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Documentary Editing with Premiere Pro
Illustration by John Hersey

Editing interview bites on the Timeline


From:

Documentary Editing with Premiere Pro

with Jason Osder

Video: Editing interview bites on the Timeline

Things are starting to come together on our piece, but we need to put some more attention to our interviews. We've already sort of worked over our visuals, and now it's time to do the equivalent work with the bites. Everything is set up pretty much ready to work, I do want to twirl down the track called the VO, so we can see those waveforms, and that's going to be very useful for this type of editing. And I am going to zoom in a little bit, and again, focus on the first section here with BD.
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  1. 5m 7s
    1. Welcome
      51s
    2. Using the exercise files
      1m 35s
    3. Interpreting a creative brief to establish goals
      1m 29s
    4. How to use this course
      1m 12s
  2. 12m 49s
    1. Identifying messaging concepts
      1m 58s
    2. Tips for working with interviews
      4m 53s
    3. Tips on B-roll sequences
      2m 58s
    4. Researching background and history
      3m 0s
  3. 37m 38s
    1. Organizing the ingest process
      3m 43s
    2. Choosing an interview logging method
      2m 40s
    3. Adding interview metadata
      4m 56s
    4. Logging interviews with markers
      6m 18s
    5. Adding notes to B-roll clips
      5m 36s
    6. Preparing archival images with Photoshop
      9m 20s
    7. Pulling selects and presenting ideas
      5m 5s
  4. 51m 20s
    1. Structuring the edit
      3m 0s
    2. Assembling B-roll shots
      8m 52s
    3. Assembling interviews
      6m 56s
    4. Building sequences and scenes
      7m 53s
    5. Editing interview bites on the Timeline
      6m 16s
    6. Adding other media types to the Timeline
      6m 5s
    7. Completing the rough cut
      10m 1s
    8. Presenting the rough cut and receiving feedback
      2m 17s
  5. 31m 6s
    1. Planning moves on photographs
      6m 23s
    2. Animating images
      9m 17s
    3. Creating a title graphic in Photoshop
      6m 8s
    4. Animating a title graphic in Premiere
      6m 40s
    5. Presenting graphics work
      2m 38s
  6. 55m 28s
    1. Performing an editorial evaluation
      4m 41s
    2. Refining scene order
      2m 53s
    3. Adjusting interview content
      7m 57s
    4. Adjusting B-roll shots
      6m 29s
    5. Tightening clip timing
      6m 21s
    6. Fine-cutting audio
      9m 22s
    7. Reviewing all assets
      6m 18s
    8. Adding end credits
      5m 12s
    9. Locking the picture and preparing the Timeline for finishing
      3m 37s
    10. Presenting the picture lock to the client and receiving approval
      2m 38s
  7. 34m 8s
    1. Evaluating the piece for finishing goals
      7m 11s
    2. Polishing the final audio mix
      7m 49s
    3. Correcting color for consistency
      9m 49s
    4. Adjusting the title and animations for the best compression
      5m 56s
    5. Exporting multiple files
      3m 23s
  8. 50s
    1. Next steps
      50s

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Documentary Editing with Premiere Pro
3h 48m Intermediate Sep 19, 2012

Viewers: in countries Watching now:

Find out how to highlight a cause, express a point of view, and tell a story with Adobe Premiere Pro and some essential documentary editing techniques. This course breaks down the documentary process into a series of stages that correspond to the milestones of a real client project. Starting with existing footage, you'll discover how to identify the key messaging concepts and log the footage. Then find out how to assemble rough and fine-tuned cuts, and layer in motion graphics and a credit roll. The final phase explores color correction and audio mixing, before exporting your final movie.

This course is part of a series that looks at Documentary Editing from the point of view of 3 different editors in 3 different editing applications.  For more insight on editing documentary projects, take a look at Documentary Editing with Avid Media Composer and Documentary Editing with Final Cut Pro X.

Topics include:
  • Interpreting a creative brief
  • Logging interviews and other footage
  • Pulling selects and presenting ideas
  • Building sequences and scenes
  • Creating title graphics
  • Animating images
  • Adjusting b-roll shots
  • Tightening clip timing
  • Compressing and exporting multiple files
Subjects:
Video Video Editing Projects
Software:
Premiere Pro
Author:
Jason Osder

Editing interview bites on the Timeline

Things are starting to come together on our piece, but we need to put some more attention to our interviews. We've already sort of worked over our visuals, and now it's time to do the equivalent work with the bites. Everything is set up pretty much ready to work, I do want to twirl down the track called the VO, so we can see those waveforms, and that's going to be very useful for this type of editing. And I am going to zoom in a little bit, and again, focus on the first section here with BD.

