | 02:23 | tracks on, it will sort of get buried,
so we won't hear it as much anyway.
| | 02:28 | So we're reducing the imperfections, and then they're
going to get reduced again, and this is a good thing.
| | 02:33 | So what we need is something called room tone,
and that's defined as the noise going into
| | 02:38 | the microphone during the
interview, but when no one's talking.
| | 02:42 | Of course in this case it was an outdoor interview so
room tone is a bit of a misnomer, but it's still called that.
| | 02:48 | We actually have to start by importing the
room tone into the project, so let's get our
| | 02:52 | Media Browser open and navigate
to where your exercise files are.
| | 03:03 | And in the Media folder you can see that we
have a directory called room tone, there it
| | 03:10 | is, and I'm actually going to trust that
what I need is in there and just drag the entire
| | 03:16 | folder up into the project pane so that I
create not just a new clip with the room tone
| | 03:21 | but also a bin to stay organized.
| | 03:25 | And there we see that we have our new room
tone Bin and included is the clip that we need.
| | 03:30 | I can probably close the Media Browser
now to have a little more timeline room.
| | 03:37 | Okay, let's look at this room tone.
| | 03:39 | Not so concerned with the picture,
but I do care about the audio.
| | 03:44 | We see that it's almost completely flat,
but it's not completely silent, let's listen.
| | 03:50 | (video playing)
| | 03:53 | Got some wind and some
birds, it's just what we need.
| | 03:57 | I like to decide on the timeline
how much of the room tone I need.
| | 04:02 | So I know it's going to end when the bite
starts there, so I'll mark an out, and then
| | 04:09 | I don't really care exactly where it begins
because I'm going to ramp it up rather slowly,
| | 04:14 | but I think that if I start it right around this
transition that will work well, so I'll put an in point.
| | 04:20 | So you see I've marked my Timeline there.
That's going to make it really easy to edit
| | 04:25 | right into this space.
| | 04:27 | I do need to make sure I target everything
properly, and I'm going to go ahead and lock
| | 04:34 | off the video tracks because I
don't want to make any changes there.
| | 04:39 | That's probably redundant, because if I
drag audio only I'm essentially doing the same
| | 04:43 | thing, but I like to be safe
at this late stage of the edit.
| | 04:46 | Okay, looking good, and we Drop to Overwrite,
and I'll just fit right in there, and now
| | 04:52 | we have this room tone, and I can add a Transition
and actually extend that transition out quite
| | 04:59 | a bit, because what I want is to ramp
up on this slowly and then into BD.
| | 05:05 | Let's see what it sounds like, and keep in
mind every other sound is still off, so we're
| | 05:09 | only hearing this track.
| | 05:13 | (video playing)
| | 05:19 | It's better, but we still have a little bit
of a shock here when we switch. I may play
| | 05:24 | with the Transition here also.
| | 05:26 | But if I do that, I don't want to get his
voice coming in early, so I want to make sure to
| | 05:32 | adjust that Transition in terms of
its alignment on the edit, wrong way.
| | 05:40 | So you see now we're transitioning some of the
room tone on top of his talking, but hopefully
| | 05:45 | not bringing any of his talking in earlier.
| | 05:48 | You have to play with these. Sometimes they
work, sometimes they make it worse, let's listen.
| | 05:52 | (video playing)
Yup, it's smoother, don't you agree?
| | 05:56 | Let's do one more these, and then we'll skip
ahead to see how this technique plays through
| | 06:00 | the whole Timeline.
| | 06:03 | You really do need to work carefully through
the entire Timeline on something like this.
| | 06:08 | But in this case, I see the
next break here, let's listen.
| | 06:13 | (video playing)
| | 06:17 | So again, I'll go ahead and mark the gap.
| | 06:22 | Generally, I like to use different parts of
the room tone. Technically, with good room
| | 06:26 | tone it really shouldn't matter, but
marking in there, same technique, drag audio only,
| | 06:32 | and now we've pasted it
right in there, give it a listen.
| | 06:36 | (video playing)
| | 06:39 | And I do think the opportunity is to add a
little bit of transitions and adjust them,
| | 06:44 | but you know how to do that, so I'd rather skip
ahead and show you how this technique plays out.
| | 06:50 | Okay, let's take a close look at the edits
we've made to the BD interview, and then I'm
| | 06:56 | going to turn on the other sounds,
and we'll listen to everything together.
| | 07:00 | Here you can see the changes I made, and
you can see if you look close that sometimes
| | 07:05 | the solution is a full cross-fade, sometimes
it's an adjusted aligned cross-fade, you just
| | 07:11 | have to listen to figure out what's right.
| | 07:15 | Here we've done a long patch with a short
fade, and you really don't know how good a
| | 07:19 | job you've done until you turn everything
else on, so all my speakers are live, and
| | 07:29 | now listen to the change that we made.
| | 07:32 | (video playing)
| | 07:39 | (BD Dautch: My name is BD Dautch, and I have
Earthtrine Farm, and we've got about 10 acres--)
| | 07:46 | Now if all you're noticing is level
problems, we're in exactly the right place.
| | 07:51 | We've figured out all of the little transitions
and gotten the material, and now if we go
| | 07:56 | in with our mix just to adjust
levels, things should work out well.
| | 08:00 | I want to show you one more example of this
type of audio edit that comes a little later.
| | 08:05 | It's down here in the farmers market scene,
let's zoom in and also look at the natural
| | 08:12 | sound which is where this took place.
| | 08:15 | Make sure your waveforms are on,
and this is what I want to show you.
| | 08:20 | We have three shots of the farmers market,
but when I went to edit the audio, what I realized
| | 08:26 | was the background noise on the second two shots
was just not working. It wasn't generic enough.
| | 08:32 | People were talking, or music was playing, and
I don't want to attract attention to background noise.
| | 08:37 | I just want it to be like wallpaper.
| | 08:41 | So look what I did here. I used my best
natural sound which was on this shot of BD packing,
| | 08:47 | and I just extended it under
the rest for a smooth delivery.
| | 08:51 | I've got all of the other tracks on, and
I just want to play out how this works.
| | 08:57 | (video playing)
| | 09:11 | We've got all the texture we
need and smooth transitions.
| | 09:14 | We still need to work on the levels, but
we've set ourselves up for mix so that it can go
| | 09:19 | really, really smoothly.
| | 09:24 |
| | Collapse this transcript |
| Reviewing all assets| 00:00 | We are getting close to the end of the editorial process,
and there's something I like to do as a best practice.
| | 00:07 | I would also consider it an item of due diligence, a way
to just kind of check that you haven't missed anything.
| | 00:13 | And it's pretty straightforward. It
basically means when you're getting close to the end
| | 00:18 | and you're getting ready to lock picture,
that you do a process where you go back to
| | 00:23 | your assets and you watch everything again.
