IntroductionWelcome| 00:00 | (music playing)
| | 00:04 | Hi, I am Christine Steele.
| | 00:06 | Welcome to Narrative Scene
Editing with Premiere Pro.
| | 00:09 | In this course, I will talk about
techniques for constructing a compelling
| | 00:13 | story at the scene level.
| | 00:14 | I will start by looking at organizing
media so that I can easily preview and
| | 00:18 | organize the footage and start
selecting the best shots for the scenes.
| | 00:22 | Next, I will edit a dialogue scene,
exploring techniques for building an ark as
| | 00:27 | well as cutting on action and
refining the dialogue for clarity.
| | 00:30 | We will see how to edit together a
montage, to craft a scene that shows an
| | 00:35 | emotional turning point or
passage of time without using dialogue.
| | 00:39 | We will also build a flashback scene to
merge together two different time frames.
| | 00:45 | Finally, I will explore several effects
techniques to enhance the mood of a
| | 00:49 | scene and support the overall theme.
| | 00:52 | This course will show you some of the
basic rules, and then you can work on
| | 00:56 | breaking those rules in
interesting ways to create art.
| | 00:59 | Now, let us get started with
Narrative Scene Editing with Premiere Pro.
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| Using the exercise files| 00:00 | I have downloaded the exercise files
to my desktop, so let's take a look.
| | 00:05 | The exercise files come in two packets:
| | 00:07 | exercise files 1 and 2.
| | 00:08 | I will double-click to open them and
show you that in exercise files packet 1
| | 00:13 | you will find folders for chapters 1, 2, and 3.
| | 00:16 | Each chapter contains the associated
projects for the movies you will be watching.
| | 00:21 | There is also a Media folder, and all
chapters inside exercise files 1 link to
| | 00:26 | the media inside Media_01.
| | 00:29 | All chapters inside of exercise files 2
link to the media that comes inside of Media_02.
| | 00:35 | Let us take a look at how to relink these.
| | 00:38 | I will go to chapter 1 and open Preparing Work.
| | 00:43 | You will get a dialogue box asking for
a particular file. Click Display Only
| | 00:49 | Exact Name Matches, navigate to
exercise files 1, and inside there select
| | 00:54 | the Media_01 Folder.
| | 00:57 | The file that is being asked for is the
only one highlighted, and you can either
| | 01:01 | double-click it or select it and press Open.
| | 01:05 | All files relink and you
are ready to get to work.
| | 01:08 | I will go ahead and close Premiere Pro
so I can point out that each of the
| | 01:12 | exercise file folders comes
with a folder called Documentation.
| | 01:16 | Inside that folder you will find
camera reports for the short film called
| | 01:20 | Castles, and a script as well.
| | 01:23 | We have broken the exercise
files up into two folders.
| | 01:26 | The media is pretty large, so you do not
have to download both of these at once.
| | 01:31 | You can actually download exercise
files 1, relink, get to work, and then
| | 01:35 | download exercise files 2
when you are ready for it.
| | 01:38 | If you are not a Premium subscriber to
lynda.com, you do not have access to the
| | 01:42 | exercise files, but you can follow
along from scratch with your own assets.
| | 01:46 | Let's get started.
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| Watching a rough cut| 00:00 | Before we begin, I would like to introduce you
to some of the footage we will be working with.
| | 00:04 | We are using footage from a
short film called Castles.
| | 00:07 | We have put together a rough
assembly so you can become familiar with it.
| | 00:11 | As we work through the course, we will be
refining some of the scenes from this film.
| | 00:15 | So, let's take a look at this rough assembly.
| | 00:18 | (music playing)
| | 00:32 | (female speaker: What do you design
for? In other words, what drives you?)
| | 00:36 | (male speaker: Well, I design for the client,
first and foremost, but in doing that I use my)
| | 00:43 | (own inspirations to sort of tap into
what it is that the client is seeking.)
| | 00:50 | (Design, to me, is extracting the
universal emotions that drive us all, no matter)
| | 00:55 | (what the job is or what the building
is meant to represent, because when it)
| | 01:00 | (comes down to it, we all
share the same wants and needs.)
| | 01:04 | (female speaker: Well said. So it's
clear you put a lot of heart into your work.)
| | 01:10 | (Sensation no more. Once award-
winning architect fails to deliver on his downtown music hall.)
| | 01:16 | (Mr. Dalton: Joseph is our most gifted
architect. He takes risks. We all know it.)
| | 01:20 | (These unique buildings
sometimes take time to accept.)
| | 01:23 | (I stand behind any and all of
his designs, and that's that.)
| | 01:27 | (Joseph, we need to talk.)
| | 01:32 | (This music hall project has
really caused the firm to take a hit.)
| | 01:36 | (Joseph: Well, then, there isn't
much else to talk about then, is there?)
| | 01:48 | (Mr. Dalton: So, how's the coffee?
Joseph: It's cold.)
| | 01:53 | (Mr. Dalton: Did you finish it? You know, I'm
taking a big risk putting you on this Columbia project.)
| | 02:10 | (The firm could be on the line here.)
| | 02:14 | (Six p.m. tonight. Simple deadline, meet it.)
| | 02:20 | (Joseph: That's it, 6 p.m., huh?)
| | 02:24 | (And if I'm a risky choice, then don't use me.)
| | 02:28 | (We all know what risky decisions lead to.)
| | 02:30 | (Look, the company's in free-fall,
and you want to take risk again?)
| | 02:36 | (It's a creative approach.)
| | 02:41 | (Mr. Dalton: My creativity has
nothing to do with this. I did my time.)
| | 02:48 | (My job now is to wear this suit, please
clients, and make sure you do your job,)
| | 02:56 | (nothing more, nothing less,
understand? Six p.m., deliver.)
| | 03:06 | (Oh, and this design better not
resemble the last few of your strip-)
| | 03:12 | (mall-inspired creations.)
| | 03:14 | (Get out of the safety
zone, Joseph. Do your job.)
| | 03:43 | (Patton: Mr. Dalton sent me to
collect a design. Is it ready? Well, 6 p.m.)
| | 03:47 | (Joseph: Is he sending you in
here with scripted-out dialogue and everything?)
| | 03:58 | (Patton: He suggested words, yes, and to
come every hour, but I decide whether to come)
| | 04:04 | (Patton: before or after the hour.
Joseph: Oh, I see.)
| | 04:06 | (Patton: Oh, I'm also supposed to tell you that--
Joseph: You know, Patton, hang on a minute, bud.)
| | 04:11 | (Joseph: Um, I want to get the boss man on the
horn here so we can all have a little)
| | 04:14 | (chit-chat, all right?
Mr. Dalton: Yes?)
| | 04:21 | (Joseph: Hey, yeah, I'm here with Patton,
and he's telling me that, um, you want him)
| | 04:27 | (here every hour on the hour, checking in on me?)
| | 04:30 | (Mr. Dalton: Patton, you there?
Patton: Yes, Mr. Dalton, I'm here, and I never said on the hour.)
| | 04:36 | (Patton: I just told him that I
decide before or after the hour.)
| | 04:39 | (Mr. Dalton: No matter, just
continue to do as I requested.)
| | 04:43 | (Oh, and Patton, did you let
Joseph know about the other details?)
| | 04:47 | (Joseph: What other details? Look, I don't have--
(dial tone playing)
| | 04:56 | (Patton: So, the other details.)
| | 05:01 | (The boss man decided to put Leavitt and
Myron from 42 Designs on the project as well.)
| | 05:07 | (They've been working on concepts all week.)
| | 05:12 | (The Columbia tower board meeting is
after the end of the day, and if they like)
| | 05:16 | (any of the concepts, then,
well, we'll all keep our jobs.)
| | 05:20 | (Joseph: All right, I see.)
| | 05:25 | (Patton: I'll see you in an hour.)
| | 05:40 | (Joseph: Nuts! I can't believe this! Ugh!)
| | 06:00 | (music playing)
| | 06:23 | (Joseph: How's it stick together, dad?)
| | 06:26 | (Joseph's father: The sand? Well, the
water and sand mix, chemistry stuff.)
| | 06:30 | (But that's not the exciting part.
The exciting part is the lines.)
| | 06:32 | (Joseph: The lines?
Joseph's father: Yeah, the lines. Here, let me show you.)
| | 06:38 | (Joseph's father: You want strong lines,
unique lines, fun lines.)
| | 06:50 | (Joseph: Can I try?
Joseph's father: Get in there. Let's see it, kiddo)
| | 06:53 | (music playing)
| | 07:21 | (Mr. Dalton: Well, it's a complicated process,
but I assure you I'm bringing you the best. Yes.)
| | 07:30 | (No, it's not that. It's all right.)
| | 07:34 | (Well, I look forward to meeting
you and the board tonight. Yeah.)
| | 07:50 | (Patton: Here are the copies of the Bell
contract you asked for, and I grabbed you a coffee.)
| | 07:54 | (Mr. Dalton: Thanks.
Patton: I thought you could use it.)
| | 07:57 | (Patton: Oh, and you forgot this in the bullpen.
I need to get back to work.)
| | 08:04 | (Mr. Dalton: Oh yeah, I've been asking
earlier, trying to figure out who had this thing)
| | 08:07 | (made up for me for my birthday last week.
It's a thoughtful gift.)
| | 08:14 | (You know, I had this thing since I was
a young hotshot, just about your age.)
| | 08:18 | (Did you have anything to do with this?)
| | 08:22 | (Patton: Um, no sir. Actually,
that was a gift from Joseph.)
| | 08:27 | (As far as I know, no one else was in on that.)
| | 08:30 | (Mr. Dalton: I see.)
| | 10:11 | (music playing)
| | 11:09 | (Joseph: Hey, dad.
Mr. Dalton: Hey, kiddo.)
| | 11:13 | (Mr. Dalton: So, you got a design for me?)
| | 11:23 | (Joseph: Yeah, I think so.
Mr. Dalton: Good.)
| | 11:31 | (Joseph: Thanks for the message.)
| | 11:33 | (Mr. Dalton: Just doing my job.)
| | 11:34 | (music playing)
| | 11:54 |
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1. Preparing to EditPreparing the workspace| 00:00 | This movie will help you become
familiar with the project and bin structure for
| | 00:04 | Castles, which is the
short film we will be editing.
| | 00:07 | We will begin by preparing the
workspace for organizing our media.
| | 00:10 | I have done a lot of the prepwork
for you, so you can begin the scene
| | 00:14 | building process like a pro.
| | 00:16 | I will begin by setting up the Basic
editing workspace, which is an option
| | 00:20 | located under the Window menu, under Workspace.
| | 00:25 | I typically customize my workspace
for every project and for specific
| | 00:28 | tasks while I am editing, but for training
purposes, we are going to keep things simple.
| | 00:33 | I am limited by monitor size and
resolution, but you should feel free to
| | 00:37 | customize your workspace in
any way that suits your style.
| | 00:40 | Customizing your workspace is
covered in Premiere Pro Essential Training.
| | 00:44 | At any time during this course, you
can return to the same workspace I am
| | 00:48 | using by going up to the Window > Workspace >
Editing selection and choosing Reset Current Workspace.
| | 00:57 | Click Yes.
| | 00:58 | So, often I am given the media pre-organized
in bins like this, and I have done this for you.
| | 01:04 | You can see I have placed all of the
footage for scene 2 into a bin called
| | 01:07 | Dialogue Footage_Scene 02.
| | 01:10 | The DX is just shorthand for dialogue,
very much like MX is often used to
| | 01:14 | indicate music and SFX are the
shorthand common term for sound effects.
| | 01:20 | There are a few features I use every
single day that I would like to show you.
| | 01:25 | First, I will be using the tilde key--
| | 01:27 | that is the key right underneath the
Escape on your keyboard--to make each
| | 01:32 | of these panels full screen.
| | 01:35 | By pressing tilde, you can jump in
and out of full screen mode, put your
| | 01:40 | mouse over the Timeline or the Program pane,
press Tilde and instantly, it is full screen.
| | 01:45 | This will make it easier for you to
see what I am doing, but it is really
| | 01:50 | helpful for those of you who are working
on a single monitor, especially a small
| | 01:53 | monitor like a laptop.
| | 01:54 | It gives you a lot more screen real estate
when you are trying to organize your media.
| | 01:59 | In the upper right-hand corner of
every single one of the panels, you have a
| | 02:04 | flyout menu that gives you
a lot of different options.
| | 02:06 | This will allow you to reveal and view
certain things like the Preview area.
| | 02:12 | This is a feature I use all the time,
and I really like it because when you turn
| | 02:15 | it on and select a clip, the Preview
area up above, on the left-hand corner
| | 02:22 | gives you a thumbnail of that particular
clip and information about it, like the
| | 02:26 | frame rate, the frame size, and my
favorite: it allows you to actually scrub
| | 02:32 | through that shot and get a little
preview of what that shot looks like.
| | 02:38 | You also have a Play button,
but it is a little bit slow.
| | 02:41 | For narrative editing, I like to
open bins in tabs and dock them
| | 02:46 | so that I can display all
these clips in thumbnail icons.
| | 02:49 | I will press the tilde key again,
and hold the Option key and double-click
| | 02:54 | or on a Window's Machine, the Alt key and double-click
| | 02:57 | Your bin will tab itself up near the project.
| | 03:00 | I am going to pull that bin out of the
project and dock it up here, right in the
| | 03:06 | center of my Source pane.
| | 03:08 | Then I will click and
drag that over to the left.
| | 03:11 | Now, I am doing this because while I am
working, I really like having the option
| | 03:16 | of double-clicking a clip, loading it
up, and previewing it in my Source panel,
| | 03:22 | and then clicking over onto the bin
tab and getting an overview with Hover
| | 03:27 | Scrub active, so that I can just
quickly take a glance through all of my shots
| | 03:33 | and select things visually.
| | 03:35 | At the same time, back in my Project
pane, I can continue to view each one of
| | 03:40 | my clips in List mode.
| | 03:43 | So now I have access to my footage
both in List mode in the Project pane, and
| | 03:48 | actually in the bin, in Icon mode.
| | 03:51 | This is a great setup for
auditioning your footage and making selects.
| | 03:55 | I am going to further simplify
the organization of my project.
| | 04:00 | Again, placing the mouse over the
Project pane and pressing tilde.
| | 04:03 | I will make a new bin by right-clicking,
selecting New Bin. I will title this Audio.
| | 04:10 | I will drag the Sound Effects (SX),
holding the Command or the Control key if
| | 04:15 | you are on a Windows machine, add Room Tone
and Music, all audio clips into my Audio bin.
| | 04:24 | I have done a lot of the organization
for you, but I just wanted to review
| | 04:28 | creating a bin and gathering up
similar types of footage into one location,
| | 04:31 | because when I am working, I want easy
access to each one of the files in the
| | 04:37 | List mode in the Project pane, and then
I also have the ability, again, to Option
| | 04:43 | or Alt double-click and
dock the additional bins.
| | 04:47 | If I was working on a system with two
monitors, I would actually tear these bins
| | 04:53 | out of the tab topped panels and move
them over to the other monitor, so that I
| | 04:58 | can see all of my source footage in
individual bins that allow me to quickly get
| | 05:04 | a glance at what I have to work with.
| | 05:06 | I will come back to my Project panel.
| | 05:10 | Creating a bin structure like this
allows you to import additional clips in
| | 05:14 | folders right into their proper place, so
that media stays organized and easy to find.
| | 05:20 | If you are a Premium member and you
have access to this project file, take a
| | 05:23 | moment to watch each of these takes
that have been provided. Then we will
| | 05:27 | continue prepping our media for scene
building by adding more specific metadata
| | 05:30 | to each one of these clips.
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| Customizing clip metadata| 00:00 | In this movie, I will demonstrate ways
you can customize clip information in
| | 00:04 | Premiere Pro for easy searching.
| | 00:06 | I will teach you how to create a
custom metadata field and add specific
| | 00:09 | searchable information.
| | 00:11 | Placing my mouse over the Project pane
and pressing the tilde key to full
| | 00:15 | screen, you can see that there are
metadata columns up along the top, and there
| | 00:21 | are far too many to make this easy to log.
| | 00:24 | What I want to do is customize this so
I can see just the fields I need and add
| | 00:29 | some additional information about each clip.
| | 00:32 | You can set up and save metadata
columns that you find useful and eliminate the
| | 00:35 | fields you do not want to see by
right-clicking on any one of these metadata
| | 00:39 | headers and choosing Metadata Display.
| | 00:42 | We are concerned with Premiere Pro
project metadata, so I will twirl that
| | 00:46 | disclosure triangle down.
| | 00:47 | Now, there are a lot of columns
here I really do not need to see.
| | 00:51 | While I am logging, I do
generally would like to see the labels.
| | 00:55 | I do not really need to see the Frame
Rate, Media Start, Media End. There are
| | 00:59 | few fields that I do like to see the duration.
| | 01:02 | I do like to see my video duration, which
is after you have marked in and out points.
| | 01:06 | I do not need to see the actual
timecode for the in and out points themselves.
| | 01:10 | Let me turn most of these columns off
and show you that the important ones for
| | 01:16 | logging typically involve
things like Description and Comment.
| | 01:21 | These are places where I can
actually type in the text fields needed
| | 01:25 | information, so I can
identify particular shots quickly.
| | 01:28 | I will turn on the Comment Column.
Log Notes, great to have. Capture
| | 01:33 | Settings, Status, and Scene
| | 01:36 | I am not too concerned about.
| | 01:37 | I do like to have a checkbox column for good.
| | 01:41 | Now, I want to show you that you can
create any custom column field that you
| | 01:46 | want by pressing Add Property.
| | 01:48 | I will call this Edit Notes and
click the pop-up to choose Text Field.
| | 01:56 | I find the text field most useful when
logging because I can enter text into it.
| | 02:01 | Click Ok and save this setting as
you are Logging Metadata Columns.
| | 02:08 | Press Okay and boom, I have neatened
up my metadata columns tremendously.
| | 02:17 | I do not have a lot of fields that I do
not need to see right now, but I do have
| | 02:22 | some important information, like
Description, which I will click and drag over to
| | 02:26 | the left and open up.
| | 02:27 | So you can see that I have actually
already added a quite a bit of information
| | 02:31 | about these shots for you.
| | 02:32 | Comment field I will
also drag over to the left.
| | 02:36 | Log Note and Edit Notes.
| | 02:40 | These are all fields where I can add
different types of information, and we are
| | 02:43 | going to do that for a couple of the clips.
| | 02:45 | Let me show you some ways to this
easily by using visual cues and setting up
| | 02:51 | your bins so that you can quickly type
information while previewing the clips.
| | 02:56 | I will press the tilde key, and now
you can see the bin I docked next to the
| | 03:02 | Source panel in the previous movie.
| | 03:05 | Hover scrub is turned on,
just a quick reminder.
| | 03:07 | That is located under the flyout,
menu and there is a checkbox by it, which
| | 03:12 | allows me to place my mouse over a clip, drag
left or right, and see what the shot consists of.
| | 03:20 | So, I need to actually visually reference my
footage so that I can add notes to those fields.
| | 03:25 | Dragging through these shots is great.
| | 03:28 | It allows me to see what the content of
the shot is, but when I move to another
| | 03:33 | shot, that shot just
snaps right back to its slate.
| | 03:37 | That is not super helpful for me visually.
| | 03:40 | I might want to stop, park that on a
frame that represents the shot, right-click,
| | 03:46 | and choose Set Poster Frame.
| | 03:48 | This is a quick way for me to glance at
the shots and see exactly what I am dealing with.
| | 03:52 | I will right-click on this shot,
choose Set Poster Frame. Quickly scrubbing
| | 03:59 | through, choosing a representative frame.
| | 04:01 | You will notice that I am stopping on
a frame that at a glance tells me this
| | 04:07 | is a one-shot of this character,
this is a two-shot of both characters,
| | 04:11 | this is a closeup of the
items on the desk, and so on.
| | 04:15 | At any point in time I can switch
from Icon view, where I am gleaning visual
| | 04:23 | information about each shot, over the List view.
| | 04:25 | Now because we saved the Logging
Metadata columns, I can right-click in the bin,
| | 04:32 | choose Metadata Display, and over under
Custom, from the pop-up, choose Logging,
| | 04:38 | press Ok and I have everything I
set up and refined ready to go.
| | 04:45 | Under the Description, you can see that
there is one clip that has not had any
| | 04:50 | information added to it.
| | 04:51 | When I double-click on the clip,
it loads up into the source monitor, so I can
| | 04:55 | play through and review the shot.
| | 04:57 | With this arrangement, I can click
back over to the bin and type into the
| | 05:01 | description that this is Joseph and
Arthur, and it is a wide-hot master.
| | 05:08 | I press Return and now you can see
we have added additional information.
| | 05:13 | I will press the tilde
key to full screen this bin.
| | 05:18 | I accidentally pressed the tilde key
while I still have the cursor active in
| | 05:22 | a Text Entry field.
| | 05:23 | I will undo that with Command+Z or
Ctrl+Z if you are on a windows machine
| | 05:29 | and click in the empty gray area
before I press the tilde key to full screen.
| | 05:33 | Even though I have turned on the
thumbnails, it is really difficult for me to
| | 05:38 | see what these shots actually are with
a tiny little thumbnail like that. So I
| | 05:43 | can either select a shot and take a
look at what it is in the preview monitor
| | 05:47 | or at any time, go down to the bottom
left-hand corner back, into Icon view, and
| | 05:52 | again scrub through or take a look at my
poster frame to add additional information.
| | 05:57 | I would like to point out that if you
select one of the clips in Icon view and
| | 06:02 | then return to List mode, that shot is
highlighted for you across the columns,
| | 06:08 | which makes it much easier to add
additional information like edit notes to that shot.
| | 06:13 | I might check that this is a good shot
and continue adding information about it
| | 06:18 | in the Edit Notes field, as I review each shot.
| | 06:22 | As I continue to add notes, indicating
that this is a wide-shot master into the
| | 06:30 | Log Note field, I set myself up for searching.
| | 06:33 | Any time you would like to search
for a shot you can come down to the
| | 06:36 | magnifying glass or my preferred way to
do this is press Command and the F key
| | 06:41 | for find--on a Windows,
that would be Control and the F key--
| | 06:45 | and you can customize
what you are searching for.
