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Matching action

From: Premiere Pro CS4 Beyond the Basics

Video: Matching action

Matched action is basically when you have two or more clips that demonstrate the same thing or show the same thing, but from different camera angles. And as an editor, you can take two different clips from two different angles and kind of sandwich them together to produce some interesting cuts. So in this clip we have - actually we have two clips here - from the Time Music Video from the Zen Chemists. And in one part, the rapper on the right, the guys who's rapping there, he will kind of move his hands like this. He is saying, "Never." He is kind of making that motion with his hands, never.

Matching action

Matched action is basically when you have two or more clips that demonstrate the same thing or show the same thing, but from different camera angles. And as an editor, you can take two different clips from two different angles and kind of sandwich them together to produce some interesting cuts. So in this clip we have - actually we have two clips here - from the Time Music Video from the Zen Chemists. And in one part, the rapper on the right, the guys who's rapping there, he will kind of move his hands like this. He is saying, "Never." He is kind of making that motion with his hands, never.

And then I have another shot of them from, with a hand-held shot, we I'm kind of, like, moving around more and he does the same thing. Now the only person shooting was me with just my one camera. So this is basically just two clips of the same thing. But because he did the same motion, in other words he had matched action, what we can do is we can cut these together so that they look like I used a multiple camera shot. So what I am going to do is I am going to find the spot where his hands cross. Now it's really important, for the sake of continuity, that when you do matched action, you get very precise and very careful, because if things don't quite match up, as we saw with jump cuts and stuff earlier on in this training series, then it just won't work.

So you got to be really careful with that. So I am going to go to 2 seconds and 11 frames, right there. And I am going to chop off, or trim, at the end of that clip. So that is the last frame and I am actually going to go one more frame out, so that we get that frame in there, but this is where I want the last frame to be. And you'll notice that his right-hand is up and his left-hand is up a little bit higher and his pinky is kind of extended up a little bit. So what we are going to try to do is find that exact same spot, so we can match the action and right about there, it's 6:18, we have the same type of thing where his right hand is out and his left hand is a little bit higher and his pinky is even up a little bit.

So these shots will work together really great. Now, it's not perfect. But because this is taken from a different angle, we have a little bit of leeway there. But if we trim this clip to that point and then we move it over to sandwich these together, then we have this cool clip that looks like the same type of thing. Now you might kind of want to go over the two edits with a fine-toothed comb just to make sure that things line up just right and as I'm looking at this, I am thinking "You know what? We have an extra frame that we don't need here." The hands are matching up, but look at his mouth.

We see the mouth in the right-hand side. It's very wide open and then instantly kind of closed a little bit. So what we could do is kind of separate these and tweak these until we get a mouth position that would make them makes a little bit more sense. Now for this I probably want to turn off snaps, so I could adjust this at the frame level, till I get the perfect frame. And if his mouth is open a little bit like this, if we go to the end of this clip, it's open a little bit and I think with the next clip, it looks kind of close from this angle but I think it is believable to think that it is open a little bit.

So let's see if that looks any better. Okay, so it's a little bit off, but they're basically in the same spot. His hands are almost in the same spot or where you would think they would might be if the camera was under him. And we kind of created this interesting cut, instead of having to look at the same shot for longer, we can use match action to make a better looking cut. So things are just a little bit more visually interesting. Yeah, I really like the way that looks. It's looks like it's just very seamless. Now I should probably point out that I showed this to one of my director of photography buddies, who is extremely talented, and he is kind of saying that it's not that good of an idea to cut from a medium shot like this to a shot that's kind of like another medium shot, so it's almost like a jump cut, because it's not that different.

So when you cut, you want to maybe ideally, I would be farther away in this shot and then cut into closer. But the point of the match action still carries over and we have a great continuous shot that really works well together.