So this is the time where we're going to do two things, basic cleanup on the audio, and also a little bit of rearranging, to actually do that dreaded radio edit that I said I don't really like. But now is the time to do it, to basically figure out what's being said in our piece. So let's start by listening. (BD Dautch: My name is BD Dautch, and I have Earthtrine Farm, and we've--) So that beginning looks pretty clean, I just want to make sure that as we come into him there's nothing else we're missing.

(video playing) So in fact, we just want to make sure that that okay is not audible and the waveforms will help us with that. And so precisely we can just get it right there and know that we are exactly at the beginning of our bite. Close. Now I might not do the absolute fine work here, because there's going to be a chance later to do that really fine trimming. But I want to get really into the ballpark here, or I would say more than the ballpark, I want to get pretty darn close.

(BD Dautch: Okay. My name is BD Dautch, and I have Earthtrine Farm--) This type of editing, it takes a lot of listening, because we need to weed the garden of things we don't want, and make the transitions relatively clean. (BD Dautch: Carpinteria that we're farming on. It's all certified organic by CCOF. And we grow--) So I want to use ripple to extend that just a little bit. What I'm not doing is dealing with these jump cut yet. That will come later. I am just going to actually leave the jump cuts in there but just try to get the audio sounding smooth.

(BD Dautch: ...organic by CCOF. And we grow about 100 different herbs, vegetables, flowers, fruits, and we sell mostly at the farmers market, and also we sell to caterers, schools, restaurants. We try to keep it all local.) This is a pretty important part of our piece, because BD is doing a big job for us here at the beginning. He's going to layout a lot of the information that we actually need for this cut.

So I am going to work this over pretty carefully. Here we have got something interesting. (BD Dautch: We try to keep it all local.) I like that, but I am wondering in a sort of what's around that bite, what's before or after it that might make it work even better? Sometimes, again, Ripple is really useful, and I can just with the waveforms up, and let's see what he says right before that. (BD Dautch: Only one store, we try not to do any shipping, we try to keep it all local.) So I like the shipping part, but I don't think I need anything prior to that, so.

(BD Dautch: And only one store, we try not to do any--) Yeah, and I am not too concerned with the one store, but I like the shipping part. So, you see how this goes, we just work through each bite, I am going to do one more, and then we'll skip ahead and look at the final result. (BD Dautch: It becomes a celebration of life and as well as a culinary celebration.) So as I work through this, and I realize that I'm really cutting an introduction with BD here, this doesn't feel like it belongs anymore, it feels much more like a conclusion in the introduction.

And I am going to do a trick that I have shown you before, which is I am just going to take this, and I am going to move it out of the way. And I am going to take it off the timeline, I'm just going to move it clear to the end of the timeline, and when I put things there, it's kind of a little note to myself, like I might need this later, and it's not unusual to sort of generate some bites at the end here. May be I'll use them, maybe I'll just wind up to leaving them, I am not quite sure, always easy to close a gap, and we are getting close. Let's skip ahead so we can listen to both the final result of this section with BD, and we can listen to how the edits worked out on some of our other interviews.

So you can see that I finished this process of cleaning up the interview bites, matching them together and generally tightening things up. Most of the time it went eliminating things and simplifying, but I want to give a full listen to BD's built introduction here. And disregard the jump cut. Sometimes I actually close my eyes when I am listening to this type of edit just to be like, have I accomplished what I want to do, which is to get the voice right? So let's see how we like it. (BD Dautch: My name is BD Dautch, and I have Earthtrine Farm, and we've got about 10 acres in Ojai, that we're farming on. It's all certified organic by CCOF. And we grow about 100different herbs, vegetables, flowers, fruits, and we sell mostly at the farmers market, and also we sell to caterers, schools, restaurants. We have to pick 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.) So I am liking that pretty well, you know already that I like to let the visuals do the work, but I also see a necessity here to do some talking and introduce the topics of the whole piece, and I think the way this is cut, BD is really doing that work for us, and that's exactly what I want.

I like you go ahead and listen to some of the other trim downs and selections, for instance, here's where BD is now currently making that transition to the market, also this is the section where we've yet to add the historical images, but we will do that soon. (BD Dautch: And in 1978 somebody started a farmers market in Santa Barbara. The first one.) So that's going to be our transitional bite, and we sort of know the purpose of each of these, because we've looked at them before. So I just would encourage you to play through some of these trim downs to see how it's working out in this edit.

There are currently no FAQs about Documentary Editing with Premiere Pro.

 
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