| | 06:48 | You can select what you are
searching for by using the pop-up menu.
| | 06:51 | I will select the Log Notes field and
search for shots that contain Joseph.
| | 06:59 | I usually leave the Case Sensitive
box unchecked, so I do not have to worry
| | 07:03 | about capital letters. Press Find.
| | 07:05 | It highlights that selection.
| | 07:09 | Each time I press Find, it jumps to the next
instance of the word Joseph. I will click Done.
| | 07:14 | I will use the search field in the
upper left-hand corner just beneath the
| | 07:18 | Preview area and try this again.
| | 07:20 | I will type Joseph, and notice that
before I even finish typing his name, it
| | 07:26 | shows me that there are eight
clips with the word Joseph notated.
| | 07:31 | Now, I see seven clips here
listed as containing Joseph in them.
| | 07:36 | It could be actually that there are
seven clips in this bin, but the project
| | 07:40 | itself contains another clip.
| | 07:42 | Sure enough, when I click back up a
level to reveal the project, there is Room
| | 07:48 | Tone for Joseph in this scene.
| | 07:51 | Clip information can be sorted by
metadata simply by clicking on the name of
| | 07:57 | the metadata field you would like to sort.
| | 07:59 | This is most easy to see when I use
the Name column to demonstrate this.
| | 08:04 | Pressing the Name column once will
sort it from top to bottom and pressing it
| | 08:09 | again, the other direction from bottom to top.
| | 08:12 | To clarify, I will create a new bin
and name it Sequences, but to control the
| | 08:20 | way it sorts, I will jump to the
head of that and add an underscore.
| | 08:24 | When I press Return, you will see that
when I select the Name field and sort,
| | 08:31 | Sequences is placed down at the
bottom, because of the underscore.
| | 08:34 | Everything else is sorted alphabetically.
| | 08:38 | When I click the Name column again,
it sorts in the reverse order.
| | 08:43 | Now, alphabetizing bins and
sequences is nice, but when I am working on a
| | 08:48 | project with additional editors, I like
to keep things really neat and tidy and
| | 08:53 | make use of my ability to sort by
the Metadata column by actually placing
| | 08:58 | numbers in front of each bin.
| | 09:00 | So, I will start with 1 from my
sequence bin and then I would like my dialogue
| | 09:06 | bin to show up next, 2_, and
now I will replace a 3 in front of Audio.
| | 09:11 | I will press a number 3 and an underscore.
| | 09:14 | Now, you will see when I click the Name column
again, I can sort in 3, 2, 1 or 1, 2, 3 order.
| | 09:23 | Any of these Metadata columns
can be sorted by clicking on them.
| | 09:27 | If you would like to see which clips
are the longest, press Media Duration,
| | 09:31 | and now the clips are resorted in
the order from shortest to longest, or
| | 09:35 | longest to shortest.
| | 09:37 | As I continue to audition my footage in
preparation for editing, I will update
| | 09:43 | my Metadata field and customize
information as needed, to later help me locate
| | 09:48 | what I am looking for while I am editing.
| | 09:50 | Customizing the metadata makes
searching for shots a lot easier and hiding
| | 09:54 | Metadata columns that you do not
need minimizes the interface clutter.
| | 09:58 | Making use of both Icon and List mode
while you are reviewing clips in bins
| | 10:02 | will really help you quickly
wrangle your media into shape.
| | Collapse this transcript |
| Refining organization using the script and shooting notes| 00:00 | This movie will introduce you to the
script and the camera logs for the short
| | 00:05 | film Castles and show you how to
further refine your media for scene building.
| | 00:09 | I typically read the script and watch
the footage and then refer to any notes
| | 00:13 | that are made on set.
| | 00:15 | Then I tag my clips to make editing easier.
| | 00:17 | I have already set up and saved
metadata columns in the last movie.
| | 00:23 | Now, I am going to make great
use of those custom text fields.
| | 00:27 | Using the documentation given to me by
the production team, I will take a look
| | 00:31 | at what I can add to those text
fields to help me locate the best takes.
| | 00:35 | Every film presents a unique situation,
| | 00:37 | so on-location note
taking is really going to vary.
| | 00:41 | Let's take a look at the Castles
documents provided by the crew and see what we
| | 00:45 | have got to work with.
| | 00:47 | I will go into the Preview app and
show you the script and the camera logs.
| | 00:52 | You will find these in
your exercise files folder.
| | 00:55 | Now, the Castles script, well, I've
noticed it isn't numbered, but looking
| | 01:00 | through, I was able to locate
Scene 2 at the bottom of page 2.
| | 01:05 | This is the first time our main character,
Joseph, is confronted by his boss, Mr. Dalton.
| | 01:12 | I will also open the camera logs
and take a look at those reports.
| | 01:18 | Occasionally, I will get these reports
and I will have no idea what some of
| | 01:20 | this information is about.
| | 01:23 | As I said, everything varies from
location shoot to location shoot,
| | 01:27 | so sometimes these are really
complete and other times I am hunting for
| | 01:31 | important information.
| | 01:32 | I am not really sure what this 2 refers to.
| | 01:36 | It may be the shoot day.
It may be the camera roll.
| | 01:39 | What's important to me is to figure out
which pages this scene, Scene 2, lives on.
| | 01:44 | So, down at the bottom of this,
I found that Scene 2 begins here in the
| | 01:49 | left-hand column and continues over
here on the right side of the page.
| | 01:53 | I look at the shoot information and
notice that I can see how many takes were
| | 01:57 | recorded for each of the scenes.
| | 02:00 | I also have information related to the
shots and takes the director prefers.
| | 02:06 | Circle takes is what we call these, and
here they have marked good and circled it
| | 02:10 | with a G next to the
takes that the director liked.
| | 02:13 | I can also see when two cameras were
rolling or when one camera was rolling.
| | 02:19 | Over in the Remarks column, I was
hoping for information about which of these
| | 02:24 | were Joseph's shots, and which were Mr.
| | 02:26 | Dalton's, but I will get to figure
that out by looking at the footage.
| | 02:31 | What I am going to do is scan the
Remarks column and find out if there is
| | 02:34 | anything that might help me.
| | 02:36 | First of all, I have noticed that this
shot, which is called MOS Series, was shot
| | 02:41 | at 60 frames per second.
| | 02:43 | Right away, I am alerted to the
fact that they've shot slow-mo here.
| | 02:47 | They have shot at a faster frame rate.
| | 02:49 | So, I am going to go take a look for
this shot, 2A, and looking for take 1,
| | 02:54 | which is the director's take,
and see if it really is slow-mo.
| | 02:58 | So, coming down to my Project tab--
I am in List view, as you can see--
| | 03:03 | I will go and search for
2A take 1, right at the top.
| | 03:08 | Double-clicking to load that up into my
Source panel. I'll just scrub though with the
| | 03:13 | playhead, and when I find the spot
where the action begins, press Play.
| | 03:20 | Sure enough, that is shot in camera slow-mo.
| | 03:23 | I will pause that, put my mouse back
over the Project pane, and press the tilde
| | 03:30 | key, so I can fill in some information.
| | 03:33 | Notice that shot is still highlighted,
and I can come right over into the Edit
| | 03:37 | Notes column and make a
note about this being slow-mo.
| | 03:42 | As you saw in an earlier movie, I am
working with the Metadata display set to my
| | 03:47 | custom logging preferences.
| | 03:49 | I will press OK and continue to add some notes.
| | 03:54 | Pressing the tilde key so I can return
to the Preview app and look again at my
| | 03:58 | camera log, I will come down to where
it says Scene 2B, takes 1 and take 2,
| | 04:05 | which is the director's circle take,
and point out that someone has added
| | 04:09 | information about this being the wrong line.
| | 04:11 | "Strip-mall-inspired projects."
| | 04:14 | So, this is a point at which I would
refer back to the script, find that line,
| | 04:19 | go listen to the clip, and
figure out what that note means.
| | 04:23 | Taking a quick glance down, I also see that
there are two pickups on 6 p.m. delivered.
| | 04:29 | Let's go look for those lines.
| | 04:30 | I will scan through the Castles script
until I find the line I am interested in.
| | 04:36 | There is 6 p.m. deliver.
| | 04:39 | What am I looking for?
| | 04:40 | Wrong line, "Strip-mall
inspired projects." Here we go!
| | 04:46 | "Mr. Dalton: Oh! And this design better not
resemble the last few of your strip-mall-
| | 04:51 | inspired creations.
| | 04:53 | Get out of the safety zone, Joseph. Do your job."
| | 04:56 | So let's go look for 2B, take 2. Here it is!
| | 05:01 | I will double-click to load it up.
| | 05:03 | This is partway into
scene, and locate that line.
| | 05:13 | (Mr. Dalton: I did my time. My job now is to wear
this suit, please clients, and make sure you do your job,)
| | 05:24 | (nothing more, nothing less,
understand? Six p.m., deliver.)
| | 05:37 | (Oh, and this design better not resemble the
last few of your strip-mall-inspired projects.)
| | 05:52 | (Get out of the safety zone, Joseph.)
| | 05:55 | And that's where he flubbed the line.
| | 05:58 | So "Get out of the safety zone,
Joseph," it's barely audible.
| | 06:02 | Back to the Preview app.
| | 06:04 | Again, strip-mall-inspired creations,
he said, "Strip-mall-inspired projects."
| | 06:09 | So it's not necessarily true to what was
written, and I think this note indicates
| | 06:15 | that he had--it's not just the
wrong line, but he had flubbed the line.
| | 06:18 | Notice they did two pickups on
6 p.m. delivered, and it sounds like I will
| | 06:23 | likely find another take of
this in this clip here: 2C, 1.
| | 06:28 | However, coming up over to the top of
the right column, I noticed that the
| | 06:32 | second take for 2C was
actually the director's circle take.
| | 06:36 | So, here is 2C, take 2, which is
the director's circle take, and let's
| | 06:43 | scrub down to the end.
| | 06:45 | See if we can't find that retake. Oh, yeah!
| | 06:49 | It looks like this is the end of
the scene, and here is the pickup.
| | 06:55 | (Mr. Dalton: Six p.m., deliver.)
| | 07:02 | (Oh, and this design better not resemble the
last few of your strip-mall-inspired creations.)
| | 07:10 | (Get out of the safety zone, Joseph. Do your job)
| | 07:20 | Bang! Okay, so he not only nailed the
line "creations," not "projects," but I was also
| | 07:26 | able to hear, "Get out of
the safety zone, Joseph."
| | 07:29 | The camera logs, as you can see, guided
me to not only the better take, but gave
| | 07:34 | me a lot more information about my footage.
| | 07:37 | Placing my mouse back over the Project
pane and pressing tilde, I will come in
| | 07:41 | to my Edit Notes column and
add some additional information.
| | 07:45 | So, take 2 is the
director's take. Make a note there.
| | 07:51 | And as you noticed, this was the pickup.
| | 07:54 | I am going to put that in the Log Notes.
| | 07:56 | Pickup at End, because this
actually contains the entire scene from
| | 08:04 | the perspective of
Joseph looking at Mr. Dalton,
| | 08:08 | but at the end, they have picked up
this additional line, and this is the
| | 08:11 | take the director likes.
| | 08:13 | As you can see, the camera reports are really
valuable for pointing you to the best takes.
| | 08:19 | One more thing: you may have noticed
that my Dialogue bin doesn't contain every
| | 08:24 | take that was listed on that camera report.
| | 08:26 | That's because I've already eliminated
some of the shots that I know I won't
| | 08:30 | use. But I have left a few extra
takes to give myself some room to play.
| | 08:35 | Sometimes I like to begin a shot
with one take and end it using another.
| | 08:39 | I will press Return.
| | 08:41 | I will take a look at the script
again and continue adding metadata to
| | 08:46 | refine my organization.
| | 08:48 | To make scene building feel a lot
less like work and more like making art,
| | 08:52 | examine your script and camera
reports before you begin editing.
| | 08:56 | Notes are often made on set during
filming, and you want to make use of the work
| | 09:00 | that someone else has already done for you.
| | 09:02 | Even when camera logs are given to
me incomplete, I always find some
| | 09:05 | useful information.
| | 09:07 | These documents really help guide me
when it comes to navigating through media,
| | 09:11 | and at the very least, you can use
them to help you find lines and locate the
| | 09:14 | director's favorite takes.
| | Collapse this transcript |
| Adding and editing markers| 00:00 | If you have clips that contain multiple
takes, it can be very useful to add markers.
| | 00:05 | You can even add
line-specific information on each marker.
| | 00:08 | Let me show you how.
| | 00:10 | I've double-clicked and loaded Scene 02,
Camera A, take 2 into the Source Monitor.
| | 00:15 | This clip contains two different takes.
| | 00:20 | It contains the entire scene.
| | 00:22 | And as we saw in the last movie,
there is a pickup at the end.
| | 00:27 | I will add markers so it's easy for
me to locate both the main scene and
| | 00:32 | the pickup later on.
| | 00:33 | I will grab the playhead and
simply scrub through, until I see Mr.
| | 00:37 | Dalton enter the scene.
| | 00:39 | Back up, mark my in point with the
letter I and scrubbing through by dragging
| | 00:46 | the playhead, I will
locate the end of that scene.
| | 00:53 | And take 2 ends on a really nice
tilt-down of the camera with the rack focus.
| | 00:58 | When I get to that stopping point, I
will press O to mark out. There we go!
| | 01:07 | You can hear the director
saying, keep it rolling.
| | 01:09 | I will press the spacebar to pause, and
point out that I don't need to mark an
| | 01:14 | in to an out simply to add markers.
| | 01:16 | I am doing this for clarity.
| | 01:18 | Returning to the in point, I
will right-click and add a marker.
| | 01:23 | You can also do this by
pressing the M key on your keyboard.
| | 01:28 | Next, I will right-click a
second time and choose Edit Marker.
| | 01:32 | I want to give you a tip here.
| | 01:35 | While the Name field is useful
just to note that this is Mr.
| | 01:40 | Dalton's take, it's the Comment field I
am really interested in typing into, and
| | 01:45 | I will show you why.
| | 01:46 | I will make a note that this is the
Director's Circle Take, and it is Take 2.
| | 01:54 | There is a Duration field. My tip is this:
| | 01:58 | click on the Duration
field and give it a duration.
| | 02:00 | I usually give it a couple of seconds.
| | 02:02 | We are going to adjust this in just a moment,
so it doesn't really matter what you type.
| | 02:05 | I will press 5.00 on my numeric
keypad, and then I will click OK.
| | 02:13 | Now, take a look over at the
bottom of your Source pane.
| | 02:16 | You will notice that there is a duration
now on the marker, and you can click on
| | 02:20 | the ends of these handles, drag that
out, and notice that whatever you typed
| | 02:25 | into the Comment field--not the Name
field--whatever you typed into the Comment
| | 02:29 | field is now typed right on top of your marker.
| | 02:32 | Let's go mark the pickup.
| | 02:34 | Down at the end, I will drag my playhead.
| | 02:38 | And instead of marking an in or an out
this time, I will actually just press M
| | 02:43 | to add a marker in that location.
| | 02:45 | I do this so frequently that I really
don't want to continue to right-click
| | 02:48 | to get to Edit Marker.
| | 02:49 | So, under your Premiere Pro keyboard
shortcuts, you can actually add a keyboard
| | 02:56 | shortcut to edit the marker.
| | 02:58 | If you are working on a PC,
that will be under Edit.
| | 03:02 | Notice that my keyboard layout is
just in the Generic Adobe Premiere Pro CS6
| | 03:06 | configuration. I am now going to
customize that by typing in the search field Marker.
| | 03:14 | Notice that I can add markers with M, go
to the next marker with Shift+M, et cetera.
| | 03:19 | What I am looking for here is what
modifier key is not used that I can now use
| | 03:25 | to create an edit marker key command.
| | 03:27 | I will select Edit Marker,
press the Edit button.
| | 03:31 | I am thinking here on the Mac I
will, hmm, what do I have available?
| | 03:36 | How about I try Ctrl+M? Now, on
a PC that's not going to work.
| | 03:41 | Press OK and now back in my Source
pane, I can press Ctrl+M and the Edit
| | 03:47 | Marker window pops up.
| | 03:49 | So, this is still Mr.
| | 03:51 | Dalton, but it's his pickup, and in
the Comment field I will note that this
| | 03:57 | pickup contains the line "strip-mall."
As we saw in the last movie, that's a
| | 04:03 | line that he didn't get quite right
until the director had him do a pickup take
| | 04:08 | here at the end of take 2.
| | 04:09 | Again, give this a duration.
| | 04:11 | I will just type 4.00 on my
numeric keypad, and press Enter.
| | 04:16 | And again, drag that handle open. There we go!
| | 04:21 | Next to the Project pane,
you should find a Marker tab.
| | 04:25 | Remember that I am in the Editing workspace.
| | 04:28 | If you don't see a Marker tab, you are
welcome to go up to Window > Workspace and
| | 04:33 | reset the current workspace, or if you
are in any other workspace, you can just
| | 04:38 | also just open up the Marker panel by
selecting Markers under the Window menu.
| | 04:43 | Clicking over here on the Markers tab,
you see that each of the two markers I
| | 04:47 | made is available for me.
| | 04:49 | And if I select that particular marker,
then it places the playhead in the
| | 04:55 | Source panel at the in point of that marker.
| | 04:59 | I can also update the in and out
points, which will change the duration.
| | 05:03 | I will select the pickup.
| | 05:06 | My playhead is now at the beginning of
that marker, and now I can quickly edit
| | 05:10 | that into my sequence.
| | 05:11 | I will press I to mark an in point in
the Source pane, and then I will press the
| | 05:16 | comma key to insert that into my sequence.
| | 05:19 | I just wanted to point out that
that marker is visible in the timeline.
| | 05:23 | And at any point in time, you can double-
click that clip, load that back up into
| | 05:27 | the Source Monitor, and
notice it behaves like a subclip.
| | 05:31 | It's only that pickup take.
| | 05:32 | As you can see, adding markers is
really useful, and it will help you to break
| | 05:37 | up longer clips.
| | Collapse this transcript |
|
|
2. Shot SelectionEvaluating performance in a take| 00:00 | In a dialogue scene, we
are crafting a conversation.
| | 00:04 | Our choices as storytellers are based
mainly on the actors' performances, but
| | 00:08 | also on the theme of the story
and the overall vision for the film.
| | 00:12 | First and foremost, I encourage you
to adopt a philosophy regarding shot
| | 00:15 | selection and that is, emotion rules.
| | 00:19 | Let's watch several takes and compare
the actors' performances between the takes.
| | 00:25 | Look for shots that
inspire feelings in the viewer.
| | 00:28 | Look for shots that inspire feelings in you.
| | 00:31 | If you have several takes of an actor
delivering a line, rule number one is
| | 00:35 | choose the take that hits you in the gut, even
if it's not technically perfect. Here we go.
| | 00:40 | (Mr. Dalton: Simple deadline, meet it.)
| | 00:45 | (Joseph: That's it, 6 p.m.?
And if I'm a risky choice, then don't use me.)
| | 00:52 | (We all know what risky decisions lead to.)
| | 00:55 | (Look, the company's in free-fall,
and you want to take risk again? It's a creative approach.)
| | 01:05 | And another take.
| | 01:07 | (Mr. Dalton: Simple deadline, meet it.)
| | 01:12 | (Joseph: That's it, 6 p.m. huh?
And if I'm a risk, don't use me.)
| | 01:23 | (We all know what risk gets us.)
| | 01:29 | (The company's in free-fall,
and you want to take risk again? It's a creative choice.)
| | 01:36 | (Mr. Dalton: Simple deadline, meet it.)
| | 01:40 | (Joseph: That's it, 6 p.m. huh?
And if I'm a risky choice, then don't use me.)
| | 01:49 | (We all know what risky decisions lead to.)
| | 01:53 | (The company's in free-fall,
and you want to take risk again? It's a creative approach.)
| | 02:01 | All three of these takes are solid.
| | 02:04 | In the first take, I really like
that Joseph is coming across as really
| | 02:08 | sarcastic, really snarky.
| | 02:10 | In the last scene, we learned
that he is struggling with failure.
| | 02:14 | He has had a big design that has not been
well accepted and now he is being asked
| | 02:18 | to come up with a new idea.
| | 02:20 | He is being insubordinate with his boss
and he really shows that in that first take.
| | 02:24 | In the second take, he is more halting.
| | 02:27 | The actor's performance is a little more
tentative, not quite as strong in terms
| | 02:32 | of conveying sarcasm, but it feels a
little more natural in terms of him seeming
| | 02:40 | to be struggling with that sense of
failure, even though he is coming back at his
| | 02:44 | boss with this intense accusations--you
know, hey, this is a creative approach.
| | 02:48 | He is also expressing a little
bit of insecurity in that take.
| | 02:52 | My favorite take is the third take.
| | 02:54 | Again, he is strong, he is really
sarcastic, and he is really challenging his
| | 02:59 | boss in this particular take.
| | 03:01 | I felt the emotion most strongly in that shot.
| | 03:04 | I will mark that as my favorite take,
but all three of these have elements that
| | 03:08 | I would consider using.
| | 03:09 | It is all about going with your gut and
choosing the take that moves you the most.
| | 03:14 | Let's look at Mr. Dalton's response.
| | 03:16 | (Mr. Dalton: Oh, and this design better not
resemble the last few of your strip-)
| | 03:26 | (mall-inspired projects.