| | 00:25 | In the case of long interviews, maybe you
read the transcript again, and the idea is
| | 00:30 | just a check to see if you've missed
anything good that you could now use.
| | 00:36 | So I'm going to look at the B-roll. You
can listen to the interviews on your own, but
| | 00:40 | open that B-roll bin, nice and big, and
Premiere Pro does us a nice favor here, because it
| | 00:47 | indicates with the orange tags
what's being used in the video.
| | 00:52 | So at a glance I'm able to see what's not being
used because it's indicated with the white icon.
| | 00:59 | So that's useful, although you can't
totally trust it because you never know if there
| | 01:03 | is a clip that has multiple shots in it,
so you can scroll through these and also see
| | 01:08 | if there's anything further along
in a shot that you might be missing.
| | 01:12 | As I glance through here, a
couple things catch my eye.
| | 01:16 | Basically, there are opportunities at the farmers
market where we may not have all of the best shots.
| | 01:23 | Here's one that caught my eye. I feel like--
particularly the close-up portion here--
| | 01:29 | I might like to see one more close up, such
as that partially shot. I sort of like that.
| | 01:34 | I think I'm just going to go ahead and mark
it right here in the bin, because it's kind
| | 01:37 | of a long shot, and I saw the part I
really want, so that's I for In an O for Out,
| | 01:44 | just like we were in the Source Viewer,
so we'll leave that for later.
| | 01:48 | And then I feel like we maybe haven't gotten
as much as we could out of these wide shots.
| | 01:53 | This one--actually, as I go through--I think
has BD, and I think it could match up with
| | 01:58 | something we already have.
| | 02:01 | And this one here I think has
potential. I also see BD in the background.
| | 02:06 | I don't think I need both of these,
I think it's probably an either/or.
| | 02:10 | And I think I like the medium a
little better, but I am not totally sure.
| | 02:15 | Same thing, I'm going to go ahead and mark for
BD's spot here, and here I think there is
| | 02:22 | a BD moment as well.
It's small, but there it is.
| | 02:27 | You know what? I'm not going to mark this one,
because I know already that this one is better.
| | 02:32 | Okay, we've got those marked, and it's going to
be easy to come back to them, so let's either
| | 02:36 | close this or move it out of the way.
| | 02:40 | I think I'll close it and just
look in the project bin going forward.
| | 02:43 | I can always open it back up.
| | 02:46 | So we found a couple of things that look like they
could be useful, but where are we really going to put them?
| | 02:52 | Let's look at their likely scene,
which is the farmers market scene.
| | 02:57 | Here's the thing about this process, both
things have to be true, it has to be a good
| | 03:01 | shot that you want to use, and
there has to be a good place for it.
| | 03:05 | Sometimes you find a shot you love, but it
just doesn't have a home in your cut, and
| | 03:09 | although it's painful, you probably need to leave
it out. Let's see if we can find spots for these two.
| | 03:14 | (video playing)
| | 03:34 | Okay, I think I found two opportunities,
and they're inserts rather than replacements.
| | 03:40 | The first is for the tight shot of the herbs.
I think it would make sense right in between
| | 03:44 | these two shots. Beatty's putting herbs out,
this woman's buying herbs, we've got a shot
| | 03:49 | of herbs in close up.
Let's see if we can find it.
| | 03:53 | That list is not as helpful as I thought it would be,
but easy to skip right back to here. There is the shot.
| | 04:01 | Let's open this up in the Source Viewer so we
can get a close look before we make the edit.
| | 04:07 | There it is, and we've already marked In and Out
with that close up, but it might need some adjustment.
| | 04:14 | I like the movement, but might be too much.
| | 04:19 | (video playing)
| | 04:32 | And you know what? I think we got the best
part of that shot, even on the small thumbnail.
| | 04:36 | Take it in a little tighter, we don't need
much, and I'm going to go ahead and insert
| | 04:41 | between these two shots. But before
I do, I want to lock off the music.
| | 04:46 | I want to make sure we don't affect that.
| | 04:49 | Looks like it's already
locked, so we're in good shape.
| | 04:51 | Go ahead and insert this shot, and let's
make sure we're properly targeted. We want to be
| | 04:57 | on our B-roll track and on our nats.
Okay, let's see if we like this or not.
| | 05:07 | (video playing)
| | 05:30 | I do like it, but I think I may have a
little problem with our nat sound, and I'm
| | 05:35 | going to continue the method that we actually
used previously, go ahead and extend the one
| | 05:41 | that we actually like, and remember, we
were dissolving it out after the fact.
| | 05:48 | Okay, you see how this goes, and
I'll let you play with it some more.
| | 05:52 | My other idea is to get the medium or the
wide in after BD, but it needs some time to
| | 05:58 | play with it. It's pretty similar to this shot, so
I'm not as certain that it will really add something.
| | 06:04 | The main idea here is just to jump back to
the beginning and reassess your shots, to
| | 06:09 | look at them again in light of the cut that
you've actually made to see if there's something
| | 06:14 | that jumps out at you anew
and can be useful in that cut.
| | 06:19 |
| | Collapse this transcript |
| Adding end credits| 00:00 | It's pretty typical to have some sort of
end credits at the end of your documentary.
| | 00:05 | In the case of this project, I'm going
to call this end credit a call to action.
| | 00:10 | Let me show you what I mean.
To start, we have to create our new title.
| | 00:15 | So open up a New Title.
| | 00:17 | This is going to be very simple, just a still,
and let's call it Call to Action, and I like
| | 00:24 | to just start typing and then make some
adjustments to my style once I have some text to work on.
| | 00:33 | This is obviously too large.
Just shorten the size of this.
| | 00:40 | I want it to be pretty much
to the edge of Title Safe area.
| | 00:44 | It doesn't have to be touching, but something
like that, and you can quickly throw a center
| | 00:50 | on there, and then I want to add a URL.
| | 00:54 | And part of the reason I'm calling this a
Call to Action is when your message is about
| | 00:59 | something, you really want your viewer to have a way
to continue learning. Often these days that's a URL.
| | 01:12 | We can align those two together, center them up.
| | 01:19 | I often find the dead center on something
like this, vertical center is a little low.
| | 01:23 | I like to nudge up a little bit, kind of that
one-third position, and I think that looks good.
| | 01:30 | Obviously, because we've built this right inside Premiere,
it's going to very easy to edit if we need to.
| | 01:35 | So let's go ahead and close our title
maker, and we have our Call to Action.
| | 01:39 | Let's stay organized and put it in titles.