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This video is part of

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Premiere Pro CS4 Beyond the Basics

82 video lessons · 20047 viewers

Chad Perkins
Author

 
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  1. 4m 11s
    1. Welcome
      56s
    2. What's new in the dot release
      57s
    3. Using the exercise files
      2m 18s
  2. 18m 54s
    1. Capturing ambient audio
      3m 12s
    2. Getting plenty of coverage
      1m 48s
    3. Telling a story with camera angles
      3m 18s
    4. The 180 degree rule
      2m 13s
    5. Framing shots
      3m 25s
    6. Allowing "emotional space"
      1m 40s
    7. Overcranking and time lapse
      3m 18s
  3. 11m 38s
    1. Why is metadata important?
      1m 40s
    2. Browsing and adding metadata
      6m 4s
    3. Creating metadata with Speech Search
      3m 54s
  4. 33m 12s
    1. When to cut
      7m 38s
    2. Avoiding bad edits
      9m 17s
    3. Using emotional cutaways
      1m 53s
    4. Fixing problems with cutaways
      3m 53s
    5. Pacing edits
      3m 49s
    6. Matching action
      4m 14s
    7. The power of suggestive editing
      2m 28s
  5. 26m 31s
    1. Contrasting targeting and selecting
      3m 17s
    2. Copying and pasting clips
      2m 36s
    3. Replacing clips
      4m 8s
    4. Editing to music
      5m 0s
    5. Using sample rate for precise editing
      5m 34s
    6. Creating J and L cuts
      3m 33s
    7. Working with subclips
      2m 23s
  6. 11m 17s
    1. Ingesting media
      1m 39s
    2. Examining P2 file structure
      1m 31s
    3. Importing P2 files with the Media Browser
      5m 15s
    4. Converting DVCPRO HD to standard 720p
      2m 52s
  7. 38m 11s
    1. Using the Reference Monitor
      3m 0s
    2. Using scopes
      8m 33s
    3. Primary color correction
      10m 11s
    4. Secondary color correction
      8m 28s
    5. Creating a vignette
      2m 28s
    6. Creating a day-for-night shot
      5m 31s
  8. 37m 19s
    1. Censoring video
      5m 30s
    2. Creating a waving flag
      6m 5s
    3. Creating a lens flare
      3m 36s
    4. Creating background textures
      6m 19s
    5. Playing with time
      6m 4s
    6. Using transition effects
      6m 13s
    7. Working with presets
      3m 32s
  9. 15m 30s
    1. Creating a garbage matte
      3m 56s
    2. Removing green screen
      5m 6s
    3. Compositing with blend modes
      3m 32s
    4. Nesting sequences
      2m 56s
  10. 15m 27s
    1. Creating 3D reflections
      5m 0s
    2. Creating growing vines
      5m 52s
    3. Creating a track matte
      2m 39s
    4. Using the History panel
      1m 56s
  11. 42m 25s
    1. Censoring audio using bleeps
      5m 16s
    2. Understanding sample rate
      3m 0s
    3. Normalizing audio across multiple clips
      5m 7s
    4. Recording audio
      2m 24s
    5. Removing audio problems with Soundbooth
      5m 43s
    6. Working with VST plug-in effects
      2m 3s
    7. Mixing audio
      8m 20s
    8. Changing volume over time
      5m 22s
    9. Working with surround sound
      5m 10s
  12. 23m 52s
    1. About this project
      2m 26s
    2. Performing preliminary edits
      2m 35s
    3. Working with multi-camera footage
      7m 27s
    4. Creating a visual "stutter"
      3m 12s
    5. Adjusting color
      8m 12s
  13. 6m 28s
    1. Transferring projects to another machine
      3m 24s
    2. Removing unused footage
      3m 4s
  14. 25m 46s
    1. Choosing a format
      5m 35s
    2. Understanding spatial compression
      2m 5s
    3. Understanding temporal compression
      4m 19s
    4. About HD standards
      5m 46s
    5. Changing footage interpretation
      2m 17s
    6. Getting the film look
      5m 44s
  15. 27m 10s
    1. Working with After Effects
      5m 56s
    2. Creating titles in After Effects
      5m 39s
    3. Working with Photoshop files
      2m 29s
    4. Working with Final Cut Pro
      2m 2s
    5. Working with OnLocation
      3m 12s
    6. Working with Encore
      4m 27s
    7. Introducing Adobe Story for pre-production
      3m 25s
  16. 15s
    1. Goodbye
      15s

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