Get out of the safety zone, Joseph.)
| | 03:27 | Okay. In that take, Mr.
| | 03:38 | Dalton at the beginning, he
almost throws away the line.
| | 03:41 | It is too casual for a boss that's just
been talked to like that by his employee.
| | 03:48 | I just felt like it wasn't strong enough.
| | 03:50 | Let's look at the second take.
| | 03:51 | (Mr. Dalton: Oh, and this design better not
resemble the last few of your strip-mall-inspired creations.)
| | 04:02 | (Get out of the safety zone, Joseph.)
| | 04:05 | That was a much better
performance, but it didn't really move me.
| | 04:09 | I am going to watch the third
and see if I like that any better.
| | 04:12 | (Mr. Dalton: Oh, and this design better not
resemble the last few of your strip-mall-inspired creations.)
| | 04:20 | (Get out of the safety zone, Joseph.)
| | 04:23 | Much better. The third take is my favorite.
| | 04:26 | Let me tell you why.
| | 04:27 | At the beginning, he turns around,
and check out that eagle eye. He is
| | 04:33 | staring right at Joseph.
| | 04:34 | He is coming right at him.
| | 04:35 | His shoulders come forward. His gaze
is directed at who he is speaking to.
| | 04:40 | He has almost got that Clint
Eastwood look going on there.
| | 04:43 | In the earlier takes, he turns around
and umm, notice--there is less expression
| | 04:48 | around his brows and in his face;
he is not coming across quite as intensely.
| | 04:52 | So, I like that third take.
| | 04:55 | Now, let's take a look at Joseph
responding to this situation with frustration.
| | 05:08 | (Joseph: This is nuts! I can't believe this! Ugh!)
| | 05:17 | And the second.
| | 05:24 | (Joseph: Ugh!)
| | 05:36 | Hmm, in the first take, I really felt
that the actor's performance was natural.
| | 05:41 | There is a little technical problem here
where the camera loses focus, but after
| | 05:47 | that point, he has got a really natural
stance. He is moving his arms. His body
| | 05:52 | language feels really real to me.
| | 05:54 | In the second take, I felt the
performance was a little forced.
| | 05:57 | It did not feel natural.
It did not feel real.
| | 06:00 | However, after he sits down in the
second take, I thought it was really natural,
| | 06:04 | the way he pulls his hands up to his
head, just as a sign of frustration, and
| | 06:09 | this little smile like he can't believe
this is going on. Right here. There it is.
| | 06:19 | What I like is that sense of he is
alone, but he is shaking his head.
| | 06:24 | This is a horrible situation.
| | 06:25 | This is a case where I may choose to
begin the take using this shot and then
| | 06:30 | complete it after he sits down with the
second take, so that I have eliminated
| | 06:34 | the part of that second take
that I felt was a little forced.
| | 06:37 | Let's take a look at that third take and
see if we have something else to work with.
| | 06:41 | You can see this is shot
from behind his office window.
| | 06:45 | (Joseph: Nuts! I can't believe this! Ugh!)
--looking through the glass.
| | 06:49 | Well, and that's nice too.
| | 06:54 | He has definitely got some emotion
going on there, but the distance--I am
| | 06:59 | liking the earlier takes. I think I
am going to use those two together.
| | 07:03 | I want to point out one
more time that emotion rules.
| | 07:06 | It's not about a technical problem
like that lack of focus, or in the first
| | 07:11 | three takes, you may not have even
noticed there was a technical problem in all
| | 07:14 | three of these takes.
| | 07:16 | The boom operator's shadow is on the wall
behind Joseph in each one of these three
| | 07:21 | takes, but really, if the performance of
the actor is strong and it's moving your
| | 07:27 | audience, they will be focused on this
actor, not on a small technical problem
| | 07:32 | like the shadow of a boom mic behind him.
| | 07:34 | So, go with your gut and choose
the take that moves you the most.
| | Collapse this transcript |
| Evaluating shot framing| 00:00 | In this movie, I will evaluate the
Castles footage on the basis of framing
| | 00:04 | and introduce you to some common
filmmaking terms as applies to these specific clips.
| | 00:09 | As we continue to audition the
footage and make shot selects for scene
| | 00:12 | building, it's important to examine
camera angles and to take note of the
| | 00:16 | actor's movement through the frame.
| | 00:19 | In this sequence, I have
laid down the wide-shot master.
| | 00:22 | A wide shot typically frames the
actors so that you see their entire
| | 00:26 | bodies from head to toe.
| | 00:27 | It's a master take because it includes
the entire scene from start to finish.
| | 00:31 | Let's watch the scene.
| | 00:33 | (Mr. Dalton: So, how's the coffee?)
Joseph: It's cold.
| | 00:40 | (Mr. Dalton: Did you finish it?)
| | 00:49 | (You know, I'm taking a big risk
putting you on this Columbia project.)
| | 00:55 | (Firm could be on the line here.
Six p.m. tonight, simple deadline, meet it.)
| | 01:05 | (Joseph: That's it, 6 p.m., huh?)
| | 01:10 | (And if I'm a risky choice, don't use me.)
| | 01:10 | (We all know what happens when risky choices are made.)
| | 01:20 | (The company's in free-fall,
and you want to take risk again? It's a creative approach.)
| | 01:29 | (Mr. Dalton: My creativity has
nothing to do with this. I did my time.)
| | 01:35 | (My job now is to wear this suit, please clients,
and make sure you do your job, nothing more,)
| | 01:43 | (nothing less, understand?
Six p.m., deliver.)
| | 01:53 | (Oh, and this design better not resemble the
last few of your strip-mall-inspired creations.)
| | 02:03 | (Get out of the safety zone, Joseph.
Do your job.)
| | 02:14 | I will right-click on this shot in the
Timeline and select Reveal in Project so
| | 02:20 | that I can add a couple of
notes in my Metadata fields.
| | 02:25 | Under Description, I will type that
this is a WS for wide-shot master.
| | 02:31 | I will press Return and while I am here,
I will head up to the Preview area,
| | 02:38 | grab and drag the little
scrubbing playhead through the shot.
| | 02:41 | Oh, shoot, I am on the wrong clip.
| | 02:45 | I will reselect the wide-shot master
and come up to the Preview area, scrub
| | 02:50 | with the mini-playhead, so that I can
see both characters framed as a wide shot
| | 02:56 | and I will update the Poster
Frame by clicking on this Camera icon.
| | 03:01 | Obviously, there were a lot of long
sections where we only see Joseph in
| | 03:06 | the wide-shot master.
| | 03:08 | I wouldn't just run that for the film.
| | 03:11 | I actually want to cut in some of the other
shots, and I will go assess them for framing now.
| | 03:16 | The next pair of clips on my Timeline
is framed as over-the-shoulder shots.
| | 03:22 | The shorthand for this is OTS.
| | 03:24 | These are not classic over-the-
shoulder shots, which normally show the
| | 03:28 | actors standing much closer to each
other, but the camera is angled over one
| | 03:32 | actor's shoulder to frame both the back of his
head and the other actor facing the camera.
| | 03:37 | In the classic OTS shot, you will more
commonly see the camera at about a 45-
| | 03:41 | degree angle to the actor.
| | 03:42 | Here is the matching reverse camera angle.
| | 03:46 | You don't see the shoulder of the
other character except right at the
| | 03:50 | beginning of the shot.
| | 03:52 | Nevertheless, this is the
reverse angle on this shot.
| | 03:54 | Over-the-shoulder shots come in pairs
and are the standard building blocks of
| | 03:58 | most dialogue scenes.
| | 04:00 | These are medium shots as they frame the
actor from about the waist to the head.
| | 04:05 | Shots with both characters visible in the
frame like these are often called two shots,
| | 04:10 | while a shot framing only one of the
actors is referred to as a one-shot or a
| | 04:13 | single. A close-up is usually a
single of the actor's head and shoulders.
| | 04:18 | This is a one-shot shot on access.
| | 04:21 | Even though the actor is gazing a
little bit off to the side, his body is lined
| | 04:25 | up and facing directly into the camera.
| | 04:27 | If an actor or a vehicle or whatever is
facing directly towards or away from the
| | 04:32 | camera, it can be called on axis.
| | 04:34 | The next shot of Mr. Dalton isn't framed from waist to head, nor
have they framed just his head and shoulders.
| | 04:43 | It's a bit in between, so we will call
it a medium close-up, or an MCU for short.
| | 04:49 | The final shot in this sequence is framed
using a device between the camera and the actor.
| | 04:54 | It's shot through the glass office
window with horizontal blinds and soft focus
| | 04:58 | in front of the actor.
| | 05:00 | A device like this serves to
separate us from the subject.
| | 05:04 | Framing of shots involves a lot
more than just pointing the camera in
| | 05:07 | different directions.
| | 05:08 | It includes camera position, but it
also encompasses the actor's blocking and
| | 05:12 | the overall art direction of the scene.
| | 05:14 | Framing helps to set the tone for the
scene, so take time to really look at your
| | 05:19 | shots and assess all the angles.
| | Collapse this transcript |
| Maintaining clear continuity between clips| 00:00 | Maintaining continuity in a scene,
spatially and temporally, helps the audience
| | 00:05 | follow events as they unfold
in s story without confusion.
| | 00:09 | It is important to maintain continuity
across cuts, especially when it comes to
| | 00:13 | an actor's physical movements,
position, and body language.
| | 00:17 | It's a lot easier for me to show
you rather than try to define it.
| | 00:21 | So, let's take a look.
| | 00:22 | Look at this shot of Joseph and Mr. Dalton.
| | 00:25 | If we were now to shoot the same scene
from the other side of the table, placing
| | 00:29 | the camera 180 degrees from
this position, to the audience
| | 00:33 | it would appear that the actors have
suddenly swapped places, like this.
| | 00:36 | Well, in fact, this
director didn't cross the line.
| | 00:41 | So, I didn't have a shot to show you
what would be wrong, but you can see this
| | 00:46 | is exactly how it would appear. Suddenly, Mr.
| | 00:48 | Dalton would be on the right and
Joseph would be on the left, which just
| | 00:52 | feels, well, wrong.
| | 00:53 | Basically, when you cut from one shot
to the next, it's preferable to have the
| | 00:58 | cameras for the two shots placed
somewhere from about 45 degrees to 125 degree-
| | 01:03 | angles from one another.
| | 01:05 | Trouble ensues when the cameras are
placed exactly 180 degrees apart, unless the
| | 01:11 | shots are what we call on axis.
| | 01:14 | In this next pair of shots,
I'll show you an on-axis framing.
| | 01:20 | Joseph is facing directly
towards the camera in this shot. Mr.
| | 01:24 | Dalton is facing directly
towards the camera in this shot.
| | 01:27 | If they are facing directly towards us or
away from us, it's called an on-axis shot.
| | 01:33 | Even though these two characters are
actually 180 degrees apart from one
| | 01:38 | another, because they are facing
directly into the camera, we can use these
| | 01:42 | two shots together.
| | 01:43 | One solution to resolving cuts that
appear to cross the line like these two do
| | 01:48 | is to use an on-axis shot to separate them.
| | 01:53 | This serves to bring the camera
around from one side of the line.
| | 01:59 | Now we've moved the camera placement
to a 90-degree angle, and come all the
| | 02:04 | way around the table.
| | 02:06 | Let's talk about screen direction next.
| | 02:09 | If a character or even a vehicle--a car
or a plane--appears to move through the
| | 02:14 | frame in a particular direction--here Mr.
| | 02:18 | Dalton walks into the frame from left to right--
| | 02:21 | you don't want to suddenly switch to having
them enter the frame from another direction.
| | 02:25 | You want to maintain screen
direction when motion happens.
| | 02:30 | If it begins on the left, have it continue
moving from left to right in the next shot.
| | 02:36 | Let's talk about a lower-priority
thing that does play an important role in
| | 02:40 | maintaining continuity.
| | 02:42 | I say it's lower priority because I
will always defer to an actor's best
| | 02:46 | performance, even if continuity isn't
not perfect. But if I can achieve both
| | 02:52 | things--perfect continuity and a great
performance--that's what I want to go for.
| | 02:56 | In this particular shot,
Joseph's hand is up onto his face.
| | 03:01 | If I cut to the next shot, I am
maintaining continuity in a different camera
| | 03:06 | angle by making sure that his
hand is still up touching his face.
| | 03:10 | If I were to cut to him in this
position, I have not maintained continuity of
| | 03:14 | the actor's body position or body
language, unless of course you show the
| | 03:19 | action of him taking his arm away from his face.
| | 03:24 | Another example of maintaining continuity
has to do with props, set design, costumes.
| | 03:29 | Again, this is even lower
priority, but does make a difference.
| | 03:32 | If Joseph's glasses were on his face
in this shot, I wouldn't then cut to a
| | 03:36 | shot where his glasses were removed unless I
showed the action of him removing the glasses.
| | 03:42 | Either incorporate the
action or use takes that match.
| | 03:45 | There is a scene in Titanic where one
of the main characters has a scarf around
| | 03:50 | his neck and then it's gone in the
very next shot, and they continued to cut
| | 03:53 | back and forth between them.
| | 03:55 | This is an example of a case when you
are going to use the actor's best take.
| | 04:01 | You are not going to worry about
something like the scarf or the glasses.
| | 04:03 | It's not as important because
most viewers won't notice that.
| | 04:07 | However, if you want your cuts to look
really good, strive for choosing shots
| | 04:11 | that maintain continuity.
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| Evaluating supporting elements in a take| 00:00 | In this movie, we will focus on
elements that support the theme of the scene.
| | 00:04 | Body language, blocking, and props can
all lend themselves in the service of the
| | 00:08 | story if you notice them and use
them artfully within the scene.
| | 00:12 | In the last movie, we
watched the wide shot master. Mr.
| | 00:16 | Dalton's blocking, which is the way
he moves through the frame, involves
| | 00:21 | stepping into the scene from off camera.
| | 00:25 | He stops at the far end of the table.
| | 00:27 | Joseph is seated and Mr.
| | 00:29 | Dalton remains standing, and he takes a
strong stance, and as we move through the
| | 00:34 | scene, you notice
Mr. Dalton even puts his hands in his pockets.
| | 00:39 | What this says to me is that he clearly
does not intend to roll up his sleeves
| | 00:43 | and help Joseph with this problem.
| | 00:46 | Body language is a really strong
supporting element, and I usually mark
| | 00:49 | sections of clips with really
strong nonverbal actions that speak of a
| | 00:54 | character's intentions. Notice that
Mr. Dalton later in the scene starts to leave.
| | 01:00 | He actually exits the frame,
but he's pulled back in by Joseph's comment.
| | 01:07 | Watching the wide-shot master
can tell you a lot about the
| | 01:10 | director's intentions.
| | 01:12 | This director instructed the
actors to keep their distance.
| | 01:15 | I mean, they are literally at opposite ends of
a long table and throughout the entire scene,
| | 01:19 | this table with all the props on it, stays
between them, keeping them widely distanced.
| | 01:25 | Again, these characters are in direct
opposition to one another, literally and figuratively.
| | 01:31 | So as I look through my close-ups and
my over-the-shoulder shots, I will keep
| | 01:36 | this in mind and try to find additional
shots that keep other props and things
| | 01:41 | between the two characters throughout the scene.
| | 01:44 | I liked this take because the
architectural 3D models are planted firmly
| | 01:50 | between Joseph and Mr. Dalton.
| | 01:58 | In this final shot, a shot through the
glass window with the blinds in soft
| | 02:02 | focus in front of the actor is a
device that can give the audience the
| | 02:06 | impression that Joseph is isolated,
that he's struggling with his issues, that
| | 02:10 | he is alone in his struggles.
| | 02:12 | So, I will continue to look for
additional supporting elements to enhance this
| | 02:18 | feeling that there is something
between the two of these characters.
| | 02:22 | Supporting elements can really vary.
| | 02:25 | They can include anything from set
design and props to music and color
| | 02:29 | correction. But they all
share one trait in common.
| | 02:32 | They support the overall theme
of a scene and they set a tone for
| | 02:36 | character development.
| | 02:37 | They help create a mood.
| | 02:39 | When you watch raw footage,
always be on the look out for usable
| | 02:42 | supporting elements.
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|
|
3. Dialogue Scene BuildingFraming the scene: Sequencing shots to build a rough cut| 00:00 | In this movie, I will demonstrate a
technique editors use to focus the
| | 00:04 | audience's attention.
| | 00:05 | This is a basic yet essential technique
for shot sequencing, using shot framing
| | 00:10 | as a guide to structure the scene.
| | 00:12 | In previous movies, I explained
which takes I felt were strong choices
| | 00:15 | for building the scene.
| | 00:16 | I have now created a rough
assembly using those takes.
| | 00:20 | Take a look at the clips
in my timeline sequence.
| | 00:22 | Now, I wouldn't normally stack the clips
on four tracks like this when I am just
| | 00:28 | building a rough cut. I have done this
because I wanted to visually demonstrate
| | 00:31 | for you exactly what I am doing
here while we watch the scene progress.
| | 00:35 | I will step through this and point out
that this stair stepping on the tracks
| | 00:40 | indicates when I am using a wide shot--
like at the beginning, I start on a wide shot--
| | 00:46 | then as we step up, you will see that I
am moving into medium shots and then as
| | 00:52 | I step up another track, I am
actually using a medium close-up.
| | 00:58 | The highest point in my sequence here
is when I am using my close-up with my
| | 01:03 | main character Joseph, during
a moment of heightened emotion.
| | 01:06 | I have chosen to put this here at this
point because I am building the scene or
| | 01:11 | structuring it around the delivery of
some pivotal information, or an emotional
| | 01:16 | high point in the scene.
| | 01:18 | Then as we progress down the sequence, I
am moving back out to a medium close-up
| | 01:23 | and then farther back out into a wide shot.
| | 01:26 | Beginning a scene with a wide shot really
helps establish, for the viewer, a sense of place.
| | 01:32 | It gives the viewer an understanding of
where we are and who exactly we are dealing with.
| | 01:38 | As we move towards to the what and the
why of the situation, I am progressively
| | 01:42 | tightening the shots. And a wide shot
is again often used at the end of the
| | 01:47 | scene because it will sort of
release the viewer's attention, and it will
| | 01:51 | indicate that you are
actually moving on to a new scene.
| | 01:55 | I just want to point out that this
isn't the only way to start structuring a
| | 01:58 | scene, but it is a really solid way
to begin, because it creates a natural
| | 02:02 | feeling of momentum because the shot
sequencing is lead by the dialogue itself.
| | 02:08 | Let's watch the scene.
| | 02:09 | I will press the Home key
and play with the spacebar.
| | 02:13 | (music playing)
| | 02:17 | (Mr. Dalton: So, how's the coffee?
Joseph: It's cold.)
| | 02:22 | (Mr. Dalton: Did you finish it?)
| | 02:30 | (You know, I'm taking a big risk
putting you on this Columbia project.)
| | 02:34 | (Firm could be on the line here.
Six p.m. tonight, simple deadline, meet it.)
| | 02:44 | (Joseph: That's it, 6 p.m., huh?
And if I'm a risky choice, then don't use me.)
| | 02:53 | (We all know what risky decisions lead to.)
| | 02:56 | (Look, the company's in free-fall,
and you want to take risk again? It's a creative approach.)
| | 03:04 | (Mr. Dalton: My creativity has nothing
to do with this. I did my time.)
| | 03:09 | (My job now is to wear this suit, please clients,
and make sure you do your job, nothing more,)
| | 03:18 | (nothing less, understand?
Six p.m., deliver.)
| | 03:27 | (Oh, and this design better not resemble the
last few of your strip-mall-inspired creations.)
| | 03:37 | (Get out of the safety zone, Joseph.)
| | 03:45 | As you can see in this rough cut, that by
moving in slowly using a wide medium shot
| | 03:52 | and then coming into a
medium close-up as we hear Mr.
| | 03:55 | Dalton say that he is taking a
risk using Joseph for this project,
| | 03:59 | we are effectively building tension
up until that moment, and then we are
| | 04:03 | further focusing the viewer's
attention on Joseph in close-up when he is
| | 04:08 | saying "Then don't use me.
The company is in free-fall."
| | 04:11 | The audience now knows what is at risk in
this situation and why Joseph is under pressure.
| | 04:17 | In this particular scene, what is the
one piece of information that the viewer
| | 04:21 | cannot miss before I move on to the next scene?
| | 04:24 | That's where I will try out using
the close-up. Be subtle though.
| | 04:27 | This works best when it is nuanced.
| | 04:30 | If there is, for example, a visual cue
that really must be noticed in the scene,
| | 04:34 | like a slip of a paper with a date
scrolled on it or something, try to build
| | 04:38 | slowly into that close-up by leading
up to it with some medium shots and some
| | 04:42 | medium close-ups first if you can.
| | 04:44 | You should be able to feel when
you are playing back your sequence,
| | 04:47 | how moving from a wide shot into a
tighter shot makes you listen to the dialog
| | 04:51 | and makes you pay more attention.