And now let's edit it in.
| | 01:45 | We'll keep everything consistent by
editing up on to our titles track.
| | 01:50 | There will be no audio associated, and now
I just want to work on the timing which for
| | 01:57 | the most part is going to involve the music and
a little bit how we come off of the last shot.
| | 02:03 | Let's see how this looks and sounds.
| | 02:07 | Before I even watch it, I know
I'm going to need a transition.
| | 02:10 | I'm not sure exactly the length of
these transitions or the length of the shot.
| | 02:14 | So let's try to get the
timing at the head right first.
| | 02:17 | Again, when you're working on timing, it doesn't
pay to just try to look at this gap by itself.
| | 02:21 | You've got to take it a few
shots back to play it through.
| | 02:26 | (BD Dautch: ...of life, as well as a culinary celebration.)
| | 02:30 | (video playing)
| | 02:54 | Okay, what I want to do is actually increase the
pause and bring in the Call to Action at a
| | 03:00 | guitar strum in the music.
Listen closely to the music.
| | 03:04 | I think it's right about there in the waveform.
Let see if I'm right.
| | 03:09 | (video playing)
| | 03:12 | Yup, you hear that warm sound right there?
That's exactly when I want it to come up, and
| | 03:21 | often I find that timing means sort of
getting the transition right in the middle there.
| | 03:25 | Yup, something like that.
Let's see if we like it.
| | 03:30 | (video playing)
| | 03:38 | Mmm, close. Maybe a nudge a little further down couple frames.
(video playing)
| | 03:48 | Still not quite hitting on the guitar strum.
(video playing)
| | 03:56 | That's how I want it.
(video playing)
| | 04:02 | Okay, the end is a little tricky here.
| | 04:06 | What I'm going to do is fade the music out,
but I'm actually going to leave the card up
| | 04:12 | and the reason for that is I don't know
exactly where this is going to be playing, but if
| | 04:17 | it's going be playing online it's quite
possible that when the video stops it just going to
| | 04:22 | be left with the last frame.
| | 04:24 | And if that's the case I rather be left on
our Call to Action then be left on black.
| | 04:29 | So let's fade the music--I know it's going
to seen weird to leave this up, but that's
| | 04:33 | how we're going to do it.
(video playing)
| | 04:40 | Now in Premiere, it doesn't stay up,
but it is in fact the last frame.
| | 04:43 | In a piece like this, the Call to
Action is tremendously important.
| | 04:49 | If we've done our job right, we've got our
audience in the palm of our hand, we've made
| | 04:53 | an emotional connection, and we have a bare
moment, 10 seconds at most, to get them to
| | 04:59 | actually connect with us and take some action.
| | 05:03 | Luckily, a URL is a great shortcut to learn
more, but remember this is the most valuable
| | 05:08 | time to our client in the
piece we're cutting for them.
| | 05:13 |
| | Collapse this transcript |
| Locking the picture and preparing the Timeline for finishing| 00:00 | You may already be familiar
with the concept of picture lock.
| | 00:05 | The idea is that it's a moment in the
process where we commit to our edits, stop making
| | 00:11 | editorial and timing changes and
switch over to a finishing mode.
| | 00:17 | This is important for numerous reasons.
| | 00:20 | If other people are going to be working on
your mix or color correction, you need to
| | 00:24 | hand over a cut that's locked so that editorial changes
don't happen underneath the work they're trying to do.
| | 00:32 | Second, it's an opportunity to
communicate with the client about the content.
| | 00:38 | Most clients are more focused on
the content than the technical.
| | 00:42 | So this is getting close to
finished from their point of view.
| | 00:45 | Last, it's just an opportunity in the process
to watch carefully and try to make any changes
| | 00:53 | that you're going to need to make,
try to spot everything at this point.
| | 00:58 | You'll remember that we started this
chapter by watching, and now we've worked through
| | 01:01 | all of the fun cutting stages.
Well, all of those stages aren't one and out.
| | 01:06 | It's an iterative process.
| | 01:08 | You watch and revise and watch and
revise until there's nothing left to revise.
| | 01:15 | I'm going to watch again.
Why don't you watch on your own?
| | 01:18 | (video playing)
| | 01:22 | Okay, I didn't notice too much I wanted to change,
but I did notice something right at the very end.
| | 01:28 | Now this will be easy to change when we're
tweaking graphics later on also, but I realize
| | 01:34 | that this lowercase A
really should be a capital.
| | 01:38 | So because I noticed it, I am going to go ahead and fix
it, and now I am ready to call this cut picture locked.
| | 01:47 | There is one more technical thing to look
at, and it's our track organization.
| | 01:52 | You'll remember that we've tried to keep titles up
on the third track then B-roll and then the
| | 01:58 | interview, and for the
most part we stuck to this.
| | 02:02 | Same thing with the audio, VO, then natural
sound, then music 1, and another track for
| | 02:08 | music, and for the most
part this stays consistent.
| | 02:11 | But if you look closely at the end, you'll
see that we've gotten a little careless here.
| | 02:17 | We have audio for the interview showing up on
the nats tracks, these two are flip-flopped,
| | 02:24 | and our end graphic is not on our titles track.
| | 02:29 | Now some of these will matter more than others,
but once you have a pattern, it pays to stick with it.
| | 02:34 | So be careful when you move these
that you're only moving them vertically.
| | 02:38 | That yellow box will help, because if it
says all zeroes, you know you haven't moved it.
| | 02:43 | I think that's the only thing that needs to
be done on the video track, so I'm going to
| | 02:48 | actually lock these off so that I can
manipulate the audio without worrying as much.
| | 02:54 | All of this B-roll somehow
wound up on the wrong track.
| | 02:57 | So I'm going to temporarily move it all out
of the way so that I can correct the interview,
| | 03:05 | and now I can put this where it belongs.
| | 03:09 | You can now see that from beginning to
end, everything is on its proper track.
| | 03:15 | Picture lock is as much
conceptual as it is technical.
| | 03:18 | It's knowing where you are in the process.
| | 03:21 | On the technical side, I often do start to use the
locks a lot more liberally once I'm picture locked.
| | 03:27 | It just kind of helps remind me and also
makes it harder to make silly mistakes.
| | 03:31 | Next, let's talk about how we
present a picture lock cut to our client.
| | 03:36 |
| | Collapse this transcript |
| Presenting the picture lock to the client and receiving approval| 00:00 | We've already talked about
picture lock from a process perspective.
| | 00:04 | Briefly I want to talk about picture lock
from a management, budgeting, and communication
| | 00:10 | perspective, how you present the
picture lock to the client and get feedback.
| | 00:16 | First off, picture lock is a
great way to manage the budget.
| | 00:20 | If you have milestones in your project and
your client knows to expect certain things
| | 00:26 | along the way, getting their approval of
the picture lock is a way to move forward and
| | 00:31 | know that your client has confirmed
all your work up until that point.
| | 00:35 | The idea is to get any changes in now and
not need to go back later and make them which
| | 00:41 | will probably cost you more time and money,
because it's going to be out of the rhythm
| | 00:45 | of the way you work.
| | 00:47 | When you present the cut, make sure your
client knows that this is about their content.
| | 00:52 | We use picture lock
internally to talk about the process.
| | 00:56 | Sometimes when I'm talking to the client, I
slide in the term content lock to mean basically
| | 01:02 | the same thing, but to telegraph to
them what it is that they are approving.
