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Find out how to highlight a cause, express a point of view, and tell a story with Adobe Premiere Pro and some essential documentary editing techniques. This course breaks down the documentary process into a series of stages that correspond to the milestones of a real client project. Starting with existing footage, you'll discover how to identify the key messaging concepts and log the footage. Then find out how to assemble rough and fine-tuned cuts, and layer in motion graphics and a credit roll. The final phase explores color correction and audio mixing, before exporting your final movie.
This course is part of a series that looks at Documentary Editing from the point of view of 3 different editors in 3 different editing applications. For more insight on editing documentary projects, take a look at Documentary Editing with Avid Media Composer and Documentary Editing with Final Cut Pro X.
You may already be familiar with the concept of picture lock. The idea is that it's a moment in the process where we commit to our edits, stop making editorial and timing changes and switch over to a finishing mode. This is important for numerous reasons. If other people are going to be working on your mix or color correction, you need to hand over a cut that's locked so that editorial changes don't happen underneath the work they're trying to do.
Second, it's an opportunity to communicate with the client about the content. Most clients are more focused on the content than the technical. So this is getting close to finished from their point of view. Last, it's just an opportunity in the process to watch carefully and try to make any changes that you're going to need to make, try to spot everything at this point. You'll remember that we started this chapter by watching, and now we've worked through all of the fun cutting stages. Well, all of those stages aren't one and out.
It's an iterative process. You watch and revise and watch and revise until there's nothing left to revise. I'm going to watch again. Why don't you watch on your own? (video playing) Okay, I didn't notice too much I wanted to change, but I did notice something right at the very end. Now this will be easy to change when we're tweaking graphics later on also, but I realize that this lowercase A really should be a capital.
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. There is one more technical thing to look at, and it's our track organization. You'll remember that we've tried to keep titles up on the third track then B-roll and then the interview, and for the most part we stuck to this. Same thing with the audio, VO, then natural sound, then music 1, and another track for music, and for the most part this stays consistent.
But if you look closely at the end, you'll see that we've gotten a little careless here. We have audio for the interview showing up on the nats tracks, these two are flip-flopped, and our end graphic is not on our titles track. Now some of these will matter more than others, but once you have a pattern, it pays to stick with it. So be careful when you move these that you're only moving them vertically. That yellow box will help, because if it says all zeroes, you know you haven't moved it.
I think that's the only thing that needs to be done on the video track, so I'm going to actually lock these off so that I can manipulate the audio without worrying as much. All of this B-roll somehow wound up on the wrong track. So I'm going to temporarily move it all out of the way so that I can correct the interview, and now I can put this where it belongs. You can now see that from beginning to end, everything is on its proper track.
Picture lock is as much conceptual as it is technical. It's knowing where you are in the process. On the technical side, I often do start to use the locks a lot more liberally once I'm picture locked. It just kind of helps remind me and also makes it harder to make silly mistakes. Next, let's talk about how we present a picture lock cut to our client.
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