And then when you are moving out to a wide shot
| | 04:55 | again at the end, like this, that
should give you a sense of pulling back, sort
| | 05:02 | of pulling your attention
back away out of the scene again.
| | 05:05 | Taking advantage of shot framing,
coupled with identifying an actor's best
| | 05:08 | performance, will allow you to build
towards pivotal moments and help keep your
| | 05:13 | viewers focused on important story points.
| | 05:15 | Master this technique and you will
literally focus your viewers' attention
| | 05:19 | on critical moments.
| | Collapse this transcript |
| Adding reaction shots| 00:00 | When it comes to understanding the
meaning of a scene, it is sometimes more
| | 00:03 | telling to watch people's reactions than
to simply listen to what is being said.
| | 00:08 | Reaction shots, sometimes called the
listening moment, convey information more
| | 00:13 | quickly than phrases.
| | 00:14 | One look can literally
be worth a thousand words.
| | 00:17 | I have added a reaction shot of Joseph
to the sequence I built in the last movie.
| | 00:22 | Let me play that for you.
| | 00:23 | (Mr. Dalton: Six p.m., deliver.)
| | 00:29 | The simple act of Joseph looking down
subtly conveys a tinge of maybe shame or
| | 00:36 | resignation, trepidation;
whatever you want to call it,
| | 00:40 | it really adds something,
some more emotion to the scene.
| | 00:43 | That is what I am looking to
accomplish with reaction shots.
| | 00:46 | This particular reaction shot is powerful
because it serves two creative purposes.
| | 00:52 | In addition to adding a beat of sadness,
I have got built-in eye trace, bonus.
| | 00:58 | Eye trace refers to the direction your eyes
move across the screen to follow movement.
| | 01:03 | Follow the tracking of your eyes as
you watch Joseph's reaction shot play
| | 01:07 | into the next shot.
| | 01:08 | (Mr. Dalton: Six p.m., deliver. Oh, and this design
better not resemble the last few of your strip-mall-inspired creations.)
| | 01:20 | I am unconsciously following Joseph's
gaze down, here, and then back up again
| | 01:28 | as he looks up to Mr. Dalton.
| | 01:29 | By the way, I am not calling this eye
trace because I am looking at Joseph's eyes.
| | 01:34 | Eye trace refers to where your eyes are drawn.
| | 01:36 | It's motion that suddenly draws the
viewers' attention to the part of the frame
| | 01:40 | you want them focused on.
| | 01:41 | It could be an actor's movement through
the screen that my eyes are following.
| | 01:44 | Eye trace isn't essential, but it can
make an elegant difference when refining
| | 01:48 | the cut, especially if you choose two
shots so that they visually flow together.
| | 01:53 | In this particular case, I chose a
reaction shot that not only gave me that
| | 01:57 | beat of sadness, but again, because the
actor then responds to the other actor's
| | 02:03 | line, I can capitalize on that
second bonus feature that this particular
| | 02:08 | reaction shot provided me with.
| | 02:10 | I will add another reaction shot and
since I am leading up to the final moments
| | 02:15 | in this scene, I am going to choose a
shot that's framed a little bit wider.
| | 02:19 | Moving my playhead to the earlier
medium shot of Joseph, this over-the-
| | 02:27 | shoulder medium shot of Joseph, I will
press F to match frame that back into
| | 02:32 | the source monitor.
| | 02:33 | Where I would like to add
this shot is here, where Mr.
| | 02:37 | Dalton is delivering this really
scathing line where he is admonishing Joseph
| | 02:43 | for creating strip-mall designs.
| | 02:45 | (Mr. Dalton: This design better not resemble
the last few of your strip-mall-inspired creations.)
| | 02:52 | (Get out of the safety zone, Joseph.)
| | 02:53 | So I want to break up that section here
and see Joseph's reaction to being put
| | 02:59 | down a little bit by his boss.
| | 03:01 | So, I will play and stop at that pause.
| | 03:03 | (Mr. Dalton: resemble the last
few of your strip-mall-inspired creations.)
| | 03:04 | I am just pressing K and pausing at
that moment. Making sure that all of my
| | 03:12 | tracks are selected, I
will insert a reaction shot.
| | 03:16 | Now, I need to find a reaction shot and
I want to point out that I often pull
| | 03:19 | reaction shots from different areas of clips.
| | 03:23 | In other words, it's not necessarily
the reaction the actor had to this line.
| | 03:28 | Down here at the end, after Mr.
Dalton leaves the room, Joseph does this.
| | 03:34 | (video playing)
| | 03:39 | So, I am going to use that particular
shot as a reaction in this location.
| | 03:42 | I will back up frame by frame with the
left arrow key and find the spot where,
| | 03:49 | right before he puts his head down,
his jaw clenches, and that's sort of a
| | 03:53 | natural response to somebody being upset
or disturbed by something someone else says.
| | 03:58 | So I am going to use that. See that right there?
| | 04:01 | Watch, I will play it in real time.
| | 04:02 | (video playing)
| | 04:03 | See his jaw clench? So I am backing up
with the J key and pausing with K, and I
| | 04:08 | will mark an in just before his jaw clenches.
| | 04:11 | Play through and let him put his head down.
| | 04:14 | I think I will get out
before he actually rubs his head.
| | 04:18 | Now, I will press the comma key to
insert this reaction shot into the scene, and
| | 04:22 | I will play it back for you.
| | 04:23 | (Mr. Dalton: This design better not resemble
the last few of your strip-mall-inspired creations.)
| | 04:34 | (Get out of the safety zone, Joseph. Do your job.)
| | 04:44 | So I added a beat where we
saw Joseph looking defeated.
| | 04:48 | How long I choose to stay on that
reaction shot depends upon how much tension I
| | 04:52 | want to create and, well, what feels natural to me.
| | 04:55 | Most of the time my choice is
guided by the actor's performance.
| | 04:58 | Sometimes it's based upon the need
to cover up a shot or a cut that isn't
| | 05:02 | working, but I consider that a last resort.
| | 05:05 | Editors literally catch someone's eye
by using reaction shots and eye trace to
| | 05:09 | guide the viewer visually.
| | 05:11 | You can accomplish this by simply
noticing and then controlling where a shot
| | 05:15 | takes the viewers' gaze.
| | 05:16 | There is a lot of power in being able
to choose whether you are showing the
| | 05:20 | viewer the speaker or a
reaction to what's being spoken.
| | 05:23 | You are leading the audience,
so use the force wisely.
| | Collapse this transcript |
| Cutting on action| 00:00 | In this movie, I will demonstrate how
to cut on action to add natural-looking
| | 00:04 | movement that won't startle the viewer.
| | 00:06 | The key to mastering the skill of
cutting on action is this: start the action in
| | 00:10 | one shot and complete it in the next.
| | 00:13 | In the scene that I have been
building, I have a shot early on where Mr.
| | 00:17 | Dalton puts his hands into his pockets.
| | 00:19 | (video playing)
| | 00:24 | But because we are in a medium
close-up, I don't really see that action.
| | 00:27 | I want to point out that in a
dialog scene, often action is subtle.
| | 00:31 | You know, this isn't a car chase;
| | 00:33 | we don't not have a lot of movement going on.
| | 00:35 | So in a dialog scene, you are looking
for things like body language, someone
| | 00:39 | folding their arms, or even nodding
their head, in order to smooth the cuts and
| | 00:43 | use those actions to help
transition the viewer into the next shot.
| | 00:47 | Down at the end of my sequence, I have
placed two other takes, both the wide
| | 00:52 | shot and a medium shot of
Mr. Dalton performing this action.
| | 00:57 | I liked the body language and I want to sync
these two shots together and use them both.
| | 01:02 | The first step is to sync the action
across the cut, and what I am looking for
| | 01:06 | is a hard movement, or a hard stop.
| | 01:08 | I will play this first shot and then the
second shot and you will see what I mean.
| | 01:13 | (video playing)
| | 01:17 | In the wide shot, Mr. Dalton places his hands into
his pockets, and you should notice that as he pushes
| | 01:25 | his hands in, they come to a hard stop
at one point before he begins to sort of
| | 01:30 | rock back and lift them back
out of his pockets. See that?
| | 01:33 | Subtle movement. I am stepping forward
with the right arrow key a frame at a time.
| | 01:37 | I will step backwards again
and you will see what I mean.
| | 01:40 | So, here is the spot, moving forward
again with the single frame right arrow key.
| | 01:46 | Boom!
| | 01:50 | There it is, where his hands come to a stop
inside of his pockets before he rocks back out.
| | 01:55 | Now, the same thing happens in the second shot.
| | 01:58 | Let's trim it and sync the
cut point on that hard action.
| | 02:01 | I will press the T key to select the trim type.
| | 02:07 | Jumping to the cut point I would like to trim,
| | 02:09 | I will press the down arrow key.
| | 02:11 | Now you can toggle the trim type with the
Ctrl+T key on a Mac or the Shift+T key on a PC.
| | 02:18 | I will press Ctrl+T, and you will
notice that now I am looking at a
| | 02:23 | ripple incoming trim.
| | 02:25 | Watch how this changes: ripple outgoing,
ripple incoming, trim outgoing, trim
| | 02:32 | incoming, and a standard roll.
| | 02:34 | I would like to actually
ripple the out point of this shot.
| | 02:40 | Clicking right here in my timeline,
I drag to the left, and usually I press the
| | 02:45 | S key so that I turn snapping off while I
am trimming, and I get a nice smooth movement.
| | 02:50 | Look at the 2-up display in the Program panel.
| | 02:52 | You can see that Mr. Dalton places his hands
into his pockets and right where it comes to a hard stop, boom,
| | 02:58 | that's where I will let go.
| | 03:01 | Pressing Ctrl+T or Shift+T to toggle
to a ripple incoming, again I will click
| | 03:07 | drag, look at the 2-up display, and on
the right-hand side of the 2-up display in
| | 03:11 | the Program pane, take a look how
he puts his hands in his pockets.
| | 03:14 | There is the hard stop.
| | 03:16 | Now this works really well with things
like footsteps or someone putting a cup
| | 03:19 | on a table, anyplace where you have
got a solid sound or a solid action to
| | 03:23 | match those cut points.
| | 03:24 | I will back up and play through this for you.
| | 03:26 | (video playing)
So now, I have sunk the action together.
| | 03:32 | It works, but it is not
as smooth as it could be.
| | 03:35 | The goal is step two: to actually start
his action in the first shot, but then
| | 03:40 | complete it in the second.
| | 03:42 | To do so, I will press T to select
that cut point again and use Ctrl+T or
| | 03:48 | Shift+T to select this as a roll.
| | 03:51 | Now, I will roll that cut point so that
he begins the action in the first shot--
| | 03:56 | look at the left-hand side of the 2-
up display--and he just barely puts his
| | 04:00 | hands into his pocket; he
doesn't reach all the way in.
| | 04:04 | Then look over on the right side. He will
complete that action in the second shot.
| | 04:08 | Backing up, so you can see how
that feels a little bit smoother.
| | 04:11 | (video playing)
| | 04:16 | That is the goal. As I mentioned, sometimes the
movements in a dialog scene are really subtle.
| | 04:22 | At the end of this shot here, really
the only action I have to cut on is Joseph
| | 04:26 | moving his head a little bit.
| | 04:28 | (Mr. Dalton: You know.)
| | 04:29 | He looks up at Mr. Dalton when
Mr. Dalton says "You know."
| | 04:32 | So, I will actually trim that shot so
that as he is in the middle of looking up,
| | 04:38 | I won't let him complete that action.
| | 04:40 | I am not going to let him look up and then cut.
That would feel a little hard.
| | 04:44 | So, to make it feel less harsh, I will
stop in the middle of his head tilt and
| | 04:49 | then I will bring in this next shot and trim
it so that he is midway through his look up.
| | 04:59 | I will use the right arrow key again.
| | 05:03 | There, he is right in the middle of
looking up, so I am just going to let
| | 05:07 | backing up with the left arrow key.
| | 05:08 | I am rocking back and forth just
to show you a good place to trim.
| | 05:12 | So that looks right to me.
| | 05:14 | Pressing T. Ctrl+T or Shift+T to select
this as a ripple incoming, click drag,
| | 05:21 | I will trim that so that he is midway through
his look up, and backing up to play through that.
| | 05:28 | (Mr. Dalton: You know.)
| | 05:31 | So, he begins to look up in one shot
and completes his movement in the second.
| | 05:35 | Now, I would play with this a little
bit so that I can get it perfect, but I
| | 05:39 | think you get the idea.
| | 05:41 | Head nods and footsteps are actually really
common cut points on action in dialog scenes.
| | 05:47 | Let's take a look at my last cut point
where Mr. Dalton leaves the room.
| | 05:52 | (Mr. Dalton: --creations. Get out of
the safety zone, Joseph. Do your job.)
| | 06:03 | Perfect opportunity to cut
where he turns to leave the room.
| | 06:07 | The problem with people walking
through the frame is that typically, in the
| | 06:11 | framing of one shot, you see their
shoulders. You don't see their feet.
| | 06:14 | In the other shot, we actually see their feet.
| | 06:16 | So, when looking for the hard cut point
to sync these two together, I am going
| | 06:20 | to be watching his shoulder movement
and trying to determine where does he
| | 06:23 | actually place his foot on the ground.
| | 06:26 | So, I am pressing T to select that cut
point, and again I will use Ctrl+T or you
| | 06:32 | can use Shift+T on a PC to select that
outgoing shot. And I will click and drag
| | 06:38 | to reveal where he actually begins to turn.
| | 06:42 | Now, I am not looking for the turn.
| | 06:44 | I can cut on the turn,
| | 06:45 | but I am actually looking for
that hard sync point. Boom!
| | 06:48 | See his left shoulder goes down before he
lifts off his left foot to take his next step.
| | 06:54 | So, there is my sync point.
| | 06:56 | That's something I really wanted to show you.
| | 06:58 | When you are trying to sync footsteps,
learn how to read the body language of
| | 07:01 | someone, figure out where their foot
hits the ground by looking at their
| | 07:04 | shoulders. Really helpful.
| | 07:06 | You will be using this
technique a lot in dialogue cutting.
| | 07:09 | Now, I will press Ctrl+T again to match
the sync point on the incoming shot.
| | 07:16 | Boom! There is where he puts his foot on the ground.
| | 07:20 | See his left shoulder syncs in
as his left foot hits the ground.
| | 07:24 | Matched the sync point, I will
play through it, pressing the L key.
| | 07:28 | (video playing)
| | 07:32 | So that's the hard sync point.
| | 07:34 | Now remember, that's just part one;
| | 07:36 | part two, let's roll that edit,
pressing Ctrl+T until I am back to a roll,
| | 07:42 | clicking and dragging, and now that the
two shots are sunk together, turns at
| | 07:47 | exactly the same time, I am free to
play with where I actually make that shot.
| | 07:52 | Now watch. He starts to walk and before
he puts his foot down, I will make sure
| | 07:56 | that I am letting go, so that I
complete the action in the next shot.
| | 08:01 | (video playing)
| | 08:09 | I have got some audio to clean up
there, but that's looking pretty good.
| | 08:13 | Cutting on action is an essential
technique that adds flow to your scene.
| | 08:17 | Utilize hard movements like footsteps,
door slams, distinct actions to sync the
| | 08:22 | two clips together, then roll the cut
points so the action begins in one shot
| | 08:26 | and ends in the next.
| | 08:27 | This creates a feeling of
momentum and grace across your cuts.
| | Collapse this transcript |
| Refining the dialogue scene| 00:00 | In this movie, I will refine the scene
I have been building by increasing the
| | 00:04 | overall number of shots and cuts,
which will affect the pacing of the scene.
| | 00:08 | Pacing is employing a sense
of rhythm to your cutting.
| | 00:11 | Beyond determining the duration of a shot,
the overall scene needs to move with the rhythm.
| | 00:16 | Cuts may increase in pace with the
shots becoming shorter in order to build
| | 00:21 | energy and intensity. Or you might
actually lengthen shots to slow the pace and
| | 00:26 | increase drama during an
important bit of dialog, like this.
| | 00:29 | I will add some time here to build
tension where Dalton says, "Simple deadline,
| | 00:34 | meet it," and then turns his back to walk away.
| | 00:36 | I will take my cue from the actor's
halting performance to determine how
| | 00:41 | much time I want to add.
| | 00:42 | (Mr. Dalton: Simple deadline, meet it.
Joseph: That's it, six p.m., huh?)
| | 00:49 | See, the quickness of moving from
Dalton's line to Joseph's, it just makes me
| | 00:54 | kind of lose the drama there.
| | 00:55 | So I will trim that, pressing
T to select that cut point.
| | 01:02 | Pressing Ctrl+T or Shift+T and then
rippling the out point so that I add a
| | 01:09 | little time. I'll actually allow the
viewer to see Dalton begin to turn away,
| | 01:14 | and I will toggle over to the other side with
Ctrl+T and add a little time to Joseph as well.
| | 01:23 | So, trimming doesn't necessarily
mean you are shortening shots.
| | 01:26 | It can also mean that you are lengthening them.
| | 01:27 | (Joseph: That's it, six p.m., huh?)
That is a dramatic pause.
| | 01:35 | I think I went a little too long on Joseph, so
I will trim that back just a little bit more.
| | 01:41 | (video playing)
(Joseph: That's it, six p.m., huh?)
| | 01:49 | Great! Now I will add more shots.
| | 01:51 | Adding more cuts
increases the pacing of the scene.
| | 01:54 | I will select some reaction shots from Mr.
| | 01:58 | Dalton, placing my playhead over his
incoming shot. Pressing F to match frame
| | 02:04 | and load that clip up into the source
monitor allows me to choose some reaction moments.
| | 02:10 | (video playing)
| | 02:13 | I like this. When Joseph speaks, I
would like to see Mr. Dalton halt.
| | 02:19 | It's almost as if Joseph is
pulling him back into the scene.
| | 02:23 | (Joseph: So that's at six p.m., huh?)
| | 02:25 | So that will be my out point and I will
play backwards with the J key, and find
| | 02:31 | the location where I would like select the in.
| | 02:33 | I do not need the audio.
| | 02:35 | I have already got my audio tracks
built, so I will click and drag video only
| | 02:40 | into the location where I would
like to place this in my timeline.
| | 02:43 | Let me find that location.
| | 02:44 | (video playing)
That works.
| | 02:50 | That's it and then pulls Mr. Dalton back in.
| | 02:53 | I am just going to drag this into the timeline.
| | 02:55 | (Joseph: That's it. Six p.m., huh?
And, if I'm a risky choice, don't use me.)
| | 03:07 | Let's add another shot here and watch
Mr. Dalton complete his turn and look at Joseph.
| | 03:17 | Marking my in point on the action as he
begins his turn and allowing the actors
| | 03:24 | look--I am backing up with J key.
Watch this. He turns and then I select my
| | 03:29 | out point when I feel with my gut that he has
looked and responded to Joseph. There it is.
| | 03:37 | Again, I only need the picture because it's a
reaction shot and I have the audio track built.
| | 03:42 | (Joseph: Don't use me. We all
know what risky decisions lead to.)
| | 03:49 | The reason I am placing this on the
video track, too, is it allows me to click and
| | 03:53 | drag and reposition that
reaction shot and play with the timing.
| | 03:56 | (Joseph: --choice, then don't use me. We all
know what risky decisions lead to.)
| | 03:57 | I am going to extend Mr. Dalton's look.
| | 04:04 | (Joseph: --choice, then don't use me. We all
know what risky decisions lead to.)
| | 04:10 | And move it over a little earlier.
| | 04:12 | (Joseph: And, if I'm a risky choice, then don't use me.
We all know what risky decisions lead to.)
| | 04:19 | And then I am going to actually trim this.
| | 04:21 | I am zooming in with the Plus key and
I am trimming so that I can land right,
| | 04:29 | again, cutting away from the
subtle movement I have on his body.
| | 04:33 | (Joseph: We all know what risky decisions lead to.)
Smooths that cut. This is subtle.
| | 04:39 | You know, I am nudging things
around a little bit at a time.
| | 04:42 | It's really something you
use your gut to determine.
| | 04:44 | I will continue to add additional shots
and cuts to increase the pacing of this
| | 04:50 | scene as we lead into the pivotal moment.
| | 04:53 | In this section here, we see
Dalton place his hands in his pockets.
| | 04:59 | We are on Dalton for a long time.
| | 05:01 | (video playing)
| | 05:03 | In a previous movie, we cut on action of Mr.
| | 05:05 | Dalton putting his hands in his pockets,
and pulled out wide again to see Joseph.
| | 05:09 | I will use what I created earlier. Select it.
| | 05:13 | It's down at the end of my sequence.
Copy it or cut it, Command+X, and I will
| | 05:20 | paste it in this location.
| | 05:23 | It's a quick way to add some
additional cuts and pick up the pace here.
| | 05:28 | I take a quick glance to see which of
my video tracks are selected and then
| | 05:32 | press Command+V to paste.
| | 05:33 | Now, I am not too concerned with the audio now.
| | 05:36 | I will correct any audio issues later on.
| | 05:39 | I am simply adding more shots.
| | 05:40 | (Mr. Dalton: You know, it's a pretty big
risk putting you on this Columbia project.)
| | 05:52 | You should be able to feel right away how
this increases the rhythm in this section.
| | 05:56 | Zooming back out with the minus key allows
me to see how the overall pacing is going.
| | 06:03 | At a glance, I can see there are a lot
more cuts building momentum, and I slow
| | 06:08 | down here as I reach Joseph's
pivotal moment, his close-up shot.
| | 06:13 | Let's watch the scene and
see how it is taking shape.
| | 06:16 | I will press the Home key and play.
| | 06:18 | (music playing)
| | 06:22 | (Mr. Dalton: So, how's the coffee?
Joseph: It's cold.)
| | 06:28 | (Mr. Dalton: Did you finish it?)
| | 06:35 | (You know, I'm taking a big risk
putting you on this Columbia project.)
| | 06:40 | (Firm could be on the line here.)
| | 06:43 | (Six p.m. tonight, simple deadline, meet it.)
| | 06:50 | (Joseph: That's it, 6 p.m., huh?
And if I'm a risky choice, then don't use me.)
| | 06:59 | (We all know what risky decisions lead to.)
| | 07:02 | (The company's in free-fall,
and you want to take risk again? It's a creative approach.)
| | 07:10 | (Mr. Dalton: My creativity has
nothing to do with this. I did my time.)
| | 07:15 | (My job now is to wear this suit, please
clients, and make sure you do your job,)
| | 07:24 | (nothing more, nothing less,
understand? Six p.m., deliver.)
| | 07:32 | (Oh, and this design better not
resemble the last few of your strip-mall-inspired creations.)
| | 07:40 | (Get out of the safety
zone, Joseph. Do your job.)
| | 07:43 | (music playing)
| | 07:51 | A well-cut scene makes the
viewer an active participant.
| | 07:54 | Try to make your viewer want to know
more, want to see more, but don't withhold
| | 07:59 | new information for so long
that they become inpatient.
| | 08:01 | If you wait too long to move on, you
will lose the attention of your audience.
| | 08:05 | Move too quickly and you
will nullify the drama, or worse:
| | 08:08 | you will dilute the intensity of emotion
that you have been working so hard to build.
| | 08:12 | Remember, adding more cuts may
increase the overall pace and speed up the
| | 08:17 | rhythm, but trimming also includes
lengthening or adding time to shots that
| | 08:23 | allow you to build drama when you are
coming up to important bits of dialog.
| | Collapse this transcript |
| Smoothing dialogue| 00:00 | In this movie, I will demonstrate some
trimming techniques that will allow you
| | 00:04 | to create L cuts and J
cuts and smooth the dialogue.
| | 00:07 | In my sequence, when I added a reaction shot
of Joseph, I accidentally cut off one of Mr.
| | 00:13 | Dalton's lines. That is ok.
| | 00:15 | I will go ahead and fix this by
pressing plus to zoom into my timeline.
| | 00:21 | I will select the end of
Mr. Dalton's line and drag it underneath Joseph.
| | 00:28 | This actually creates an L
shape on the tracks in the timeline.
| | 00:31 | So an L cut actually is just when an audio
from one clip trails underneath the incoming shot.
| | 00:38 | Now, on the other side, I will
click and drag the audio for Mr.
| | 00:42 | Dalton underneath Joseph.
| | 00:44 | In this instance, I am creating what looks
like a J shape with clip in the timeline.
| | 00:49 | So that's called a J cut.
| | 00:51 | Whatever you want to call it,
essentially what we are doing is offsetting the
| | 00:55 | audio so that it does not change at
the same moment that the picture changes,
| | 00:59 | and that is the goal.
| | 01:00 | You want to do that to every
single shot in the sequence.
| | 01:03 | It will smooth the dialog underneath every cut.
| | 01:05 | I will back up and play through this for you.
| | 01:08 | (Mr. Dalton: Six p.m., deliver.