| | 01:07 | You never know your
client's priorities for certain.
| | 01:11 | Typical at this stage is to get a comment
like, we need to see more of our star, or more
| | 01:16 | of our CEO, or you're presenting too
much of a certain type of feeling.
| | 01:22 | Now these might have been good editorial
decisions from your point of view as an editor, but
| | 01:27 | your client is telling you that the way they
see their organization and message is different.
| | 01:32 | And you really need to listen to them,
because their priorities are important.
| | 01:36 | It's a good idea to try to
educate the client at this stage.
| | 01:40 | If you can get them to understand the idea
of picture lock that we are really looking
| | 01:44 | at content and cuts, editorial decisions,
not the detailed polished work like graphics
| | 01:51 | and audio, they can really come
along for the ride and help you.
| | 01:55 | So try to educate your client, but be aware
that it doesn't always work and they're often
| | 02:01 | distracted by things that
aren't really the point of the cut.
| | 02:04 | One of those things is typically
audio, because it is very distracting.
| | 02:10 | Although we haven't mixed in the project yet,
if you're going to present a picture lock
| | 02:14 | cut I suggest that you do some light mixing
just so you don't get a lot of feedback about
| | 02:20 | what you can't here.
| | 02:22 | Now we know that's not the
point, but your client may not.
| | 02:26 | The bottom line is picture lock is your friend.
| | 02:29 | To make the most out of it try to find a good
way to share it with your client and get their
| | 02:34 | approval before you move
into the finishing stages.
| | 02:39 |
| | Collapse this transcript |
|
|
6. Phase 6: FinishingEvaluating the piece for finishing goals| 00:00 | It's time to start our finishing process,
and I wanted to quickly go over what are the
| | 00:05 | steps included in this part of the process.
| | 00:08 | First is the online edit or conform, and we
don't actually need to do one of these in this case.
| | 00:14 | Online edits only take place when you've
edited at a lower resolution, and now you have to
| | 00:19 | conform to the actual resolution of the piece.
| | 00:22 | This is happening less and less frequently, but
it absolutely is a necessary step in finishing
| | 00:28 | if that is your workflow.
| | 00:31 | Audio mix is probably--no not probably--
definitely the most important step here.
| | 00:36 | There is just nothing more distracting than
when you can't hear what someone saying in a video.
| | 00:42 | Color correction really should be done on
all video pieces, if nothing else then to
| | 00:47 | just smooth out the differences between different
cameras or lighting conditions and shooting on different days.
| | 00:54 | It's subtle, but good color correction
can lend a cohesiveness to your whole piece.
| | 00:59 | There's also pieces that get creative color
correction and dream sequence or something
| | 01:03 | along those lines, but that's
less frequent in documentary.
| | 01:07 | And then we want to take a
final look at all of our graphics.
| | 01:10 | In this case, all of our graphics are built, but
we want to look at them again, and in particular,
| | 01:15 | look at them at full quality to see if there are
any small improvements to the actual composite.
| | 01:22 | One more thing about finishing before we
really get into it. Sometimes these jobs get farmed
| | 01:28 | out to specialists in audio, color correction,
and motion graphics, and sometimes usually
| | 01:34 | dependent on budget and schedule, one
person does this work inside Adobe Premiere Pro.
| | 01:41 | In this case, I'm going to take the latter approach,
and I'm going to do this work inside Premiere Pro.
| | 01:46 | That's what's fitting for this project.
| | 01:49 | Okay, let's take a look at the piece and
evaluate it for finishing against these specific steps.
| | 01:57 | Here we are in the piece, and we
watch a lot during this course.
| | 02:02 | So I'll let you watch the whole thing down, and
then we'll talk about some things that I noticed.
| | 02:08 | Okay, are you done watching?
| | 02:10 | I watched, too, and I want to show you some of the things
that I want to highlight during the finishing process.
| | 02:16 | Certainly, there are some
clear opportunities for mix.
| | 02:20 | We know that it's going to be a priority to mix the
voice so that it doesn't interfere with the music.
| | 02:27 | So places like here where we introduce our
chef in the restaurant, listen for a second.
| | 02:32 | (male speaker: It makes you want
to cry with how dedicated he is--)
| | 02:39 | So there and throughout the piece, certainly
we have to mix music against voice so that
| | 02:44 | voice can always be heard, but
that's a typical part of mixing.
| | 02:48 | A little more interesting are some areas
that I consider natural sound opportunities.
| | 02:53 | We've already spent some time on the nice
bird noises here, and I would say the goal
| | 02:58 | at the beginning is just to get this all to
work together when we transitioned into the
| | 03:02 | music and into BD's first bite.
| | 03:05 | So listen not so much to the bird noises, but
to the audio transition, and that's something
| | 03:10 | that we'll spend some time working on.
(video playing)
| | 03:21 | (male speaker: My name is BD Dautch, and I--)
| | 03:24 | Just the very beginning of the piece, and I
want to make sure all that audio hits just perfectly.
| | 03:29 | Somewhat similar are other opportunities where that
sound helps drive the content and the story forward.
| | 03:36 | Here is an example with the truck noise.
| | 03:38 | At moments like this, I want you
to really hear that natural sound.
| | 03:42 | It's creating texture, and in this case, a
moment of transition as we move from the farm to
| | 03:48 | the market, and the audio helps
with this along with the visual.
| | 03:52 | So I want to pump this moment up.
(video playing)
| | 03:57 | So those are some of my audio goals, and
there's a few other of those natural sound
| | 04:01 | places, including the Farmers Market
where I really like that textural sound.
| | 04:05 | When I look at color correction, my goals
are similar: I just want some balance here.
| | 04:10 | So we've already noticed that this shot at
the beginning, although we liked it aesthetically,
| | 04:15 | is awfully rich in color, almost feels fake
in a way, and I want it to seem real and then
| | 04:21 | a lot of times it's just
transitions from shot to shot.
| | 04:24 | So a good example would be later on at the
Farmers Market, you can see some different
| | 04:30 | lighting conditions as I go through these
shots, and when I transition here from where
| | 04:36 | BD is in the shade to where Owen is in the sunlight,
I want to cut down on that jarring feeling of, oh,
| | 04:43 | that looks like a different place and time.
| | 04:45 | Watch how it's looking now,
and then we'll work on it.
| | 04:48 | (male speaker: We're serving our
local customers our local product--)
| | 04:51 | So that's one thing color correction can do
| | 04:53 | is just cut down on that jarring edit
between different lighting conditions.
| | 04:58 | And finally, we want to look at graphics,
in particular our animations.
| | 05:04 | We've already programmed these, and I just
want to take a final close look at them.
| | 05:08 | I want to look at them in full resolution and
possibly actually look at them in a compressed
| | 05:13 | output just to see if this noise in the photo, when
it's moving is it holding up okay in the final analysis?
