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There is no exact definition of fine cutting or how it differs from rough cutting, but it is the stage in between the rough cut and the picture lock for finishing. So the emphasis is on editorial tweaking and timing. Presumably, a good rough cut has most of your ingredients down on the Timeline, and fine cutting is about watching closely and making improvements across the board. In particular, I'm looking for issues of timing and editorial, that is content.
And I'm not focusing on certain finishing issues such as color correction, final compositing, and audio mix. The first step in fine cutting is really to take a close watch of where your cut is. But remember, you're trying to tune in to editorial issues and timing issues and tune out distractions like mix issues and color issues. I'm going to go ahead and watch the entire Timeline, and I'm going to prepare my interface to make it easy on myself.
I'm going to collapse my tracks, set my Timeline so I can see as much as possible, and then I may make my Viewer somewhat bigger. It may be a compromise if you don't have enough real estate, but something like that should work. So I'm going to play all the way through, and you can do this on your own, but I usually do this with a notebook in hand, and I am focusing on the time code here.
So when I make a note I can know exactly where it is. Now this is a short piece, so time code is going to be more important on a longer piece. Okay, I'm going to press Play and watch. You do that on your own. (video playing) Okay, here are some things that I noticed. I noticed one area that I felt like there may be some editorial opportunities, and that is here, it's sort of the end of the Farmers Market section.
I'm only using one bite from one person here at the Farmers Market, and it's good, but I wonder if there's not more. And I'm not totally satisfied about this transition to the restaurant, particularly this shot with the cash register is not really catching my eye in a good way. So a little bit of editorial attention here in the center, and here are some examples of some timing things I noticed, generally at transitional moments. Check this section out when we transition from the farm to the second section with history and also the music changes.
Basically this is doing exactly what I want editorially, but the timing is not quite right, and I know it can be improved. (video playing) Similarly, the end works fairly well, but I know I can time things better with the last couple of shots and the music. See if you can see the same opportunities that I'm seeing here. (video playing) Partly what I'm noticing here are mix issues, and we're not going to deal with that immediately.
But I also think that there are some improvements to timing on these last couple of shots. We linger for a little too long on the out of focus part of this rack focus, but you can see how detail-oriented we're becoming in the fine cut evaluation. I want to point out one more type of thing that I noticed during this evaluation. Probably the most detail-oriented part. Its edits like this that have little audio glitches that can be improved. (BD Dautch: And we've got about 10 acres in Ojai, and it's all certified organic--) Did you hear that, how he sort of steps on his own words in the edit? Those types of things are definitely what we want to clean up in the fine cut stage.
Okay, we have our fine cutting plan in front of us. Probably we've taken some notes based on this evaluation, and it's much easier to work off a list during fine cutting. The pattern just repeats itself. You watch, write down some things, fix them, jump back in, and watch again, rinse and repeat. Fine cutting involves a lot of iteration.
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