This design better not resemble the last few of your strip mall--)
| | 01:19 | So it feels much smoother.
| | 01:20 | But again, I am missing a little
bit at the head of Mr. Dalton's line.
| | 01:24 | I will press B for the ripple edit and
to select the audio only, I will hold the
| | 01:30 | Option on a Mac or the Alt key on a PC.
| | 01:34 | Now, I can pull some of Mr.
| | 01:35 | Dalton's line back out, listen to it,
and then I will fill in the gap by
| | 01:41 | extending Joseph's reaction shot.
| | 01:43 | (Mr. Dalton: Deliver. Oh and
this design better not resemble)
| | 01:48 | I need a little bit more.
| | 01:49 | (Mr. Dalton: Deliver. Oh and this design--)
| | 01:56 | Much better, pressing V to get back to my
Selection tool, I will just drag that shot out.
| | 02:01 | (Mr. Dalton: Deliver. Oh and this design better not
resemble the last--))
| | 02:01 | So that feels much smoother.
| | 02:11 | I hope you can see and hear how
offsetting the cut point of the audio beneath
| | 02:15 | video really makes this flow.
| | 02:18 | Another technique I employ while I
am doing this type of audio cleanup
| | 02:22 | involves using the Slide tool.
| | 02:24 | I will press U on my keyboard and
this will allow me to click and drag and
| | 02:30 | position this shot--Joseph's reaction--so
that I can quickly reposition it in my sequence.
| | 02:36 | (Mr. Dalton: Six p.m., deliver. Oh and this design--)
| | 02:36 | I am going to slide it a little bit to
the left because what is bothering me is
| | 02:50 | that the picture changes in Mr. Dalton's pause, here.
| | 02:56 | In other words, I would like to see
Joseph's reaction a little bit later when Mr.
| | 03:00 | Dalton is actually speaking.
| | 03:01 | (Mr. Dalton: Six p.m., deliver. Oh and this design)
| | 03:10 | It helps me time Joseph's
reaction, his look up at Mr. Dalton.
| | 03:14 | I will zoom back out with the minus key.
| | 03:16 | In a previous movie, I added
additional shots at the head of the sequence.
| | 03:22 | When I did that, I created
additional audio problems.
| | 03:26 | (Mr. Dalton: You know, I'm taking a bit risk with
you on this Columbia project.)
| | 03:33 | You can hear that again, I
need to clean up this line.
| | 03:36 | The issue I will have with this shot is
that while I would like to pull put Mr.
| | 03:41 | Dalton's line from the incoming
shot, in the outgoing shot, he has a
| | 03:46 | different line read.
| | 03:47 | It is a different take, so I have to
be very careful about his lip sync.
| | 03:51 | Pressing plus to zoom in so
you can really see what I am doing,
| | 03:55 | I will now press the N key for a rolling edit,
| | 03:58 | hold Option or Alt, select just
the audio, and I will press the E key.
| | 04:05 | The E key is an Extend Edit, and it
will jump that cut point to the playhead.
| | 04:09 | (Mr. Dalton: You know, I'm taking a big risk with
you on this Columbia project.)
| | 04:14 | I can continue to click, drag
and refine that so that I hear Mr.
| | 04:17 | Dalton's entire line.
| | 04:19 | (Mr. Dalton: You know, I'm taking a big risk with
you on this Columbia project.)
| | 04:24 | (Mr. Dalton: You know, I'm taking a big risk
You know, I'm taking a big risk.)
| | 04:29 | A little bit more.
| | 04:30 | (Mr. Dalton: You know, I'm taking a big risk with
you on this Columbia--)
| | 04:33 | Great! The audio sounds good,
but take a look at my picture.
| | 04:38 | The line I am using beneath this
medium shot of Mr. Dalton is not in sync.
| | 04:43 | One of the ways that I will fix that is
to allow him to open his mouth and begin
| | 04:47 | to say the line, and then cut to
the over-the-shoulder shot of Joseph.
| | 04:56 | Pressing N for my roll, holding Option
or Alt to select just picture, I will
| | 05:00 | press E to extend the edit
back towards the playhead.
| | 05:04 | This time I will use Shift+K on
either a Mac or a PC to audition the cut.
| | 05:08 | (Mr. Dalton: You know, I'm taking
a big risk with you on this--)
| | 05:13 | So you can see how offsetting those cut
points smoothes the edit, but you need to
| | 05:19 | be very careful that when you
do so, you are maintaining sync.
| | 05:23 | I will press the backslash key so
I can see my entire sequence again.
| | 05:26 | I would like to point out that I am
doing this quickly to teach you a few
| | 05:30 | techniques, but in real life, I would
come in to every single one of these cut
| | 05:35 | points, zoom in, and I would refine every
single cut point so that the audio and
| | 05:41 | picture cuts are slightly offset.
| | 05:43 | Even if it is by only a few frames, every
single clip will take on that L or J shape.
| | 05:49 | Pressing the backslash key to zoom back out,
I would like to show you one final technique.
| | 05:54 | At this point here--
| | 05:55 | (Mr. Dalton: The firm could be
on the line here. Six p.m. tonight.)
| | 06:01 | Again, it bothers me that
I changed image in a pause.
| | 06:05 | It just doesn't feel smooth.
| | 06:08 | It's really abrupt. I noticed that cut change.
| | 06:10 | I'll use this opportunity to take you
into more advance trimming techniques.
| | 06:14 | Pressing plus to zoom in, I will make
the point that while the Extend Edit is really
| | 06:19 | useful for precise adjustments,
| | 06:21 | I more often use what is
called Dynamic Trimming mode.
| | 06:25 | I can go into Dynamic
Trimming mode in a number of ways.
| | 06:28 | I will either press the N key for the
roll and double-click this cut point.
| | 06:33 | Notice that loads the incoming and
outgoing shots up into the program monitor
| | 06:37 | and we are now live in Trim mode.
| | 06:38 | Another way to activate Trim mode,
which I have been using and I really prefer,
| | 06:42 | is the T key, because it's like a light
switch; you can toggle Trim on and off.
| | 06:47 | Pressing T I go back into single shot
mode; pressing T again I am in Trim mode.
| | 06:52 | Dynamic Trim mode gives you the
ability to play forward using the L key or
| | 06:57 | rewind using the J key and the
moment you press K, the trim is enacted.
| | 07:03 | In other words, I do not have to play,
pause, and then press the E key to extend
| | 07:07 | the edit to the playhead.
| | 07:08 | This is done all in one step.
| | 07:10 | I will rewind with the J, being careful
not to press K, and then I will press L to
| | 07:16 | play forward. And at the point where I
would like to make the cut, I press K and
| | 07:21 | it happens like magic.
| | 07:22 | (garbled speech)
| | 07:31 | Now, I will use Shift+K on a either a
Mac or a PC to play around this cut point.
| | 07:35 | (Mr. Dalton: Big risk for you on this Columbia project.)
| | 07:39 | Now, I am still not quite where I want it to be.
| | 07:42 | I think I would like the cut to
end up closer to where he says risk.
| | 07:47 | Practicing this again, press T, I
enter Trim mode, rewind with J, being
| | 07:53 | careful not to pause, and then I will
press L and when I am ready to enact the
| | 07:58 | trim, I will press K.
| | 07:59 | (video playing)
| | 08:03 | (Mr. Dalton: I'm taking a big)
| | 08:07 | I stopped, instinctively
pressing K right where I want the cut.
| | 08:10 | Now, I will press Shift+K to sample that edit.
| | 08:14 | (Mr. Dalton: I'm taking a big risk for
you on this Columbia project.)
| | 08:19 | There is a reason I
chose to put the cut at risk.
| | 08:22 | There are things called stop consonants,
like the letter T or P or a hard K or a
| | 08:29 | hard R, but particularly a T or a P;
anything that gives you a sharp-sounding
| | 08:35 | consonant can be used like a beat.
| | 08:37 | It is almost like when you cut on
the beat of music. It is a downbeat.
| | 08:41 | When I am trimming dialog, I think of
the actor's line as though they are,
| | 08:45 | well, not singing, but it is lyrical to me.
| | 08:47 | I am trying to create a rhythm with the cuts.
| | 08:50 | So occasionally, making a cut change at
a point where I hear a stop consonant or
| | 08:55 | if they emphasize one of the
syllables, I will use that as a downbeat and
| | 09:00 | make a cut at that point.
| | 09:02 | Listen again, Shift+K.
| | 09:03 | (Mr. Dalton: You know, I'm taking a big risk
putting you on this Columbia project.)
| | 09:08 | I will press the backslash key to zoom
back out and view my entire sequence.
| | 09:12 | As I mentioned previously, I would
continue to smooth and finesse these cut points.
| | 09:17 | Refining dialogue take time.
| | 09:19 | I use J cuts and L cuts because it
is really natural to hear a sound and
| | 09:23 | then turn to look at it.
| | 09:25 | Finessing your dialog will
take your scene to the next level.
| | Collapse this transcript |
| Putting it all together| 00:00 | In this sequence, I have combined the
techniques I have shown you in previous movies.
| | 00:05 | I began with careful shot selection and
as you can see in my sequence, I built
| | 00:12 | an arc using shot framing as a guide.
| | 00:15 | I began with a wide shot, I ended with
a wide shot, and as I built towards the
| | 00:20 | climactic moments emotionally, I
moved into medium close-up shots and then
| | 00:28 | further into close-up shots.
| | 00:30 | When the actors were delivering
important lines, I stepped back in to close-up
| | 00:35 | in specific moments and then I came
back out slowly using medium shots and then
| | 00:42 | finally back out to wide again.
| | 00:43 | So I have got a framing arc that I used as a
structure to help guide me in my shot placement.
| | 00:50 | Because I carefully markered shots,
you can see in the timeline that I did use
| | 00:54 | many of the director's circle takes.
| | 00:57 | I was careful to cut on action.
Even when the actions and movements were subtle,
| | 01:02 | like nods to the head or movement of
the shoulders or even just a gaze, one
| | 01:08 | character looking up at the other, I made use
of those subtle movements and body language.
| | 01:13 | I then went in and refined the
dialogue by creating L cuts and J cuts.
| | 01:18 | I will press plus to zoom in so you
can see that most of my audio cuts are
| | 01:24 | offset from the picture cuts.
| | 01:27 | This really makes the dialogue flow and it makes
the cut points less noticeable to the viewer.
| | 01:32 | You can even see where I
trimmed to add some energy.
| | 01:34 | In the beginning of the sequence, the
clips are shorter and as I move into
| | 01:38 | important moments where the actors
are really saying their piece, I let the
| | 01:42 | clips play out a little bit longer.
| | 01:44 | Then I pick up the pace a little bit
later towards the end of the scene by
| | 01:48 | adding additional reaction shots.
| | 01:51 | Let's watch it and see how it looks.
| | 01:53 | (music playing)
| | 01:58 | (Mr. Dalton: So, how's the coffee?
Joseph: It's cold.)
| | 02:02 | (Mr. Dalton: Did you finish it?)
| | 02:08 | (You know, I'm taking a big risk
putting you on this Columbia project.)
| | 02:13 | (Firm could be on the line here.
Six p.m. tonight, simple deadline, meet it.)
| | 02:22 | (Joseph: That's it, 6 p.m., huh?
And if I'm a risky choice, then don't use me.)
| | 02:30 | (We all know what risky decisions lead to.)
| | 02:33 | (The company's in free-fall,
and you want to take risk again? It's a creative approach.)
| | 02:41 | (Mr. Dalton: My creativity has
nothing to do with this. I did my time.)
| | 02:47 | (My job now is to wear this suit, please
clients, and make sure you do your job,)
| | 02:55 | (nothing more, nothing less,
understand? Six p.m., deliver.)
| | 03:04 | (Oh, and this design better not
resemble the last few of your strip-mall-inspired creations.)
| | 03:12 | (Get out of the safety
zone, Joseph. Do your job.)
| | 03:17 | (music playing)
| | 03:24 | As you can see, applying some
essential dialogue-editing techniques can really
| | 03:29 | help you put a piece together,
| | 03:31 | give it a sense of structure and flow.
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|
|
4. Montage Scene BuildingBuilding a quick montage rough cut using the Automate to Sequence tool| 00:00 | A montage sequence is typically composed
of a lot of short shots, and it is often
| | 00:05 | loaded with effects.
| | 00:06 | I would like to show you a feature I
use in Premiere Pro to quickly rough out a
| | 00:10 | montage called Automate to Sequence.
| | 00:12 | Just to familiarize you with the
footage, in this particular scene, Joseph is
| | 00:17 | having a creative meltdown, so we are
going to build a montage with the classic
| | 00:22 | shot of him drawing, crumbling papers
up, and throwing them in the trash basket.
| | 00:28 | I have created a really short montage, just
to give you a feel of what we are going for.
| | 00:32 | (video playing)
| | 00:41 | Get the idea? I would like to begin by
quickly roughing out or sketching ideas for
| | 00:45 | sequencing a montage.
| | 00:47 | Over in my Project panel, I have
created a bin called Montage Subclips and
| | 00:52 | placed it inside my Montage Footage bin.
| | 00:54 | Now, I will double-click to load the
clip into the Source panel and scrub
| | 00:59 | through it, so you can see
what we have to work with.
| | 01:03 | (video playing)
| | 01:09 | There is Joseph throwing the trash into the bin.
| | 01:17 | The way I like to handle this
is by creating quick subclips.
| | 01:21 | Notice that this shot is over ten
minutes long, so I am going to break it up
| | 01:26 | into tiny bits that I want
to sequence into a montage.
| | 01:29 | I will begin by marking ins and outs
around actions that I feel are iconic or
| | 01:35 | visuals that speak really
clearly and loudly to the viewer.
| | 01:38 | I will even make use of things like
rack focus, where it goes from crisp to
| | 01:47 | blurry or from blurry to crisp, and
quick pans and tilts that the camera
| | 01:52 | operator either intentionally or
even accidentally has in this shot.
| | 01:57 | Sometimes accidents work great.
| | 01:59 | Now, once I have marked in and out, I
will press Command on a Mac or Ctrl on a PC
| | 02:04 | and simply drag this clip right
into the Montage Subclips bin.
| | 02:08 | It gives me the option to name the
subclip, but when I am just sketching out or
| | 02:13 | storyboarding a quick sequence,
I do not bother to name these.
| | 02:16 | I have features like setting
poster frames and hover scrub to help me
| | 02:19 | visually locate what I want.
| | 02:22 | Pressing OK, that clip now ends up in
the Montage Subclips bin. I'll twirl that open,
| | 02:27 | so that you can see that I have
already created several subclips so that you
| | 02:31 | don't have to sit here and watch me do
this over and over. But I will go grab a
| | 02:36 | couple more shots just to make
sure we have enough to work with.
| | 02:38 | I want to get some of those
classic waste paper shots. There we go.
| | 02:47 | There is a nice camera zoom.
| | 02:55 | Command+Drag or Ctrl+Drag right
into that Montage Subclip bin.
| | 03:01 | Press OK or hit Return.
| | 03:02 | I will grab one more.
| | 03:04 | Let's take that zoom.
| | 03:07 | I am pressing L to speed through my clip
in order to find what I am looking for.
| | 03:12 | Maybe there is a better one.
| | 03:17 | Command+Drag or Ctrl+Drag right into
the Montage Subclips bin. Press OK.
| | 03:23 | There we go.
| | 03:25 | Now, in order to automate to sequence,
I need to see the shots visually in
| | 03:29 | order to sequence them.
| | 03:31 | So, I will press Option and double-
click on the Montage Subclips bin to dock
| | 03:36 | that up in a tab and look at it in icon view.
| | 03:40 | I need more screen real estate, so I
will click and drag this bin to dock it up
| | 03:45 | here next to the Source panel.
| | 03:47 | There we go. And I can really get a
look at my footage. And using hover scrub,
| | 03:52 | just by moving the mouse over each shot, I
can get a look at which shots I want to use.
| | 03:58 | Let's edit them to the timeline.
| | 03:59 | I would like to begin with a shot of
Joseph, so I will click on him first.
| | 04:04 | Notice that I can actually set ins
and outs right here inside my subclips.
| | 04:09 | So this section here where he is about
to throw away a piece of paper, I will
| | 04:14 | mark an in and an out around.
| | 04:17 | Now, I will press the Command key on
a Mac or the Ctrl key on the Windows
| | 04:22 | machine and begin selecting these shots in
the order I want them to edit into the timeline.
| | 04:27 | There is number 2, number 3,
number 4, and I will add one more.
| | 04:35 | Taking a look at where I have left my
playhead in the sequence, I will move it
| | 04:39 | over because this is where the
shots will edit into the timeline.
| | 04:42 | Now, I will press Automate to Sequence.
| | 04:44 | I want to arrange these so they sort in
the order I selected them and place them
| | 04:50 | sequentially as an overlay edit.
| | 04:53 | I don't need any transitions at this
point, so I will uncheck these boxes.
| | 04:58 | I have the option to ignore the audio,
but I kind of like the sound of him
| | 05:02 | crumpling up the papers and want to keep it.
| | 05:05 | I will press Return or hit OK, and notice
how this lay right into the timeline in
| | 05:10 | the order I selected them.
(video playing)
| | 05:18 | I can continue to build on this
using Automate to Sequence as an insert.
| | 05:21 | I will put the playhead between two shots,
| | 05:24 | pressing the down arrow key to make
sure I land exactly between two shots.
| | 05:29 | Coming back up to my bin, I
will select some additional clips.
| | 05:33 | Holding Command. Now, I will bring these
up to the top, clicking and dragging to
| | 05:40 | sort them in the order I want
them to lay into the sequence.
| | 05:43 | I would like to add a shot
of Joseph, maybe one more.
| | 05:52 | Now, I will select the first shot,
hold Shift, and select the fourth shot.
| | 05:57 | These clips will go down in the
order I have arranged them when I press
| | 06:01 | Automate to Sequence and
choose to order them by sort order.
| | 06:05 | This time I will use the Insert Edit method.
| | 06:09 | Press OK and watch my timeline.
| | 06:12 | Those four shots are inserted into the
sequence in the order I arranged them in.
| | 06:17 | I would like to mention something
great about Automate to Sequence.
| | 06:28 | I am not using it for a montage, but
you also have the option to place these
| | 06:33 | clips at numbered markers, which is
really helpful when you are working on
| | 06:37 | documentary edits and you want to
add B-roll in specific locations.
| | 06:42 | Occasionally, I will number markers
to the beats in music and lay shots in
| | 06:46 | those numbered markers so
they match the timing of the song.
| | 06:49 | Condensing a long sequence of events
into a collection of quick cuts to collapse
| | 06:56 | time really inspires creativity.
| | 06:59 | Subclip and visually arrange your
footage in bins and then use Automate to
| | 07:03 | Sequence to quickly sketch out or
storyboard your ideas for a montage.
| | 07:08 | I like to make a couple of different
versions and then watch them, because this
| | 07:12 | generates ideas on sequencing that I
might not have thought of otherwise.
| | Collapse this transcript |
| Compressing time using jump cuts| 00:00 | You can break the rules, including the
rule of continuity, when crafting a montage.
| | 00:05 | It's a perfect opportunity to
completely ignore the 180-degree rule and
| | 00:10 | play with jump cuts.
| | 00:12 | In this scene, Joseph, our main
character, is incredibly frustrated.
| | 00:16 | We have three different takes of him, and
I am going to play those so you can see
| | 00:18 | what we have to work with.
| | 00:22 | (Joseph: This is nuts! I can't believe this!)
(video playing)
| | 00:41 | (Joseph: Augh!)
(video playing)
| | 00:52 | (Joseph: This is nuts! I can't believe this! Ugh!)
(video playing)
| | 01:08 | My goal here when creating this montage
of Joseph is to use all three takes, but
| | 01:12 | just to use the bits I like from each
one and join them together to give a
| | 01:16 | feeling of discomfort. Sometimes you
want your audience to identify with the
| | 01:21 | uncomfortable feelings your
main character is experiencing.
| | 01:24 | Jump cutting is a really great way to do that.
| | 01:28 | I'll come down to my sequence now
and show you what I mean by a jump cut.
| | 01:33 | Basically, with any montage we
are condensing time and events.
| | 01:36 | I am going to actually play through
this section here so you can feel what it's
| | 01:42 | like when I pull out chunks of time.
| | 01:44 | I pull out bits of the
action from Joseph's performance.
| | 01:47 | (video playing)
| | 01:50 | So what's happening here is I've
literally removed sections so that we
| | 01:55 | are compressing time.
| | 01:57 | Part of the reason this feels like a
jump is because the camera angle doesn't
| | 02:00 | change; the camera angle stays in the same
position, but we are missing parts of his action.
| | 02:06 | I'll press the backslash key and
show you how I accomplished this.
| | 02:13 | I'll add this take to the timeline. And I
love this technique. It's a really quick
| | 02:18 | way for pulling out some of the
sections of this performance that I don't like
| | 02:21 | and keeping the bits I like.
| | 02:22 | Here is how to do it.
| | 02:24 | I'll press L to play through and when
I see sections that I really like and I
| | 02:29 | want to use them, I will press Command+K
on a Mac or Ctrl+K on a PC to literally
| | 02:35 | put slices, or to add edits,
on this clip in the sequence.
| | 02:39 | (video playing)
| | 02:46 | (Joseph: Augh!)
| | 02:53 | Really fast and easy. Now I'll zoom in and
begin removing the bits that I don't want.
| | 03:00 | I'll scrub through, select a
section I want to remove, and I'll press
| | 03:05 | Shift+Delete. That would be the Delete
next to the Home and End, Shift+Delete.
| | 03:09 | And I'll begin
extracting out some of these bits.
| | 03:14 | I can even do big sections.