| | 05:21 | Sometimes these things sort of fall apart
during the process, and we want to make sure
| | 05:24 | that it looks crisp.
| | 05:26 | And similarly, the title we've worked on
quite a bit, but I think there's room at least to
| | 05:31 | play with the composite, that is exactly how
the text elements lay on top of the video.
| | 05:38 | We won't do this until after we color
correct the video, but then I want to take one more
| | 05:41 | look playing with things like Opacity and
Transfer mode on the title on top of the image.
| | 05:49 | Last thing on my mind is just to check, do
we need any other graphics in the piece?
| | 05:54 | And there's something to consider which is
lower-third graphics, that's traditionally
| | 05:58 | how we would identify everyone who speaks
in the video, so we could identify BD, but
| | 06:06 | probably not until he actually appears, which
is here for the first time, and then certainly
| | 06:12 | we can identify John Downey, and then we have a
couple people who speak at the Farmers Market.
| | 06:19 | As I watch the piece, considering lower-thirds,
I came to the conclusion that they're just
| | 06:23 | not necessary in this piece.
| | 06:26 | We have two main characters, but they're
clearly introduced, that's BD and Downey.
| | 06:32 | Then we have these two chefs that just
appear for a moment, and the style of interview is
| | 06:36 | so quick that as a viewer
we're not asking, who is that?
| | 06:40 | So my judgment call--and of course, I'll run
this past the client--is that identification
| | 06:45 | in a lower-third style is
just not necessary in this piece.
| | 06:49 | So there's our evaluation, and it really pays
to take the time to look at the piece carefully
| | 06:55 | and decide, what are my goals during finishing?
| | 06:58 | In this case, graphics work is very light,
color corrections pretty light, but we have
| | 07:03 | some interesting audio goals.
| | 07:05 | It will be different in your pieces, but
taking this moment will really pay off later when
| | 07:09 | you're in the trenches.
| | 07:14 |
| | Collapse this transcript |
| Polishing the final audio mix| 00:00 | There's nothing more distracting when
you're watching a video than bad audio.
| | 00:05 | When you can't hear the person speaking or
there is distracting background noise, it
| | 00:10 | really takes you out of the moment.
| | 00:12 | For that reason, it's really important to spend some
serious time focused on the audio mix. Let's take a look.
| | 00:21 | Like most editors, I like to adjust my
interface before I start mixing audio.
| | 00:26 | In this case, I don't like one of the pre-built
workspaces. Instead, I just like to get my vertical
| | 00:32 | drag arrows and just drag this
centerline all the way to the top.
| | 00:38 | In one little move I've expanded all of the
tools that I want to use, that's the timeline,
| | 00:43 | the toolbar, and the audiometers, and I've
hidden everything that I don't want to use.
| | 00:48 | There is no real need to look at the
video constantly while I'm mixing the audio.
| | 00:54 | I may have to look at the video occasionally,
and I can just pull this down like a window
| | 00:58 | shade and reveal the video as much as I need it.
Second, I do want to take note of the meters.
| | 01:05 | The audiometers are the only way that you
have an outside reference to what you're mixing.
| | 01:11 | You can't trust the headphones or the
speakers because they have their own volume.
| | 01:15 | You need to have an external
reference, and that's here.
| | 01:19 | So the related question is
what am I looking to mix to?
| | 01:24 | One point to look for is the -12 point.
| | 01:27 | You want your peaks to be
around -12, or that's a good average.
| | 01:32 | It's more accurate to say that if you're
delivering for broadcast or a specific event, you should
| | 01:38 | try to ask the place you're
delivering where they want their audio peaks.
| | 01:42 | Some broadcasters may say -6, -12 is common,
and if you're going to be somewhere large,
| | 01:49 | like an arena, you probably want to mix a
little high, and if possible you want to test
| | 01:54 | your mix in that space.
| | 01:56 | We're going to mix for our peaks to be around
-6 during this mix, but always use the meters
| | 02:02 | for a reference and to stay consistent, and if you're
delivering somewhere specific, ask for their specifications.
| | 02:08 | Okay, I like to now drag my
tracks to reveal mostly audio.
| | 02:14 | If we have room, we'll see the video up top.
We can scroll everything down for lots of
| | 02:19 | waveforms that we'll need, waveforms are all on.
| | 02:26 | Let's unlock the audio tracks, but I like to leave
the video tracks locked while I'm editing audio only.
| | 02:33 | Again, in the off chance that we need to make a
video edit, we'll just have to remember to unlock those.
| | 02:40 | This is looking good.
If I zoom in, we're ready to start mixing.
| | 02:45 | You'll remember that this first moment
here with the bird's natural sound, it was one
| | 02:50 | of my goals to make this really hit well, so
let's listen, and then we'll make a small adjustment.
| | 02:56 | (audio playing)
| | 03:03 | That's pretty good for natural sound,
but I actually want to give it a little bit of
| | 03:07 | a boost, because at this first moment it's
not really serving as natural sound, it's
| | 03:12 | serving as more of a foreground sound,
and I do want you to sort of be aware of it.
| | 03:16 | So my preferred way of mixing is just to work
with the audio levels directly on the timeline here.
| | 03:23 | So I'm going to give this a drag up, and
you'll see that the pointer sort of disappears while
| | 03:27 | I'm dragging, but you do see the yellow box
below that's giving you the amount of dB boost.
| | 03:34 | So maybe I'll try to boost that up for
starters about one and a half, one and a third dB,
| | 03:39 | and listen again as well as watching the audiometers.
(audio playing)
| | 03:45 | Now, there's no rule for this one,
natural sound being used as a foreground sound, so
| | 03:51 | I'd rather be a little loud than a little quiet.
| | 03:53 | (audio playing)
| | 04:02 | I am happy with that, and now I'll move
forward into making this audio transition where the
| | 04:07 | music comes in just perfect, but you know
all these techniques already, so what I'd
| | 04:12 | rather do is skip ahead to the finished mix
and just highlight a few places of emphasis
| | 04:17 | that we've already talked about.
| | 04:19 | Okay, I've just finished my mix, you can see
all the key framing I've done in the music,
| | 04:25 | as well as the level adjustments throughout.
| | 04:28 | If you look closely and compare, you'll even
see places where I added small audio transitions
| | 04:33 | and things of that nature.
| | 04:35 | I want to go back and
check a few spots of emphasis.
| | 04:38 | So I do want to see some video, but not necessarily
a lot, so I'm going to bring this down until
| | 04:43 | we sort of have like a postage stamp
size, just enough for a visual reference.
| | 04:48 | And then I do want to keep an eye on all my tracks,
and I want you to be able to see how these are arranged.
| | 04:56 | So let's zoom in and pay attention first, not
to these natural sounds that we were working
| | 05:01 | on, but in fact to the transition where the
music comes in and then all the way through
| | 05:06 | when BD starts talking.
| | 05:08 | And I think beginnings
are particularly important.