I'll sometimes scrub through.
| | 03:17 | (video playing)
(Joseph: Augh!)
| | 03:33 | Play through and see if
there is more I want to remove.
| | 03:35 | (video playing)
(Joseph: Augh!)
| | 03:39 | Okay, I am liking not. Then I'll come in with my
Ripple tool and I'll trim some of these clips up.
| | 03:46 | Just removing a little bit
more of the material I don't need.
| | 03:54 | I'll refine this montage later.
| | 03:57 | Pressing the V to return to the Selection tool.
| | 04:00 | (video playing)
| | 04:04 | I'll also make a decision about
which takes I like best and begin
| | 04:10 | performing swap edits.
| | 04:12 | I can press the Command key on a Mac
or the Ctrl key on a PC and reposition
| | 04:18 | these clips by dragging. Using the snap--
| | 04:21 | that's S on the keyboard if yours is
turned off; I can see mine is on--I can
| | 04:26 | begin interleaving some of these takes.
| | 04:29 | Now I know my footage fairly well.
You might need to get familiar with the takes
| | 04:35 | to know which portions you really want to use.
| | 04:38 | (video playing)
| | 04:52 | I said I am not at all worried about the audio,
but there are some things at I don't to repeat.
| | 04:56 | I want to choose from these two takes here
which of the sit-downs I'll want to keep.
| | 05:05 | I think I'll keep that last one.
| | 05:08 | So this is a creative way to
rough out a montage using jump cuts.
| | 05:14 | You might also try introducing
spatial discontinuity, like crossing the line
| | 05:18 | between jump cuts as an effect to
create discomfort in the viewer.
| | 05:23 | This was done in the film
Taxi Driver for instance.
| | 05:26 | Because our director never shot from
another angle, I could introduce spatial
| | 05:31 | discontinuity by applying an effect.
| | 05:34 | I literally could flip one of these shots.
| | 05:36 | I'll go to the Effects tab, "type flip,"
and apply a Horizontal Flip to this shot.
| | 05:44 | (video playing)
(Joseph: Augh!)
| | 05:46 | So I can make him change
directions or cross the line as though I had
| | 05:50 | another camera angle.
| | 05:51 | If you want your audience to easily
follow a storyline without confusion,
| | 05:55 | especially when dialog is involved,
maintain continuity between cuts as much
| | 05:59 | as you possibly can.
| | 06:01 | However, when intentionally condensing
time and events in a montage, employing
| | 06:06 | this temporal discontinuity, removing
chunks of time from the scene, and using
| | 06:11 | jump cuts can be really effective.
| | 06:14 | If you want the audience to
identify with uncomfortable feelings that a
| | 06:18 | main character is experiencing,
jump cutting and crossing the line are
| | 06:22 | effective solutions.
| | Collapse this transcript |
| Refining montage pacing| 00:00 | In a montage you can alter the
pacing at odd moments for effect.
| | 00:05 | For a frenetic feel, I'll use at least one
cut per second, but I won't stick to that rule.
| | 00:11 | In this montage I am intentionally
messing with the rhythm so that the pacing
| | 00:16 | feels out of step, because this
main character is feeing out of sorts.
| | 00:20 | He is a bit off, and I want
the viewer to feel that way too.
| | 00:23 | So for example, while I may work on
creating really short cuts, I'll actually
| | 00:29 | bring in some longer shots in certain moments.
| | 00:31 | Let's say for example he is working
on his plan and I know that later, this
| | 00:37 | becomes the winning design.
| | 00:39 | If that's the case, I could linger on
this shot just a heartbeat longer so that I
| | 00:44 | am actually foreshadowing
something that's to come later on.
| | 00:47 | I would use the Ripple Edit Trim tool
and zoom in to that part of the timeline,
| | 00:53 | pressing B, and open that shot up a little bit.
| | 00:59 | Now not so much that I would give away
the ending. I don't want to be obvious.
| | 01:04 | I just wanted to point out that
sometimes I'll vary the pacing of these shots
| | 01:08 | to give a hint, or allow the viewer to catch a
glimpse of something that might play out later on.
| | 01:14 | As you can see, I may need to
tighten up some of these shots.
| | 01:17 | I would go through and use the
Ripple tool to shorten a lot of these.
| | 01:22 | I would play through the beginning for example.
| | 01:24 | (video playing)
| | 01:26 | And pay attention to the fact that some
of these shots, like this one, feel too long.
| | 01:30 | Pressing B again, I'll trim that back.
| | 01:33 | I'd do this to the entire montage sequence.
| | 01:36 | Once I completed working on
my trims with straight cuts--
| | 01:40 | in other words I trim while my audio
and picture are cutting at the same time--
| | 01:45 | then I'll go in and refine some of the audio.
| | 01:49 | Zooming back out with the minus key
and pressing V for the Selection tool.
| | 01:54 | I'd like to use some of Joseph's
mumbling that he is doing here, but extend it
| | 02:00 | beneath the entire cut.
| | 02:02 | I didn't mean to select all those clips;
| | 02:04 | I actually meant to hold down the Option
key and simply select the audio portion
| | 02:08 | only and press Delete to lift that out of there.
| | 02:11 | And now I can hold the Option key to
bring that audio underneath all of these
| | 02:17 | clips and make use of some of his mumbling.
| | 02:20 | It's really fun when you are working
with a montage: the audio doesn't have to
| | 02:23 | synch perfectly either.
| | 02:24 | It adds to the feeling of the discontinuity.
| | 02:27 | (Joseph: This is crazy.)
| | 02:31 | And I'll do the same thing here.
At the end, he sort of growls or grumbles.
| | 02:35 | Holding again the Option key and
removing these bits of audio, holding the
| | 02:40 | Option key to drag just this audio portion out,
| | 02:42 | I have now actually built an audio bed
using his natural audio, but out of synch
| | 02:48 | or out of time with a lot of these shots.
| | 02:50 | (Joseph: This is crazy. Augh!)
| | 02:57 | At some point we have to come back to
normal time, so while I am quick cutting
| | 03:01 | throughout the montage, I'll choose
very carefully which shot I want to bring
| | 03:05 | back into the normal time frame.
| | 03:07 | I am pressing the backslash key
to show my entire sequence again.
| | 03:12 | I want to point out something really important.
| | 03:14 | I will bring back elements of continuity
editing into the montage style of editing.
| | 03:19 | For example, if my zoom in to this section
of this sequence here, you can see that
| | 03:25 | I've duplicated this shot.
| | 03:27 | I flipped one of them so that I've
created an element of discontinuity.
| | 03:32 | I've artificially forced a crossing of the line.
| | 03:35 | However, I made sure the cut point
happened on an action, so he begins his
| | 03:40 | movement in one shot and he ends it in the next.
| | 03:43 | I am zooming back out so I can show you
that I've done that again later on, here.
| | 03:50 | Occasionally, I'll add elements of continuity
back in, so you'll see a moment where he
| | 03:54 | is drawing and I will cut to a shot of the pen.
| | 03:59 | And it's not perfect continuity.
| | 04:01 | I am just making the point that you want
to add some elements of continuity back
| | 04:05 | in to keep your viewer focused, and yet
you are mixing elements of continuity
| | 04:10 | editing with discontinuity editing.
Sometimes that's called complexity editing.
| | 04:14 | For example, I've got a shot of Joseph
here, and I am going to cut to him throwing
| | 04:19 | paper in the waste paper basket.
| | 04:21 | I can remove time and make this
happen quickly or I can repeat the shots.
| | 04:25 | But if I put them in the order that you
would expect them to be in--for example
| | 04:29 | I'll go add a shot of him actually
throwing the paper of an in to an out marked
| | 04:34 | on our montage clip.
| | 04:36 | I'll hold the Command key and drag this
to the timeline. And actually I'll just
| | 04:40 | override it in here.
| | 04:41 | If you put it in the right order,
even though you are jump cutting, you are
| | 04:46 | adding an element of
continuity back into the jumps.
| | 04:49 | (video playing)
| | 04:52 | This montage of Joseph is far from
finished, but I'll play through it so you
| | 04:56 | can get a feel for where I am at
while I am trimming for pacing.
| | 05:00 | (Joseph: This is crazy. Augh!)
(video playing)
| | 05:20 | A montage should really move quickly,
but remember, you can linger on important
| | 05:25 | visuals and vary the pacing for effect.
| | 05:28 | Try out halting, stuttering, or
repetition, and also try creating a nonrhythmic
| | 05:34 | pacing to match the mood or
the situation of the scene.
| | 05:38 | It can really help the viewer
experience emotions the match the character's
| | 05:41 | experience in the film.
| | Collapse this transcript |
|
|
5. Flashback Scene BuildingDiscovering the flashback scene through visuals| 00:00 | In this movie we'll combine continuity and
complexity editing to rough out a flashback scene.
| | 00:06 | We'll work with visual cues given
by the director and executed by the
| | 00:09 | cinematographer to capitalize on
in- camera effects and craft a natural-
| | 00:14 | feeling step back in time.
| | 00:16 | Take a look at my sequence.
| | 00:18 | I have created a sequence of selects,
and I grouped them by type, which helps me
| | 00:22 | grasp my visual options. Let's watch these.
| | 00:25 | (video playing)
| | 01:07 | (Joseph's father: There you go, nice and slow.)
| | 01:16 | (Joseph: How does it stick together, Dad?)
(Joseph's father: The sand and the water? Well, that's chemistry stuff.)
| | 01:23 | So, as you can see, I've groups of shots by type.
| | 01:27 | I've got Joseph picking up the
photograph in his office, which is triggering the
| | 01:31 | memory that we are going to build, and
I've got some selects of young Joseph,
| | 01:36 | which is our flashback in time.
| | 01:37 | Let me show you the
sequence I've begun to build.
| | 01:42 | (video playing)
| | 01:54 | I'd like to walk you through my process and
point out why I settled on the shots I chose.
| | 01:59 | From the beginning, I'll zoom in with
the plus key and point out that I need
| | 02:03 | to orient you to the fact that Joseph is in
his office and about to have this flashback.
| | 02:08 | I've selected a shot where we see him
face on, notice something, and begin to
| | 02:12 | walk across the room.
| | 02:14 | Now these two shots are a pair, and what
I've done here is paid special attention
| | 02:19 | to the camera motion.
| | 02:21 | As he gets up to walk away, the camera
follows him and moves from left to right.
| | 02:26 | Once again, there is subtle movement of
the camera panning from left to right.
| | 02:30 | Here the camera is also
panning from left to right.
| | 02:34 | I have a lot of different takes of this
shot, but that subtle movement across the
| | 02:38 | cuts really helps smooth the transition.
| | 02:41 | I've selected an in point on this
second shot so that you begin to see Joseph's
| | 02:45 | reflection, and the movement of that
carries your eye down to his hand where he
| | 02:52 | picks up the photograph.
| | 02:53 | This is eye trace. My eye first goes
to his reflection, then down to his left
| | 02:58 | hand as it enters the frame, and then
up to his right hand as he begins to
| | 03:02 | pick up the picture.
| | 03:04 | I'll play that one more time.
| | 03:05 | (video playing)
| | 03:13 | So I use camera panning motion to
smooth transitions between shots.
| | 03:17 | Look for fluid or continuing
motion through the frame across cuts.
| | 03:21 | Now, in the next pair of shots I
want to point out something about the
| | 03:25 | natural body movement.
| | 03:27 | It's not just camera
panning motion I am looking for;
| | 03:30 | it's the actor's motion as well.
| | 03:32 | So from shot number two to shot number
three watch this: Joseph picks up the
| | 03:36 | photograph and pulls it towards his body
and then his arm pulls back towards his waist.
| | 03:41 | In this third shot, he is actually
pulling back. His head is pulling back,
| | 03:48 | continuing that body motion from the
left side of the frame to the right side of
| | 03:53 | the frame. So it's not just the
camera's motion I am looking for; it's the
| | 03:57 | actor's motion as well.
| | 03:58 | In addition I am looking for natural
lighting effects that the director and
| | 04:02 | cinematographer were clearly
intending to be used for the scene.
| | 04:06 | I've never met this director or anyone
involved in this shoot and I didn't have
| | 04:10 | any notes on this scene.
| | 04:11 | No one told me what they wanted.
| | 04:13 | I simply watched the footage and
I paid close attention to detail.
| | 04:16 | It didn't take me long to see the
beauty in the lighting and how that could
| | 04:19 | be used for effect.
| | 04:21 | They did so many takes and they gave
me so many chances to grab the lighting
| | 04:24 | flares and they varied the speed of the
pans and tilts and created rack-focus shots.
| | 04:30 | These are wonderful in-camera
effects, and I won't let these go to waste.
| | 04:33 | I'll zoom back out so you can
see my entire series of selects.
| | 04:38 | While I was choosing my selects, I came
across this bit of the child playing.
| | 04:43 | This is really important;
| | 04:45 | I want to point this out.
| | 04:47 | This was not part of what the
director shot for the scene.
| | 04:50 | If I press F to match frame back
to this shot and play it from the
| | 04:54 | beginning, watch this.
| | 04:55 | (video playing)
| | 04:58 | (Director: Ok. Oh, oh. I'll call action, all right?)
| | 05:02 | You can hear that the
director hadn't called action yet.
| | 05:05 | This shot was a happy accident that
occurred before the scene even began.
| | 05:09 | I'm so glad that the camera was
rolling because children don't always behave
| | 05:12 | naturally during filming, so
moments like this are little gems.
| | 05:16 | Don't miss an opportunity to capture a
smile like this, and also the child is
| | 05:20 | running through the frame. Watch all
of the footage so you don't miss an
| | 05:24 | opportunity to really use
a special shot like this.
| | 05:27 | I intend to continue to interleave the
shots of young Joseph at the beach and
| | 05:30 | grown-up Joseph in the office.
| | 05:32 | The sequencing of my favorite selects
allows me to continue to build this by
| | 05:36 | grabbing a piece from one time frame--
young Joseph--and then a piece from the
| | 05:39 | next time frame and cross cut between the two.
| | 05:42 | I'd like to show you a few shots
that I chose not to use and explain why.
| | 05:46 | (video playing)
| | 05:49 | I could have chosen to insert this
between shots number two and three, here,
| | 05:52 | where he picks up the frame.
| | 05:53 | (video playing)
| | 06:00 | But the reason I chose not to, in
addition to the fact that I liked the camera
| | 06:05 | movement and his body movement between
those two cuts, is that I couldn't find
| | 06:08 | a shot where he picks up the frame or
reaches for it in a way that felt real to me.
| | 06:13 | In other words, he is moving so slowly
| | 06:15 | I'd never pick up a picture
frame like this in real life.
| | 06:19 | It just feels like he is reaching so
slowly and then the way he ended up holding
| | 06:23 | it, that's not a natural position.
| | 06:25 | I would never hold a picture like
that when I was looking at it. It just
| | 06:29 | didn't feel correct to me.
| | 06:32 | So I looked for shots where he picked up
the frame in a way that felt really natural.
| | 06:38 | Likely the director was instructing
this actor to hold the frame so that you
| | 06:42 | could see a bit of the photograph.
| | 06:44 | Nevertheless, I was looking for shots
were his motion and his body language felt
| | 06:48 | natural and real to me.
| | 06:49 | Unlike a montage, a flashback typically
moves more languorously and with intent.
| | 06:54 | I want it to be really
deliberate while crafting this scene.
| | 06:57 | I want to be careful so that this
memory isn't interpreted as cheesy--
| | 07:02 | well, unless that's what I am going
for, but that's not the case here.
| | 07:05 | This is the moment that catalyzes
Joseph getting his creative mojo back.
| | 07:09 | It has to mean something.
| | 07:11 | To give it meaning, I'll really take my
time and I'll try to stay in the moment
| | 07:14 | and in the mood of a memory
that means something to me.
| | 07:17 | One of the ways I help myself with that is to
start laying in a little bit of sound design.
| | 07:23 | I am not sound designing this sequence yet;
| | 07:25 | I am simply bringing in a little piece
of the voiceover and a little piece of
| | 07:29 | the background audio, and I've
set aside some here to show you.
| | 07:33 | Just a little bit of seagull sounds
and the beginning of the voice over.
| | 07:37 | I'll cut that into the beginning.
| | 07:39 | I am just copy-pasting with Command+C and
Command+V, or Ctrl+C, Ctrl+V if you are on a PC.
| | 07:48 | And I'll just play that back for you
so you understand what I am doing to put
| | 07:51 | myself in the right mood.
| | 07:53 | (video playing)
| | 07:59 | (seagulls chirping)
| | 08:02 | (Male speaker: All right, Joseph.
Let's get this castle started.)
| | 08:06 | As you can probably hear,
I'll begin now to lay in the flashbacks to
| | 08:10 | Joseph's childhood.
| | 08:13 | Some fine editors would begin this sequence
by actually laying in all of this voiceover.
| | 08:19 | (Joseph's father: There you go, nice and slow.)
| | 08:25 | I actually prefer to begin making my
visual selects so that I do not miss any
| | 08:30 | visual lyricism that I might otherwise
skip over in favor of just painting to audio.
| | 08:37 | So I actually begin by making my
selects visually and then move into building
| | 08:42 | neat voiceover later.
| | 08:44 | Paying special attention to the speed
and direction of camera movements while
| | 08:47 | editing can add elegance to your cuts
and turn a good scene into a great one.
| | 08:52 | Look for moments of serendipity or
accidental shots and make use of in-camera
| | 08:56 | lighting effects to lend a
special feel to your edits.
| | Collapse this transcript |
| Working with audio to continue building the flashback scene| 00:00 | In this movie we'll edit in some of the
voiceover track and focus on cutting the
| | 00:05 | picture to the sound to help
take our viewer back in time.
| | 00:08 | Let's play through where I am at so far.
| | 00:10 | (video playing)
| | 00:17 | (Joseph's father: Let's get in there and
get this castle started. There you go.)
| | 00:17 | (Joseph's father: There you go, nice and slow.)
| | 00:17 | (Joseph: How does it stick together, Dad?
Joseph's father: The sand? Well, that's boring stuff.)
| | 00:17 | (Joseph's father: That's chemistry stuff. But I want
to show you and teach you about the lines.)
| | 00:45 | Now, I've already pulled some selects
and placed them at the end of my sequence.
| | 00:48 | Let's listen to hear what
some of our choices are.
| | 00:50 | (Joseph's father: Yeah, here, let me show you.
When you're building a sandcastle you want to have nice,
| | 00:58 | (straight, strong, bold lines. There you go.
And unique lines. A little bit of an angle. Fun lines.)
| | 01:14 | (Joseph's father: Want to give it a shot?
Joseph: Sure!)
| | 01:15 | (Joseph's father: All right, here you go.
Let's see what you've got. Yeah that's good. Nice work.)
| | 01:24 | At this stage of designing the
flashback scene, I am keeping the focus on
| | 01:27 | deciding which voiceover lines I want to use
and trimming out what I don't want to keep.
| | 01:31 | In my timeline I'll twirl open the
audio track so that I can see the waveforms.
| | 01:36 | Make sure that Show Waveform is checked.
| | 01:38 | But I am not seeing much of the
waveform and the reason that is is this is a
| | 01:43 | reference audio that was
recorded right onto the camera.
| | 01:46 | I actually have really good-sounding
audio and I'll replace this later with the
| | 01:51 | good audio; however, I am right now
just interested in deciding which lines I
| | 01:55 | want to use. The reference audio also
contains some background ambience from the beach.
| | 02:01 | Later I'll pass this to a sound
designer, and I want to leave some of this
| | 02:04 | natural sound so that the
designer has a guide to follow.
| | 02:07 | Double-clicking this clip in the
timeline will load it in the Source panel and
| | 02:12 | allow me to zoom in on the waveform and
trim out some of the bits I don't want.
| | 02:17 | I'll press the plus key
and play through this line.
| | 02:20 | (Joseph's father: All right, Joseph,
get in there and get this castle started.)
| | 02:20 | So if I want to cut out the middle bit,
get in there, I can use markers to do that.
| | 02:28 | So after he says, "Joseph," I'll press
M and after he says, "Get in there."
| | 02:34 | (video playing)
| | 02:36 | And before he says, "Let's," I'll press
another M. I want to show you that down
| | 02:40 | here in my sequence, if I zoom in,
markers are instantly updated.
| | 02:46 | I'll press C for the
razorblade and cut this bit out.
| | 02:50 | Remember to use a Lift edit at this point,
not a Ripple Delete, so that you don't
| | 02:55 | throw anything out of sync
farther down in your timeline.
| | 02:58 | I'll press V, the Selection tool,
select that, and use the Delete key to just
| | 03:02 | lift it out of there.
| | 03:04 | Now I'll close the gap.
| | 03:05 | (Joseph's father: All right, Joseph,
let's get this castle started.)
| | 03:09 | Now it's not perfect, but that is the idea.
| | 03:12 | We'll do the finishing work later.
| | 03:14 | Zooming back out, I'd like to show you
that while I am trimming audio, I'll be
| | 03:18 | leaving gaps in my sequence.
| | 03:20 | Before I complete this pass,
I'll fill in all of those gaps with what we
| | 03:24 | usually call roomtone.
| | 03:26 | In this case the roomtone is the
background ambience from the beach.
| | 03:29 | I have to be careful when I pull that out
not to add back any of the lines I don't want.
| | 03:35 | But a lot of the times what I'll do is
simply match frame back to this clip by
| | 03:39 | selecting it and pressing F. And well, hey,
| | 03:42 | this is a great
opportunity for me to show you that
| | 03:44 | if I want to select match frame on the
audio, I need to turn off the video track.
| | 03:49 | Now, there we go, I've matched frame
back to the audio track. And I can pull just
| | 03:54 | audio from the bits that are silent.
| | 03:56 | (video playing)
| | 03:59 | So when they are not speaking I can
mark in to out, get a nice long chunk.
| | 04:05 | There it is. Press O for
out and grab just the audio.
| | 04:09 | This will allow me to have roomtone
to fill in some of the gaps and holes.
| | 04:16 | I'll go in and delete some repetitive lines.
| | 04:18 | (Joseph's father: There you go. There you go.)
Yeah, I do not need that.
| | 04:26 | (Joseph's father: Nice and slow.
Joseph: How does it stick together, Dad?)
| | 04:35 | While this is a really nice match frame
cut on young Joseph playing with the sand
| | 04:40 | and releasing it from the bucket,
| | 04:41 | I don't really want this line.
| | 04:43 | it doesn't really move the story forward.
| | 04:45 | So I'll delete that and right
now let audio guide my choices.
| | 04:49 | Let's go find another line.
| | 04:50 | (Joseph's father: Yeah, here, let me show you.
When you're building a sandcastle you want to have)
| | 04:55 | (nice, straight, strong, bold lines.)
| | 04:59 | Great, now that gets to the point.
| | 05:01 | (Joseph's father: Yeah, here, let me show you.
When you're building a sandcastle you want to have)
| | 05:10 | (nice, straight, strong, bold lines.)
| | 05:15 | Now, I don't really care right now that
the picture isn't perfectly continuous
| | 05:18 | because I am going to cut back to
grown-up Joseph in a few minutes.
| | 05:22 | Right now I am just selecting which
lines I'd like to use, so I'll choose my next.
| | 05:26 | (Joseph's father: There you go. And unique lines.
A little bit of an angle. Fun lines.)
| | 05:36 | I really prefer this short bit here, fun lines.
| | 05:38 | It's more fun than unique lines
especially because he is talking to a child.
| | 05:43 | So I'll select that, and I'll just press
Command+X or Ctrl+X to cut that out of
| | 05:48 | there and paste it here at
the end of this sequence.
| | 05:50 | (Joseph's father: nice, straight, strong, bold lines.)
| | 05:54 | Fun lines, Command+V or Ctrl+V to paste it in.
| | 05:59 | (Joseph's father: nice, straight, strong, bold lines. Fun lines.)
| | 06:04 | Now although that cut works, I actually
do want to bring back in some continuity
| | 06:09 | in the picture, and if you'll notice, I
have a great shot here of him beginning to
| | 06:13 | draw the line and I have a close-up of it here.
| | 06:16 | So I'd like to use just the picture
portion over the fun lines dialog.
| | 06:22 | So I'll press Option to select just the
picture and I'll drag that over here, and
| | 06:27 | then I'll finesse that cut
point so that it matches.
| | 06:30 | Even though I am taking the viewer out
of our current timeline and into the past,
| | 06:34 | which is complexity editing, I really
do want to maintain continuity in my cuts
| | 06:39 | inside this scene from the past, so I
don't confuse my viewer. I'll zoom in.
| | 06:43 | (Joseph's father: When you're building a sandcastle
you want to have nice, straight, strong, bold lines.)
| | 06:44 | That works, but I'll continue to finesse
this. I'll probably roll that edit point a
| | 06:56 | little bit and choose a good
spot. That looks pretty good.
| | 07:01 | (Joseph's father: --a sandcastle you want
to have nice, straight, strong, bold lines.)
| | 07:07 | Now again, we are not refining this cut yet.
| | 07:09 | We are simply adding in some really
great voiceover to tell the story.
| | 07:13 | At this stage I'd like to
begin building some ambience.
| | 07:17 | Laying down an audio bed to create a
background sound is an important part of
| | 07:21 | creating a believable flashback.
| | 07:23 | I have some sound effects over here in
my sound effects bin, and I want to bring
| | 07:27 | in some sounds of the seagulls.
| | 07:29 | I'll double-click to load that into
the Source Monitor, mark ins and outs
| | 07:33 | around the section I like.
| | 07:34 | I am choosing a place where the
seagulls are incredibly loud.
| | 07:38 | (Seagulls chirping)
| | 07:41 | As you can hear, this
would be a little obnoxious.
| | 07:44 | (Seagulls chirping)
| | 07:45 | I want to be able to hear my voiceover,
so I'll grab just the sound portion and
| | 07:50 | I'll introduce the seagulls about the
time Joseph is looking at the photograph
| | 07:55 | of himself as a young boy at the beach.
| | 07:57 | I wanted to point out that whenever
you bring in sound effects or music, it's
| | 08:00 | always far too loud.
| | 08:02 | I'll press the V key for the Selection
tool, right-click on the seagulls, and
| | 08:07 | show you how to quickly adjust the volume.
| | 08:10 | Select Audio Gain from
the menu and drop this down.
| | 08:13 | I am just going to guess, but I am
going to take it down by about 12 decibels,
| | 08:15 | play through it and make a
decision to see if that's soft enough.
| | 08:20 | (Seagulls chirping)
| | 08:25 | Probably need to bring it
down a bit more than that.
| | 08:28 | Just bring it down another 12.
| | 08:32 | I just want a hint of the sound.
| | 08:33 | (Seagulls chirping)
| | 08:38 | Great! That's better.
Then I'll open that up and continue.
| | 08:42 | (Seagulls chirping)
(Joseph's father: All right, Joseph, let's get this castle started.)
| | 08:47 | That's going to work for me.
| | 08:49 | I'd like to play through the bucket
piece right now and point out that this
| | 08:52 | natural sound is worth keeping.
| | 08:55 | (Joseph's father: There you go, nice and slow.)
| | 08:58 | Later on the sound designer can either
use that or replace it, but I'll leave
| | 09:02 | it in for now because it really is a guide
for the natural sound effects I want to use.
| | 09:06 | So even if I trim out some of the
lines "that's it, nice and slow," I'll leave
| | 09:11 | little bits of the natural sound.
| | 09:13 | We call it nat sound because it's
really adding to the feel of the piece.
| | 09:17 | Sound design is an essential
part of creating a flashback scene.
| | 09:20 | Although I began this scene by letting
visuals guide my choices, my second pass
| | 09:24 | through involves laying in voiceover
and then cutting the picture to the sound.
| | 09:28 | Laying in the background audio, like
the sounds of the seagulls and the waves,
| | 09:32 | will trigger memories of a specific
location and create a mood for your scene.
| | Collapse this transcript |
| Refining the flashback scene| 00:00 | Finessing audio cues and tightening
the scene is best accomplished using
| | 00:03 | advanced trimming methods.
| | 00:05 | I'd like to show you how to use the
Asymmetrical Trim mode to offset picture
| | 00:09 | and sound across cuts.
| | 00:11 | I've got a pair of clips
down at the end of my sequence.
| | 00:14 | I'll zoom in with the plus key
and play through them for you.
| | 00:17 | (Joseph's father: Want to give it a shot?
Joseph: Sure!)
| | 00:19 | (Joseph's father: All right, here you go.
Let's see what you've got. Yeah that's good. Nice work.)
| | 00:29 | Whenever I'd like to change both the
picture cut and the sound cut at the same
| | 00:33 | time, but in opposite
directions, I use Asymmetrical Trim.
| | 00:37 | I'll use the Ripple Edit--that's the B
key--and on a Mac I'll press Option and on
| | 00:44 | a Windows machine I'll use Alt in
order to select just the picture cut point.
| | 00:50 | Now, I'll add the Shift key on either a
Mac or a PC to select the opposite edit
| | 00:55 | side of the audio cut.
| | 00:57 | You can see why it's
called an asymmetrical trim.
| | 01:00 | Letting go off those keys, I can click and
drag to offset both the picture and the sound.
| | 01:06 | You get the idea?
| | 01:08 | Now I'll undo that--Command+Z or Ctrl+Z--
to pick a location for where I want that
| | 01:13 | cut point to end up.
| | 01:15 | What I am trying to accomplish is a
cut point where young Joseph takes the
| | 01:19 | little shovel and begins to carve.
| | 01:22 | So I'll press K to pause there.
| | 01:26 | Now, when I click and drag I
have a location to snap to.
| | 01:30 | Look at the 2-up display.
| | 01:31 | I am actually trying to
match the cut points here.
| | 01:34 | If I want to go beyond where my
playhead is parked, I can press S to turn
| | 01:38 | snapping off and slide right past it.
| | 01:41 | So I am just lining up where his
shovel touches the sand and creating a
| | 01:45 | nice continuity cut.
| | 01:50 | Now playing through to check the audio--
| | 01:51 | (Joseph's father: Want to give it a shot?
Joseph: Sure!)
| | 01:53 | (Joseph's father: All right, here you go.
Let's see what you've got. Yeah that's good. Nice work.)
| | 02:02 | I'll trim that up a little more so
that I can hear clearly "that's good"
| | 02:06 | without losing that line.
| | 02:07 | (Joseph's father: That's good. Nice work.)
A little bit more.
| | 02:13 | (Joseph's father: That's good. Nice work.)
| | 02:18 | So you can see how
Asymmetrical Trim is really handy.
| | 02:21 | You are accomplishing
two edits at the same time.
| | 02:23 | (Joseph's father: That's good. Nice work.)
| | 02:28 | I will press the backlash key to zoom my
sequence to fit the timeline and switch
| | 02:33 | back to the Selection tool using
the V key or clicking on my arrow.
| | 02:37 | I am just going to grab those shots by
dragging a marquee around them and drag
| | 02:42 | them to the end of my sequence.
| | 02:44 | Now, notice snapping isn't on, so while
I am moving I'll press S and I've added
| | 02:49 | that to the end of my sequence.
| | 02:51 | Now I'd like to continue
trimming and tightening this scene.
| | 02:54 | I will play from the beginning and
start selecting some shots I want to
| | 02:58 | shorten or lengthen.
| | 03:00 | (video playing)
| | 03:10 | (Joseph's father: All right, Joseph, let's
get this castle started.)
| | 03:18 | (Joseph's father: When you're building a sandcastle you
want to have nice, straight, strong, bold lines. Fun lines.)
| | 03:30 | (Joseph's father: Want to give it a shot?
Joseph: Sure!)
| | 03:31 | (Joseph's father: All right, here you go.
Let's see what you've got. Yeah that's good. Nice work.)
| | 03:41 | I am happy with my voiceover, but I
want to do some trimming to the picture.
| | 03:46 | I'll lock down my audio track so that
I have the ability to ripple without
| | 03:50 | throwing any of my audio out of sync or
losing the pacing I've already created.
| | 03:54 | I'll zoom in. Flashback scenes beg for
effects and since I know I want to add
| | 04:01 | some, I actually want to open up some
of these shots where I cut from young
| | 04:04 | Joseph back to old Joseph so that
I can apply transitions later on.
| | 04:08 | I'll press B for a Ripple Edit and
start rippling in the time line without fear
| | 04:13 | of throwing anything out of sync
because I have locked my audio tracks.
| | 04:17 | I have lengthened the shot, but now
he is leaving the frame too early.
| | 04:24 | I'll press Y to slip the shot.
| | 04:28 | Notice the 2-up display. On the in point,
or where I cut to this shot, I'd like to
| | 04:34 | see Joseph's back as he turns to us.
| | 04:36 | I love that he is wearing an
old-fashioned little white tank top. It gives us a sense
| | 04:40 | of time when this was talking place,
and on the out point I'd like to see him
| | 04:45 | leave the frame, just barely.
| | 04:49 | Great, I'll play through to check that.
| | 04:51 | (Joseph's father: All right, Joseph,
let's get this castle started.)
| | 04:56 | What I've done is preserved the portion
of the shot I really want to see, where
| | 04:59 | he is walking through the frame and
smiling, but given myself a little handle so
| | 05:03 | that I can apply effects later on.
| | 05:06 | I'll continue trimming with the Ripple tool to
shorten the length of time on older Joseph.
| | 05:12 | Pressing B for Ripple, I'd actually like
to come in here and cut to this shot a
| | 05:17 | little later. And again I use my 2-up
display. As I move the cut point I make
| | 05:23 | sure snapping is of so I don't
actually snap to that playhead.
| | 05:27 | And I want to look at my 2-up display and
preserve that little light flare, but
| | 05:32 | just cut to this shot a bit later.
| | 05:34 | (video playing)
I'd also like to shorten this shot.
| | 05:39 | So you can see, my audio doesn't
change. My voiceover has got the timing.
| | 05:46 | I better check how things
are looking down the line.
| | 05:49 | (Joseph's father: When you're building a sandcastle you
want to have nice, straight, strong, bold lines.)
| | 05:56 | Great, my timing on that shot
with the voiceover is perfect.
| | 06:00 | (Joseph's father: Fun lines. Want to give it a shot?)
Joseph: Sure!)
| | 06:05 | (Joseph's father: All right, here you go.)
| | 06:07 | Now is the time when I'll start
covering over some of the jump cuts I
| | 06:10 | accidentally created when I was
concerned with editing my voiceover, like this.
| | 06:16 | (Joseph's father: Want to give it a shot?)
| | 06:18 | I'll select a shot of Joseph.
| | 06:20 | We'll go back to him one more time.
| | 06:23 | Pressing V and just grabbing
and dragging this shot up here.
| | 06:27 | I like putting it on a higher video
track because I can slide it around and play
| | 06:30 | with the cut location.
| | 06:31 | (Joseph's father: Fun lines. Want to give it a shot?)
Joseph: Sure!)
| | 06:36 | Now, I don't mind that there is a
little mess here; in other words I've got a
| | 06:41 | camera movement that's a little unnatural.
| | 06:43 | I am simply stepping forward with
the right arrow key to show you.
| | 06:47 | There is a little camera jiggle here,
but I like it, and again, I am looking for
| | 06:51 | natural in-camera effects.
| | 06:53 | I'll add additional effects later on.
| | 06:56 | I like the voiceover the way it is,
and I intend to cover that part of that
| | 06:59 | shot with an effect.
| | 07:00 | (Joseph's father: Want to give it a shot?)
Joseph: Sure!)
| | 07:03 | (Joseph's father: All right, here you go.
Let's see what you've got. That's good. Nice work.)
| | 07:12 | Okay, I am liking this, but I
want to add a final pair of shots.
| | 07:16 | I want to see Joseph again back in the
office, and I'd like to see him looking
| | 07:21 | at the picture, but I'd also like to
see him in a wider framing, because I want to
| | 07:28 | pull back a little bit. I want to pull
back out and come back into the present time.
| | 07:33 | I looked and looked for some shots
of him putting down the picture that I
| | 07:37 | liked, but I didn't like any of them as much
I liked these, of him picking the picture up.
| | 07:42 | (video playing)
| | 07:47 | And I probably have a
little more of him on the end.
| | 07:50 | I may even have a wider shot of him.
| | 07:57 | But the point being I liked this shot
of him picking the picture up, and it's
| | 08:02 | no problem for me to use that as him
putting the picture down, if I reverse the shot.
| | 08:07 | So I'll grab these two shots, put them
at the end of my cut, clean up all this
| | 08:13 | mess--by selecting and deleting--and in
fact I can unlock the audio at this point,
| | 08:18 | get rid of that last little clip.
| | 08:20 | Be aware of sync. Notice how this audio
is synced with this particular video clip.
| | 08:25 | So I will deselect, hold Option or Alt,
and blow away that little piece of audio
| | 08:31 | preserving the picture image.
| | 08:33 | Now when I play through you'll see,
well, he is picking the picture up.
| | 08:37 | (video playing)
| | 08:43 | No problem, I'll just reverse those
shots. Pressing plus to zoom in, selecting
| | 08:48 | the clip, and right framing
and choosing Speed/Duration,
| | 08:51 | I'll select Reverse Speed.
And I'll do that to both shots.
| | 08:59 | And then I'll check them to
see if I need to do any repairs.
| | 09:02 | (video playing)
| | 09:10 | Now, as you can see--I was anticipating this--
| | 09:13 | I'll need to swap the position of
these two shots now because they are
| | 09:16 | playing in reverse.
| | 09:18 | No problem. On a Mac I'll hold Command+
Option and on a PC I'll hold Alt+Ctrl and
| | 09:24 | swap the location of these two clips.
| | 09:26 | Now, while I am dragging I noticed, I
have snapping off. No problem, press S and
| | 09:30 | that will snap right into position.
| | 09:32 | (video playing)
| | 09:36 | Now he looks down at the
picture and sets it back down.
| | 09:41 | Now I'll do my final cleanup pass.
| | 09:44 | I'll press the backslash key to zoom
out, and I'll extend my seagull sound
| | 09:49 | effects, clean up this trailing shot at the
very end. I'll need to zoom in there to do that.
| | 09:56 | I sometimes call this part of the
process spanking the edit: when it's time to
| | 10:01 | lock picture in preparation for
effects and finishing work and that deadline
| | 10:05 | often happens before we're really done editing.
| | 10:07 | Then I make my final creative tweaks
to the picture and sound using advanced
| | 10:11 | trimming techniques like asymmetrical trimming.
| | 10:14 | Always remember to be aware of audio sync.
| | 10:16 | I won't really consider this sequence
complete until I have had a chance to add my effects.
| | 10:21 | But I'll be working on that in the next chapter.
| | Collapse this transcript |
|
|
6. Creative EffectsAltering time: Speed variation| 00:00 | Slow motion footage is a
natural fit for a flashback scene.
| | 00:04 | It invokes nostalgia and if it's applied
well, it can really enhance the look and
| | 00:08 | the feel of the piece.
| | 00:10 | I'll show you a few techniques for
applying speed variations to your clips.
| | 00:14 | There are many ways to create slow-mo
effects, both in camera and during post,
| | 00:18 | but I am more interested in explaining
the creative reasons why I am choosing
| | 00:22 | to add slow mo to certain shots rather than
just show you technically how to use the tools.
| | 00:27 | I'll start by adding a shot using
Fit to Fill with the Overlay key.
| | 00:31 | Up in my Source panel, I've loaded a
shot of Joseph, and I'll select in and out
| | 00:37 | around the section I'd
like to add to my sequence.
| | 00:39 | (audio playing)
| | 00:46 | I am interested in this little bit where
the sun glints out from behind his glasses.
| | 00:53 | Notice my Duration here. And this is
the place I like to put in my timeline.
| | 00:58 | I'll zoom in with the plus key and mark
an in to an out around this section here.
| | 01:06 | Notice the duration is longer in my sequence.
| | 01:10 | I can go ahead and overlay this with
the period key, but just to show you, I can
| | 01:14 | also drag-drop and use the Fit Clip
dialog box to select how I want this to
| | 01:19 | behave in my sequence.
| | 01:20 | I'll click the radio button for change
clip speed Fit to Fill and show you that
| | 01:27 | I've now slowed this
clip down to fit that space.
| | 01:30 | The next shot of Joseph holding the
picture frame, I'll right-click it, choose
| | 01:35 | Speed Duration, and in this case I'll
go ahead and slow this down to 80%.
| | 01:41 | This is where we came to
reverse clips in an earlier movie.
| | 01:45 | Also note that you can Ripple the
edit. I don't need to do that now;
| | 01:48 | I just want to slow the clip
down to fill the empty space.
| | 01:51 | I'll back up and play through this.
(Joseph's father: All right, Joseph, let's get--)
| | 02:00 | In these two shots of Joseph I
only altered the speed by about 20%.
| | 02:06 | I want to make use of the in-camera
effects: that play of light on the glass
| | 02:09 | picture frame and the glint
of sun behind Joseph's eyes.
| | 02:13 | Now, I happen to know that slowing this
clip down to 80% would fill that gap.
| | 02:18 | I'll press Command+Z or Ctrl+Z on a PC
to undo that and show you a third way
| | 02:23 | to slow the clip down.
| | 02:25 | I really like this tool.
| | 02:26 | It's called the Rate Stretch tool, and
it's X on a keyboard, either Mac or PC.
| | 02:31 | That allows me actually to click on a
clip's edge and drag it, and as I drag the
| | 02:37 | clip shorter, it will increase the
speed, and as I drag the clip longer, it will
| | 02:42 | slow that clip down to fit that space.
| | 02:44 | In these two shots of Joseph I only
altered the speed by about 20%, because I
| | 02:50 | wanted to make use of the in-camera
effects, that play of light on the glass
| | 02:54 | picture frame and the glint of sun
behind Joseph's eyes and glasses and the
| | 02:59 | overexposed look of the back lighting.
| | 03:00 | I am adding just a touch of slow mo to
this two shots of Joseph looking at the
| | 03:05 | picture so that the audience hopefully
barely notices that there is a slow-mo
| | 03:09 | effect here. But the effect should hint
at the change that is about to come and
| | 03:13 | guide the viewer towards the
memory I am about to introduce.
| | 03:17 | It should prolong those glints of light just
long enough to add a little bit of a dreamy
| | 03:21 | quality to the scene.
| | 03:23 | I'll back up and play through that again.
| | 03:24 | (video playing)
(Joseph's father: All right, Joseph, let's get this castle started.)
| | 03:30 | For this first shot of young Joseph,
I'll use the Rate Stretch tool again, but
| | 03:34 | in this case, I will amp up the slow
mo enough that the viewer knows this is
| | 03:38 | a slow-mo shot, just to indicate that, hey,
we are in a flashback scene at this point.
| | 03:43 | I want this effect to create a nostalgic feel.
| | 03:48 | And notice it shows me the
clip has slowed down to 61.7%.
| | 03:51 | (video playing)
(Joseph's father: All right, Joseph, let's get this castle started.)
| | 03:59 | Another cool way to adjust the playback
speed of a clip for effect is to posterize time.
| | 04:04 | (video playing)
| | 04:07 | For the next several shots of young Joseph,
I want to try out the Posterize Time effect.
| | 04:12 | I will press V to return to the
Selection tool and double-click the clip of
| | 04:16 | young Joseph, so that it loads
back up into my Source panel.
| | 04:20 | Next to my Project panel, I'll click
on the Effects tab and I'll search for
| | 04:25 | Posterize and take a look.
Posterize Time is available form here.
| | 04:30 | Drag and drop that onto the clip, and
now up next to the Source panel, there is
| | 04:35 | an Effects Control tab.
| | 04:36 | I have the option to reduce
the playback rate of this clip.
| | 04:39 | I'll put it down to about 12 just
so you can really see what this does.
| | 04:43 | (Joseph's father: Give it a shot?
Joseph: Sure!)
| | 04:46 | (Joseph's father: All right, here you go.