| | 05:10 | I often think of the beginning of a video
piece kind of like the beginning of a song,
| | 05:15 | where one instrument comes in at a time, and
those moments where each new voice comes in,
| | 05:19 | they're pretty important, so
listen to how this worked out.
| | 05:23 | (video playing)
[00:05:32ll.55]
(male speaker: My name is BD Dautch, and I have Earthtrine Farms--)
Okay, things are sounding pretty smooth to me.
| | 05:41 | I want to look at one or two other examples
of natural sounds and how they worked out.
| | 05:47 | One would be here, where we
transition to the restaurant.
| | 05:51 | And we've done a little trick here
that I think will work emotively.
| | 05:55 | When this shot comes up, you're sort of
aware that you're out on the street, and you can
| | 05:59 | see some reflection, like headlights or the
glean off cars, but we don't actually see the cars.
| | 06:05 | However, in the natural sound we hear them.
| | 06:08 | So I wanted to try to preserve that just
for a feeling. We don't really want people to
| | 06:13 | be thinking about cars, but if we get it
right, we get the feeling of transition.
| | 06:18 | Let's see how it worked.
| | 06:22 | (video playing)
| | 06:29 | (male speaker: We opened this restaurant in 1982--)
My hope there is it's sort of subliminal.
| | 06:35 | That little bit of a car noise kind of
moves you from one scene to the other.
| | 06:39 | You can judge for yourself if that's
effective, but hey, that's editing.
| | 06:44 | Let's look at one more, and it's here.
| | 06:46 | This is toward the end of the piece, and
it's this line about community, and I just felt
| | 06:51 | like it was really important to sort of hear
what was going on in the natural sound, but
| | 06:57 | also important that when BD's
voice comes in, you can hear it.
| | 07:01 | So I think we split the middle just
perfectly, getting the most out of this.
| | 07:15 | (BD Dautch: ...the economy, to community...it becomes a
celebration of life, as well as a culinary celebration.)
| | 07:19 | I was really pleased with that one,
because we were able to really get the feeling of
| | 07:24 | that moment in the first couple of seconds,
with a little bit of a boost and then bring
| | 07:29 | it down just a little so BD's voice is clear,
but that attractive background noise continues.
| | 07:35 | Okay, there are some highlights of my mix.
| | 07:39 | Obviously, it took me a lot longer to do
the whole mix than what I've shown you.
| | 07:44 | So pay attention to your content and make
sure to block out enough time for a full mix.
| | 07:49 |
| | Collapse this transcript |
| Correcting color for consistency| 00:00 | Color Correction is a necessary
step in all professional projects.
| | 00:05 | This is for technical reasons to make sure
the signal is within acceptable range and
| | 00:10 | also for aesthetic reasons, to sort of
smooth things out when there are changes in color
| | 00:15 | tone and sometimes to add an emotive effect.
| | 00:19 | In this case, we're mostly concerned with
evening out the colors so that we don't have a jarring
| | 00:25 | effect when we switch from one shot to another,
especially if they were shot under different lighting conditions.
| | 00:32 | Now this material was well shot, and that
just goes to show you, especially with outdoor
| | 00:36 | shooting, there's no avoiding those lighting
changes and therefore there's almost always
| | 00:41 | the need for some color correction.
| | 00:44 | Like with many specialized functions in
Premiere Pro, I start by setting up my workspace.
| | 00:49 | I am going to start with one of the pre-built
workspaces, but then I'm going to adapt it to my own needs.
| | 00:55 | The Color Correction Workspace brings up
automatically the Reference Monitor, and that's going to
| | 01:00 | be useful, but I prefer to see it up top
so I can look at these two side by side.
| | 01:09 | Then I don't really need this window at all,
and I'd prefer to have some more Timeline space.
| | 01:18 | That's basically my Color Correction Workspace.
I may need some more room over here once I
| | 01:22 | start color correcting, and of course, you can
save this workspace. We've seen that already.
| | 01:28 | We've already looked at some points of
emphasis for color correction on our Timeline, so now
| | 01:33 | I want to start at the beginning and begin
to color correct working toward our goals.
| | 01:39 | We've already talked about this shot and why
it has some special needs. It's also the very
| | 01:43 | first shot, so let's start there.
| | 01:48 | You can see that our layout provides our
affects controls right next to our affects themselves,
| | 01:53 | and you do have some choices in
what color correct effects to use.
| | 01:58 | Two of my favorites are the Fast Color Corrector
and the very robust Three-Way Color Collector.
| | 02:05 | I'm going to use the Three-Way Color Correct
because I see it as the best of both worlds,
| | 02:09 | but I am going to come back to
that and show you exactly what I mean.
| | 02:14 | I've now applied the filter, and I can see
the Three-Way Color Corrector. I do need a
| | 02:18 | little more space here because I
want these wheels to be bigger.
| | 02:22 | I don't know that I need a bigger frame, I
might be able to just get the real estate
| | 02:25 | I need there, maybe a little of each.
That looks good for my Color Correction setup.
| | 02:32 | I use the Reference Monitor for two important things.
| | 02:35 | I like to look at the Scopes for a reference,
and I also like to use it to compare frames.
| | 02:42 | So let's look at those Scopes first.
There's a lot of Scopes, and they can be intimidating.
| | 02:47 | I'm not going to cover everything, but I do want to look
at the YC Waveform and then sometimes at the Vectorscope.
| | 02:55 | Waveform gives me a plotting of
Luminance, which can be very useful.
| | 02:59 | The first changes I usually do have to do with
Contrast and Brightness, and I make those changes down here.
| | 03:08 | I'm looking at both the video and the waveform
monitor, and I am adjusting brightness and contrast.
| | 03:15 | I have a choice to Split the shot,
so I can see my changes side by side.
| | 03:20 | I'll do something radical
just so you can see what I mean.
| | 03:24 | And I also have the choice
of turning things on and off.
| | 03:30 | In this case, I am looking for an emotive effect.
| | 03:34 | This is the very first shot, and I want it
to appear clean and good, but it also looks
| | 03:39 | a little oversaturated and too rich to me,
so I am looking for a perfect balance point.
| | 03:45 | I like to adjust first contrast and then
colors, and this is why I said that the Three-Way
| | 03:52 | is the best of both worlds, it's
because of this Master checkbox.
| | 03:56 | I have Shadows, Midtones, and Highlights, but when I
click Master they all become slaved to each other.
| | 04:04 | In essence with Master clicked, the Three-Way
Color Corrector is exactly like the Fast Color
| | 04:11 | Corrector, and that's why I
say it's the best of both worlds.
| | 04:14 | Even better, once I make some Master
adjustments, if I uncheck this it will save the Master
| | 04:21 | Adjustments, and I can continue to
tweak Highlights, Midtones, and Shadows.
| | 04:26 | So for this very shot, I want to play with
its tonality a little bit, both warming it
| | 04:32 | up and then also desaturating it.
| | 04:42 | I always like to check before and
after a lot while I am color correcting.
| | 04:46 | I am concerned that we're losing a little bit of definition
down in our blacks, so one more little adjustment.
| | 05:04 | And now we're starting to see the shot the
way I want it, with a lot more definition
| | 05:08 | and the gradation, still warm
but not terribly oversaturated.
| | 05:14 | The next thing I'll do is move on to the very
next shot, and again, I'll refer to the Scopes
| | 05:20 | as I adjust the contrast, and I'll also
compare to the shot previous to see that they match.
| | 05:28 | The way I'll do that is by changing to
Composite Video, unganging, and placing this playhead
| | 05:37 | on the previous shot. Now
I'll make these adjustments.
| | 05:40 | But actually, I prefer to skip ahead to a
place we've already highlighted that needs exactly
| | 05:46 | this type of comparing Color Correction.