Let's see what you've got.)
| | 04:52 | This is a stylistic effect that
gives a feeling of an old projector.
| | 04:56 | And for those of use old enough to remember
that look, it really jogs us back in time.
| | 05:00 | If I like that effect, I can copy it
and apply it to the next set of shots of
| | 05:07 | young of Joseph, by pasting attributes.
| | 05:10 | And then you can see that it adds that
Posterize Time effect to the additional shots.
| | 05:16 | The final shot in this scene needs a
Speed Vary effect because I want camera
| | 05:19 | movement between the shots to match.
| | 05:21 | (video playing)
| | 05:24 | As Joseph starts to set the picture
frame down in the wider shot, the speed of
| | 05:32 | his hand movement doesn't really
quite match the close-up shot of the
| | 05:35 | photograph as he sets it down.
| | 05:37 | I'll press plus to zoom in and in this case
just grab the Rate Stretch tool and slow-mo that.
| | 05:43 | Now I'll just play back
and literally salt to taste.
| | 05:47 | I'll make a decision about how slow I
want that second shot to be by watching
| | 05:51 | the cut and matching the action across the cut.
| | 05:55 | He begins to set the picture frame down.
| | 05:57 | That feels a little better.
It's a little bit too slow now.
| | 06:01 | One more time. I am only
interested in the cut point.
| | 06:04 | (video playing)
| | 06:06 | That felt more natural.
| | 06:07 | From this point forward, I don't want
this to look like slow motion as the
| | 06:12 | picture frame wobbles
and he pulls his hand away.
| | 06:14 | I want this to look normal speed.
| | 06:16 | We are returning to adult
Joseph's reality at this point.
| | 06:18 | So I'll move the playhead back to
the place where he begins to set the
| | 06:23 | picture frame down,
| | 06:25 | press C to make a cut, press V to
return to the Selection tool, right-click the
| | 06:32 | second half of that clip, and
put the speed back to 100%,
| | 06:37 | so that now I've slowed the clip to
match the action across the cut and then
| | 06:42 | returned it to its normal speed, so that
when the picture frames wobbles and his
| | 06:46 | hand pulls out of frame, it looks natural.
| | 06:48 | (video playing)
| | 06:55 | One final tip I'd like to mention
when I am adding speed vary effects, is I
| | 06:59 | reduce the playback
resolution on my program monitor.
| | 07:03 | On any system you can just click on
this pop-up button and reduce your playback
| | 07:07 | resolution for real-time
playback without the need to render.
| | 07:11 | I really try not to overuse speed
variation effects, but a flashback scene
| | 07:15 | presents a great opportunity to
add slow-mo as a means to an end.
| | 07:19 | Altering the playback speed cues the
viewer that you are taking them to another
| | 07:23 | point in time, and evokes a sense of memory.
| | Collapse this transcript |
| Color design| 00:00 | In this movie, it's not my
intention to teach you finishing techniques.
| | 00:04 | I simply want to show you how to subtly
alter a clip's contrast and color range
| | 00:08 | to distinguish one set of shots from
another, or to blend shots from different
| | 00:13 | cameras and to create a mood within a scene.
| | 00:16 | I'll begin by applying a Three-Way
Color Corrector to Joseph's first shot.
| | 00:20 | Clicking on my Effects tab, I'll just
search for "color" in the Search field, and
| | 00:25 | scroll down until I get to
the Three-Way Color Corrector.
| | 00:29 | I'll drag and drop that onto the clip,
double-click it so that it loads up into
| | 00:34 | my Source Monitor, and then
click on the Effects Control panel.
| | 00:38 | Now, I'd like to add some contrast to this shot.
| | 00:41 | I want it to have a little bit more of a
harsh feel to it and add a little intrigue.
| | 00:45 | So I'll scroll down until I can see
Input Levels, and I will increase the Black
| | 00:51 | Levels in the shot, and I'll
also increase the White Levels.
| | 00:55 | I am going to add some contrast to this.
| | 00:58 | Now, if I want to check before and
after at any point in time, I can click the
| | 01:02 | Effects button and toggle that on and
off so I can see before and after over
| | 01:07 | in my Program Monitor.
| | 01:10 | I also want to add a little
bit of a coolness to this shot.
| | 01:13 | I am going to increase the blue in the
blacks, mids, and white range of this
| | 01:18 | shot, just to add a little bit
of a cold feeling to this scene.
| | 01:22 | So I am dragging away from the warm
towards the blue, in the whites and in the
| | 01:26 | blacks. Adding more blue to the
whites is really going to affect the shot
| | 01:30 | more than the blacks.
| | 01:32 | And I think that Joseph feels a
little washed out, so I am going to scroll
| | 01:37 | down and increase the saturation a bit.
And then I will scroll back up and
| | 01:43 | check before and after.
| | 01:45 | It's getting there.
| | 01:46 | I actually think I'd like to add a
little more blue in his midtone range and
| | 01:51 | in the whites and increase the black levels a
bit more, give it even more of a harsh feel.
| | 01:57 | There we go.
| | 01:58 | That's looking like what I want it to look like.
| | 02:00 | Here's my before and after.
| | 02:02 | Now, you really notice this as I move
into the beach shots of young Joseph, but
| | 02:07 | before I do so, I am going to take this
basic look, copy it--so I am selecting
| | 02:13 | the clip in the Timeline and pressing
Command+C or Ctrl+C or you can right-click
| | 02:17 | and choose Copy--and then I'll select
the next couple of shots of Joseph and
| | 02:21 | Paste Attributes and play through them.
| | 02:23 | (video playing)
| | 02:29 | Because I have three shots selected,
I will click in my timeline and Deselect
| | 02:33 | All, and then double-click to load
any of the individual clips up into the
| | 02:37 | Source Monitor. And I would actually
go through and adjust each one of these
| | 02:42 | clips shot by shot, but I also want to
show you that another way to sample the
| | 02:47 | color effect I have
applied is to open up Split view.
| | 02:51 | Put a check by the Split view box,
and you can take a look at what the
| | 02:54 | shot looks like before and
after, by splitting the screen either
| | 02:57 | horizontally or vertically.
| | 02:59 | I will turn that off for now and toggle
this clip's effect off and back on again.
| | 03:04 | I am actually liking the increased
contrast and the bluer tones in the white
| | 03:09 | areas. Playing through, until
I reach young Joseph's shots.
| | 03:13 | (video playing)
(Joseph's father: All right, Joseph, let's get this castle started.)
| | 03:17 | Now in this scene, because we are going
back into Joseph's memory, I'd like to
| | 03:22 | give this a warmer feel.
| | 03:24 | So I will apply the Three-Way Color
Corrector to young Joseph's shot, and I will
| | 03:29 | increase the contrast initially
by adding a little bit of black.
| | 03:34 | I will actually reduce the
contrast by increasing the light values in
| | 03:41 | the midtone range.
| | 03:42 | I am really brightening this shot up
and reducing the contrast by increasing
| | 03:46 | the light values in the midtone range in
order to give this a softer dreamier quality.
| | 03:51 | I definitely want to add a little bit
yellow in his whites to warm up the scene,
| | 03:57 | and I will add some reds by pulling
towards the flesh tone line, or away from the
| | 04:02 | blues in his skin tone range.
| | 04:06 | Scrolling down, I'll add a bit of saturation.
| | 04:08 | I am really warming and brightening this shot.
| | 04:14 | I intend to add additional effects,
but you can already begin to see how we are
| | 04:18 | transitioning from a cooler, harsher,
more contrasty world into the dreamier,
| | 04:24 | brighter, warmer reality of a memory.
| | 04:26 | (video playing)
(Joseph's father: All right, Joseph, let's get this castle started.)
| | 04:32 | I planned to copy-paste the
attributes and adjust each one of young
| | 04:36 | Joseph's shots individually, because
the lighting is different between the
| | 04:39 | different camera angles.
| | 04:41 | A little color goes a long way when
you are designing a mood for a scene.
| | 04:45 | Notice that I don't take the color of
the past and present moments too far from
| | 04:48 | each other, as I want the transition
between the two timeframes to feel natural.
| | 04:53 | We are in Joseph's mind in the present,
even though we are witnessing a past event.
| | 04:58 | Changing the color of the shots can
really help set a tone for the scene.
| | 05:02 | You can enhance the feelings of
moodiness by adding cool blues and increasing
| | 05:06 | the contrast, or soften a scene by
warming the skin tones and decreasing contrast
| | 05:10 | a bit by adding light in the mid range.
| | 05:13 | If you need to review the basics of
color correction, refer to Premiere Pro
| | 05:17 | Essential Training. And if you
really want to take your color design and
| | 05:21 | balancing to the next level, check
out Up and Running with SpeedGrade.
| | Collapse this transcript |
| Using the Creative Suite tools: Roundtrip to After Effects via Dynamic Link| 00:00 | One of the best things about editing
with Premiere Pro is that I am plugged
| | 00:04 | into the Creative Suite.
| | 00:05 | In this movie, I will show you how to
take a clip to After Effects via Dynamic
| | 00:09 | Link, so you can apply some
custom creative looks to your scene.
| | 00:13 | The first thing I'd like to do before
sending a clip over to After Effects is hold
| | 00:17 | the Option or the Alt key on a PC
and drag the clip up to another track.
| | 00:21 | I do this for two reasons: one is to
preserve a backup copy of this original
| | 00:25 | clip in case I'd like to make changes
to it later, and the other is so that I
| | 00:30 | can pull handles out before I
send this over to After Effects.
| | 00:33 | I might want to dissolve this
with the next clip later on.
| | 00:37 | I will right-click on the clip
and choose Replace With After
| | 00:41 | Effects Composition.
| | 00:42 | You'll need to save this project somewhere.
| | 00:45 | I created an After Effects
project folder and name it.
| | 00:49 | I will press Save and the clip will
load up into an After Effects comp.
| | 00:54 | I will scrub through this clip until I find
a place where I can see Joseph and his bucket.
| | 01:00 | Now, I'll head over to the Effects and
Presets Search tab, and notice I had been
| | 01:05 | searching for an effect previously, so
you will see that Colorized - sepia is an
| | 01:09 | effect that's loaded up into my presets already.
| | 01:13 | I could clear it, and well, let's see.
| | 01:15 | I can search for film looks.
| | 01:17 | I could distress these shots and
make them look like old film with the
| | 01:20 | scratchy film look.
| | 01:22 | It's a tried-and-true flashback
technique. But I am going to make the creative
| | 01:26 | choice to keep the style of this
flashback closer to the realm of memory.
| | 01:29 | I don't know about you, but I
don't remember things in super eight.
| | 01:33 | So I will apply some lighting effects instead.
| | 01:35 | Before I go there, I am
going to type "sepia" in here.
| | 01:39 | It reminded me when I saw that that
this is a quick way for me just to show
| | 01:43 | how a Dynamic Link works.
| | 01:44 | First thing I can do is grab
and drag this onto the footage.
| | 01:47 | Now you have some options here.
| | 01:49 | You can just drag it right onto the
footage itself in the Comp window, and drag
| | 01:53 | it over the Effects Controls panel,
or you can drop it right on top of the
| | 01:58 | footage in the Timeline.
| | 01:59 | One mistake I used to make is if I drag
this over here to the clip that's loaded
| | 02:04 | in the Timeline and I think this is
highlighted and drop it in this gray area,
| | 02:07 | it won't actually apply, watch.
| | 02:09 | But if you grab it and drag it right
on top, right when it highlights, then
| | 02:14 | it applies the effect.
| | 02:15 | Another way to apply an effect is to
simply double-click on it over here in the
| | 02:19 | Effects and Presets panel.
| | 02:20 | I have done this so that I can quickly
show you that a Command+S or a Ctrl+S
| | 02:25 | on a PC will save this After Effects
file, and then I can Command+Tab or
| | 02:31 | Ctrl+Tab back over to Premiere, and
instantly this shot is updated in my
| | 02:37 | Premiere Pro timeline. It's that fast.
| | 02:40 | At any point in time I can tab back
over to After Effects, Command+Tab or
| | 02:45 | Ctrl+Tab and continue to make changes.
| | 02:49 | I am going to use Command+Z or Ctrl+Z to
undo that last effect and show you that
| | 02:54 | what I'd like to apply is
actually some vignette lighting.
| | 02:58 | There's a really lovely vignette effect
in After Effects that's not available
| | 03:02 | elsewhere. And I have dropped that on.
| | 03:05 | I could customize this but just in the
interest of time, we will leave it as it is.
| | 03:10 | I actually really like the way it looks,
and twirl these effects closed so that
| | 03:14 | I can add another on top of it.
| | 03:17 | So fast and easy to customize a look here.
| | 03:19 | Something I really like is called the
Red Hand Tint, and I'll drag the Red Hand
| | 03:26 | Tint over to the Effects
Control panel and drop it.
| | 03:30 | Right away you can see what's happening.
| | 03:32 | The red tones are enhanced in Joseph's
skin, but the rest of the colors drop out
| | 03:37 | into a black and white.
| | 03:38 | I'd like to bring a little bit of the
background color back into this image,
| | 03:42 | so I will head up to Amount to Decolor
and drop that down, just enough to see
| | 03:47 | the bucket become blue again, maybe
70-75%. So it's got a little bit of a washed-
| | 03:54 | out feel in the background and our focus
is on young Joseph, and the vignette has
| | 03:59 | created a bit of a tunnel vision.
| | 04:00 | I am liking this a lot right now.
| | 04:03 | I will twirl closed the Leave Color
and if I'd like, I can even increase the
| | 04:08 | saturation on the Reds a little bit,
bring a little bit more tone into his
| | 04:13 | skin, but still leave that
background kind of black and white.
| | 04:17 | Twirl that closed and add my final effect.
| | 04:20 | Back over to Effects and
Presets Search, and I will type noise.
| | 04:25 | I'd like to add some noise or grain to
this image to really distinguish it from
| | 04:29 | the modern timeline of older Joseph.
| | 04:32 | There is some noise there.
| | 04:33 | I'll drop that onto the shot.
And you have to actually add the noise.
| | 04:37 | There is none initially applied, so I
am just going to add a touch of noise to
| | 04:42 | this, maybe 3% or 4%. And in 3, I am
not really seeing too much happening
| | 04:48 | there. How about 4? There we go. And I
start to see some noise in his face, and
| | 04:52 | that's working for me.
| | 04:53 | So I wanted to show you how quick and
easy it is to add layered effects from the
| | 04:58 | presets inside of After Effects.
| | 05:00 | Press Command+S or Ctrl+S to save.
| | 05:02 | Now that I have saved, I will
Command+Tab back over to Premiere Pro and
| | 05:08 | that instantly updates.
| | 05:09 | I'd like to show you one final thing:
at any later time, you can go back
| | 05:13 | to After Effects by right-clicking on the
Dynamic Link clip and editing the original.
| | 05:20 | And even if After Effects is closed,
it'll launch again, so you can get back in
| | 05:24 | here and make changes.
| | 05:25 | I'd like to point out one last thing:
in a previous movie, I added a Three-Way
| | 05:29 | Color Corrector to the young Joseph
footage in Premiere Pro, and if I twirl that
| | 05:34 | open, you can see you can continue
to make changes to that Three-Way Color
| | 05:38 | Corrector right here in After Effects.
| | 05:42 | Back over in Premiere Pro, I will
bring the handles in, save, and I am ready
| | 05:49 | to review this shot.
| | 05:52 | Keeping in mind that I have applied
quite a few effects, I want to remind you
| | 05:56 | again that you can always drop the
playback resolution in order to get
| | 06:00 | real-time playback here.
| | 06:01 | (Joseph's father: All right, Joseph, let's get this castle started.)
| | 06:09 | All those effects mean I may need to
render this to see it playback in full speed.
| | 06:14 | If I wanted to apply this effect to all
of the young Joseph clips, I could bring
| | 06:18 | all of those clips up to a higher-level
track and send that whole track over to
| | 06:22 | After Effects via Dynamic Link.
| | 06:24 | Having easy access to After Effects via
Dynamic Link in Premiere Pro is a huge advantage.
| | 06:30 | I can add and change custom effects
to really enhance the feel of a scene,
| | 06:34 | and it's really fast.
| | 06:36 | Don't hesitate to take footage over
to After Effects and try this out.
| | Collapse this transcript |
| Smoothing jumps in time using transitions| 00:00 | In this movie, I will add transitions
to smooth the cuts from present time to
| | 00:04 | the past and back again.
| | 00:06 | This will help connect the memory of
young Joseph at the beach with grown-up
| | 00:09 | Joseph in the office.
| | 00:11 | I will select my Effects tab and type Dissolve.
| | 00:15 | I am going to grab the Additive
Dissolve and drop it on the cut point between
| | 00:21 | older Joseph and younger Joseph.
| | 00:23 | I will zoom in to that part of my
Timeline with the plus key, and I'll select
| | 00:29 | Additive Dissolve and drag to the
right or left and use the 2-up display to
| | 00:34 | help me decide where I want to apply this.
And I can drag it farther over on top
| | 00:39 | of the young Joseph clip and play
through it to see how this looks.
| | 00:42 | (Joseph's father: All right, Joseph,
let's get this castle started.)
| | 00:45 | If I want to adjust it, I can continue
to click and drag and place a dissolve
| | 00:50 | either centered on the cut, at the end of
the outgoing clip, the beginning of the
| | 00:54 | incoming clip, or anywhere in between.
| | 00:57 | If I want to lengthen the dissolve, I can
simply click on the edge and drag it out.
| | 01:02 | I am choosing the Additive Dissolve
here because the Additive Compositing mode
| | 01:08 | increases light values between the
two shots, creating a glow-like effect
| | 01:12 | without me actually having to add a glow effect.
| | 01:16 | It enhances the natural lighting in the
shots as we move from one shot to the next.
| | 01:21 | I'll continue to apply and adjust
additive dissolves for each transition between
| | 01:26 | the present day and the past, and I
will play with these a lot until I achieve
| | 01:30 | my creative goal of guiding the
viewer along in this memory here.
| | 01:33 | So every time we change timeframes,
I will drop another dissolve on the cut.
| | 01:39 | (Joseph's father: When you're building a sandcastle you
want to have nice, straight, strong, bold lines. And, fun lines.)
| | 01:55 | You can see that applying the
additive dissolve really enhances the natural
| | 01:59 | lighting effects that were present in camera.
| | 02:01 | I will quickly apply additive
dissolves between each timeframe.
| | 02:06 | I will need to watch these to make
decisions about how long I want them to last
| | 02:15 | and where I want them to be,
in terms of the cut point.
| | 02:18 | (Joseph's father: Want to give it a shot?
Joseph: Sure!)
| | 02:22 | (Joseph's father: All right, here you go.
Let's see what you've got. Yeah that's good. Nice work.)
| | 02:33 | So that's working pretty well, but
it's also important to transition sound
| | 02:37 | effects and voiceover too.
| | 02:38 | Of course, we will fade out the seagulls.
| | 02:42 | I'll go over to my Effects Search tab,
delete that, twirl open the Audio
| | 02:46 | Transition folder, and I'll grab the
Exponential Fade, just to get rid of those
| | 02:52 | seagulls at the end.
| | 02:54 | I'll make that a nice long transition.
| | 02:57 | I'll have to zoom in to grab the end of
the transition and fade those seagulls out.
| | 03:01 | Now, where you decide to fade these out
is up to you, but what I'd like to do
| | 03:06 | here, creatively, is make it feel like we
are coming back into the present moment,
| | 03:11 | that, as we are bringing Joseph back to
reality, the sound of the seagulls and
| | 03:16 | the sound of Joseph's dad is slowly fading away.
| | 03:20 | So I'll go ahead and exponentially fade out
the sound of Joseph's father's voiceover.
| | 03:26 | (Joseph's father: Yeah that's good. Nice work.)
| | 03:31 | Now I might have gone a
little too far on that one.
| | 03:34 | I'd like to hear his dad say, "nice work."
| | 03:36 | (Joseph's father: Yeah that's good. Nice work.)
| | 03:43 | Constant Gain is good for fading a
clip in, and Exponential Fade is great for
| | 03:48 | fading a clip out, but I choose Constant
Power when cross fading between cuts so
| | 03:54 | that the volume doesn't dip as one clip
fades down and the next clip fades up.
| | 03:58 | (Joseph's father: Yeah that's good. Nice work.)
| | 04:05 | Now, I will continue to tweak the
effects in this scene, but I'd like play
| | 04:09 | through it and see where I am at.
| | 04:11 | I will press the backslash key to zoom out,
press the Home key, and play through this.
| | 04:16 | (video playing)
| | 04:26 | (Joseph's father: All right, Joseph,
let's get this castle started.)
| | 04:33 | (When you're building a sandcastle you want to have nice,
straight, strong, bold lines. And, fun lines.)
| | 04:46 | (Joseph's father: Want to give it a shot?
Joseph: Sure!)
| | 04:48 | (Joseph's father: All right, here you go.
Let's see what you've got. Yeah that's good. Nice work.)
| | 05:06 | You can see I still have a
little bit of work to do.
| | 05:07 | I may choose to add some additive
dissolves between the shots of Joseph looking
| | 05:13 | down at the photograph
and the photograph itself.
| | 05:15 | Those glows will really pop out
when I do that. But it's getting there.
| | 05:19 | I am pretty happy with this.
| | 05:21 | Don't discount the use of basic dissolves.
| | 05:24 | They are powerful, and they can be
very effective for transforming time
| | 05:27 | and carrying the viewer's attention
smoothly into new ideas within or between scenes.
| | 05:33 | When additive modes benefit the footage,
use them for that nice glow effect, and
| | 05:38 | remember: audio is equally as
important as visuals when designing scenes.
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ConclusionNext steps| 00:00 | Thank you for joining me.
| | 00:01 | Now that you've completed this course,
I'd like to introduce you to a few links
| | 00:05 | that you might be interested in
to further your knowledge base.
| | 00:09 | This course is actually a three-part
series, so if you're interested in learning
| | 00:13 | narrative scene editing techniques using
Final Cut Pro X or Avid Media Composer,
| | 00:19 | you can check those courses out on lynda.com.
| | 00:21 | You might also be interested in
refreshing your skills using Premiere
| | 00:24 | Pro Essential Training.
| | 00:27 | There is also another three-part
series on documentary editing using Premiere
| | 00:31 | Pro, Avid Media Composer, and Final
Cut Pro X. I'd also like to recommend a
| | 00:40 | few books on editing.
| | 00:42 | Be sure to check out In the
Blink of an Eye, by Walter Murch.
| | 00:48 | I also really enjoy Making Movies
by Sidney Lumet, and an essential for
| | 00:54 | editors, The Conversations.
| | 00:56 | Thanks again for joining me in
Narrative Scene Editing with Premiere Pro.
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