It's the farmers market scene here.
| | 05:51 | Do you remember we looked at these shots, and
because of the sun and light conditions they
| | 05:56 | just have a lot of different color qualities to them?
From bright to a little bit flat
| | 06:02 | to bright again, flat,
flat, and then very bright.
| | 06:07 | It's going to be very important that when we do
this Color Correction we compare shot to shot.
| | 06:14 | Let me get started on the first couple of shots,
and then we'll skip ahead to see how it turns out.
| | 06:22 | Again I'll add the Three-Way Color Corrector,
and this shot looks overall very good to me,
| | 06:28 | which is good to start with because it creates
somewhat of a baseline for everything we have
| | 06:31 | to correct in this scene.
| | 06:35 | Again, referring to the Waveform Monitor, I'll
make some brightness and contrast adjustments.
| | 06:45 | As I said this shot is pretty good, so I am just going to
add a little definition in the blacks and move forward.
| | 06:53 | This is where things get interesting when
we go from saturated to a lot less saturated,
| | 06:58 | so I want to get that comparison up.
| | 07:02 | Making sure that we're not ganged, I can move ahead
and compare it side to side, this shot versus this shot.
| | 07:09 | Now when I make the very same adjustments, I
may flip back and forth between Scopes and
| | 07:14 | a comparison, but the important thing is that we cut
down on the differences as we go from shot to shot.
| | 07:23 | All right, there is a lot of careful work
to make this good, so I want to go ahead and
| | 07:27 | skip ahead and see how this scene works out.
| | 07:31 | Okay, this is the finished Color Corrected
sequence, and what I want to do is just watch the scene
| | 07:38 | that we were working on to see if we've
succeeded in smoothing out that distraction that happens
| | 07:43 | when we go from bright to darker shots.
Okay, I am going to play this through.
| | 07:51 | (video playing)
| | 08:08 | (male speaker: And we're serving our local customers
our local product, and so--since we can,
| | 08:13 | and since it's an amazing product--
we're happy to do it.)
| | 08:17 | (male speaker: We definitely have access to some
of the nicest produce around. I don't know how I'd run
| | 08:22 | my restaurant without all these farms, that's for sure.
This is where the magic starts.)
| | 08:32 | You can see that it's a lot smoother.
| | 08:34 | What you may or may not have noticed is
that sometimes I went for matching rather than
| | 08:40 | the absolute best look of the shot.
| | 08:43 | This was one example, here. This shot
followed a very sunny shot, and rather than trying to
| | 08:49 | make it look just perfect unto itself, I
actually went a little brighter than is good so there
| | 08:55 | would less of a distinction
from the shot before.
| | 08:58 | Let's look at a quick
before and after on this one.
| | 09:03 | Not necessarily better, per se, but better
when we compare to this shot, and that's what's
| | 09:09 | most important about Color Correction, especially on something like
this that's documentary in nature, and people understand that there
| | 09:16 | really is different lighting. People
understand that the sun is shining on this guy's face.
| | 09:22 | There's a lot more to learn about Color Correction,
and I encourage you to study and experiment on your own.
| | 09:28 | The bottom line for me is that you
can make an improvement to your stuff.
| | 09:33 | It's true that some people spend a lifetime
mastering Color Correction, and I don't think
| | 09:38 | you're going to reach that level in
your first project inside Premiere.
| | 09:42 | However, I do think that you can improve your piece
even if you're just experimenting, and I encourage that.
| | 09:52 |
| | Collapse this transcript |
| Adjusting the title and animations for the best compression| 00:00 | There are two places in this video that
we've created short animations or motion graphics,
| | 00:07 | one is at the beginning, the opening with
the title, and the other is the historical
| | 00:11 | section with the scans of newspaper stills.
| | 00:15 | We've worked on these parts at
various points in the process.
| | 00:19 | First, roughing them in, then actually
animating them and making them work for timing, and
| | 00:25 | now we have to do one more pass just
checking and adjusting the composite.
| | 00:31 | And what I mean by that is the details
of exactly how these images fold together.
| | 00:37 | In the case of the title, it's how the title
itself works over the background image.
| | 00:43 | Does it show up okay?
Does it look clear?
| | 00:46 | And in the case of the photographs, we want to make sure
that in the final analysis that animation looks good.
| | 00:53 | Sometimes you can get some bad noise or crawling when
you move an image, and it just doesn't render properly.
| | 01:02 | So we're going to make some small adjustments,
but we're also going to talk about how you
| | 01:06 | have to carefully check these composites
in the final output medium because you don't
| | 01:11 | always get a clear look at them
inside the Adobe Premiere interface.
| | 01:18 | Let's start with the beginning,
and we'll make some tweaks.
| | 01:21 | You'll see that I've already
rendered the beginning here.
| | 01:23 | So let's play it through once
and see what might be improved.
| | 01:29 | (video playing)
| | 01:37 | It looks good to me, and again, we're not
seeing it at full quality inside the interface.
| | 01:42 | But the thing I want to adjust is just the
subtle interplay between the title element
| | 01:47 | and the background element, including
when it interacts with the mountains.
| | 01:52 | With the title sequence loaded in the
Effects controls, we can start to play with this.
| | 01:58 | The main way that we'll adjust this
interaction is here in the Opacity section.
| | 02:03 | And we have two main controls, the Opacity, which has
already been adjusted to near 75%, and the Blend mode.
| | 02:10 | I want to play with the Blend mode first, and I
often try a couple of different selections here.
| | 02:16 | You can understand mathematically what
each one of these things does, but frankly, it
| | 02:21 | doesn't help that much
because you just have to try them.
| | 02:24 | Hard Light is something that I think might
cause that interaction to be smooth and interesting.
| | 02:29 | And it adjusts a little, but opacity is
still in play, so I want to see how Hard Light
| | 02:34 | looks with 100% opacity.
| | 02:37 | I am liking this
interaction a little bit better.
| | 02:41 | We're still having that transparency effect,
but the interaction is more pleasing to me.
| | 02:47 | As I look at it closely, I like the
interaction with the mountains, but I'm becoming a little
| | 02:52 | concerned that this is not showing up
well enough throughout to be readable.
| | 02:57 | So, one other trick in our box is to
actually duplicate the Graphics layer.
| | 03:02 | Now, I have two to play with, and I do want
one with Hard Light, but I want to look at
| | 03:08 | the other one and just make it a normal mode
and then micro-manage the opacity, basically
| | 03:15 | just using the benefit of a Hard Light
but adding some darkness with my second layer
| | 03:19 | to make sure it's readable.
| | 03:21 | I don't need much opacity here
because it's the second layer.
| | 03:25 | I like what I'm seeing, but we
need to re-render and look closely.
| | 03:32 | (video playing)
| | 03:38 | I like this better, but I know I need to
look at it in its output medium, and that's
| | 03:44 | going to depend on what
your real output medium is.
| | 03:47 | If you're working for broadcast television,
this is one of those moments that you really
| | 03:50 | need a broadcast monitor.
| | 03:53 | If you're exporting digitally, we need to
start making some exports to see how this
| | 03:57 | holds up under additional compression.
| | 04:00 | I'm going to start by exporting
full quality, so we see the difference.
| | 04:06 | By matching the Sequence settings, I'll get
a full quality export of what we're doing.
| | 04:11 | I want to export to the desktop,
and we'll call this open_test1.
| | 04:17 | You can see I've already made the
export, so we'll just look at it.
| | 04:22 | Now you're going to see a big difference
when we look at this full quality and export it.
| | 04:28 | (video playing)
| | 04:36 | Now, we're really getting the idea of how
our composite works, but we're not done yet.
| | 04:41 | If you're satisfied with full quality, then
I would encourage you to make an output that
| | 04:46 | actually matches the way you're going to use
this video, DVD or YouTube or what have you.
| | 04:53 | On something like a title, you want to make
sure that the compression is not causing it
| | 04:56 | to sort of fall apart on screen, and most
of all, you want to make sure it's readable.
| | 05:03 | Once the title is done, you want to do a similar
process here where we've created these animations.
| | 05:10 | In this case, you're again going to make your
exports and check them, but the tweaking may
| | 05:14 | take place in Premiere or in Photoshop.
| | 05:18 | You'll remember that we created the
Blur and the Sepia tone in Photoshop.
| | 05:23 | And if this final animation is not looking
clean in the final export, you may have to
| | 05:28 | take a step all the way back to
Photoshop to make those adjustments.
| | 05:32 | Luckily, everything will link through to
Premiere, and you'll be able to see your adjustments
| | 05:36 | show up after you make them in Photoshop.
Tweaks like these can go on for a long while.
| | 05:43 | It can get very detailed.
| | 05:45 | And I just encourage you to remember that
you can't always trust what's going on in the
| | 05:49 | interface for these types of details.
| | 05:51 | That's why we get into things like broadcast
monitors and different types of exports.
| | 05:56 |
| | Collapse this transcript |
| Exporting multiple files| 00:00 | Adobe Media Encoder is a powerful dedicated
compression and output program that allows
| | 00:07 | you to make video formats such as
for the web, DVD, and mobile devices.
| | 00:12 | You access Adobe Media Encoder from
inside Premiere Pro when you export media.
| | 00:19 | But if you open the Media Encoder interface itself,
some more options are available. Let's take a look.
| | 00:26 | Here is what the dedicated interface looks like.
| | 00:28 | Now, what I want to do is make multiple
exports of our video at the same time.
| | 00:36 | Let's say that we need a DVD
export one for iPad and one for YouTube.
| | 00:41 | Although Premiere Pro is not even open, I
can open a sequence from inside a Premiere
| | 00:47 | project with Add Premiere Pro sequence.
| | 00:50 | Now, I have to navigate to
where my exercise files are.
| | 00:55 | And you see that 06_05_output is there.
| | 00:59 | We haven't actually open this project ever, but
it's exactly the same as where we finished with 06_04.
| | 01:06 | When I select the project, Media Encoder is
looking inside that project and showing me
| | 01:12 | all of the media and sequences available.
| | 01:15 | Now, I just need to navigate to my sequence
which is Farm to Table, and I'm going to add
| | 01:21 | that from inside the Premiere
project to the export queue. There it is!
| | 01:27 | And it came in with one default setting.
| | 01:30 | But I want three settings to
match what I'm trying to do.
| | 01:33 | First, I want my YouTube which is part of
the H.264 family, and then I have a number
| | 01:40 | of YouTube settings, and I want to match the
one that fits as closely to my original native
| | 01:46 | format so that's 480p at 23.976.
| | 01:53 | Unlike when you're inside Premiere, you
can now continue to add more settings.
| | 02:00 | My iPad version is also inside the H.264
family, so I just want a different setting.
| | 02:06 | Again, we find the setting that we want in
terms of our output, and then we find the
| | 02:11 | one that matches our
resolution and frame rate the best.
| | 02:16 | And last, we want to add a DVD output.
| | 02:20 | That's part of our MPEG-2 DVD family, and then
we're going to get a similar set of settings,
| | 02:26 | and we can do Widescreen High
Quality and again our frame rate.
| | 02:30 | We've now set up three settings, and when I
push Play, it will run all of them in succession.
| | 02:38 | If I want to change where these files go, I
can easily click here, and add them instead
| | 02:43 | to let's say our desktop and then
just hit Play to run the whole queue.
| | 02:52 | You can see in the Encoding window that
all three of our exports are now running.
| | 03:00 | We're all finished.
| | 03:01 | If I flip over to my desktop, I can see
that all of my exports have been made in all of
| | 03:07 | the flavors that I set up
inside encoder, all in one step.
| | 03:12 | Adobe Media Encoder is a very powerful tool,
whether you use it from inside Adobe Premiere
| | 03:18 | Pro or open up the interface itself
to make multiple outputs simultaneously.
| | 03:23 |
| | Collapse this transcript |
|
|
ConclusionNext steps| 00:00 | Thank you for watching
Documentary Editing in Premiere Pro.
| | 00:04 | Here are some great ideas of where
to go next for continued learning.
| | 00:09 | For more Documentary examples, check
out the Creative Inspirations series.
| | 00:14 | There is a whole series of documentaries here, they're
all well edited, and they're about inspirational people.
| | 00:21 | If you're looking for more Premiere Pro
techniques, here are a list of all of the Premiere Pro
| | 00:26 | courses on the lynda.com
online training library.
| | 00:30 | You can see that a lot of these
are focused in different areas.
| | 00:34 | If you're looking for more about the
Documentary process, I recommend the book
| | 00:38 | Directing the Documentary by Michael Rabiger.
This is a true classic in our industry.
| | 00:45 | Thanks again for spending some time with
me on Documentary Editing in Premiere Pro.
| | 00:50 |
| | Collapse this transcript |
|
|
