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Documentary Editing with Premiere Pro

Performing an editorial evaluation


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Documentary Editing with Premiere Pro

with Jason Osder

Video: Performing an editorial evaluation

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.
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  1. 5m 7s
    1. Welcome
      51s
    2. Using the exercise files
      1m 35s
    3. Interpreting a creative brief to establish goals
      1m 29s
    4. How to use this course
      1m 12s
  2. 12m 49s
    1. Identifying messaging concepts
      1m 58s
    2. Tips for working with interviews
      4m 53s
    3. Tips on B-roll sequences
      2m 58s
    4. Researching background and history
      3m 0s
  3. 37m 38s
    1. Organizing the ingest process
      3m 43s
    2. Choosing an interview logging method
      2m 40s
    3. Adding interview metadata
      4m 56s
    4. Logging interviews with markers
      6m 18s
    5. Adding notes to B-roll clips
      5m 36s
    6. Preparing archival images with Photoshop
      9m 20s
    7. Pulling selects and presenting ideas
      5m 5s
  4. 51m 20s
    1. Structuring the edit
      3m 0s
    2. Assembling B-roll shots
      8m 52s
    3. Assembling interviews
      6m 56s
    4. Building sequences and scenes
      7m 53s
    5. Editing interview bites on the Timeline
      6m 16s
    6. Adding other media types to the Timeline
      6m 5s
    7. Completing the rough cut
      10m 1s
    8. Presenting the rough cut and receiving feedback
      2m 17s
  5. 31m 6s
    1. Planning moves on photographs
      6m 23s
    2. Animating images
      9m 17s
    3. Creating a title graphic in Photoshop
      6m 8s
    4. Animating a title graphic in Premiere
      6m 40s
    5. Presenting graphics work
      2m 38s
  6. 55m 28s
    1. Performing an editorial evaluation
      4m 41s
    2. Refining scene order
      2m 53s
    3. Adjusting interview content
      7m 57s
    4. Adjusting B-roll shots
      6m 29s
    5. Tightening clip timing
      6m 21s
    6. Fine-cutting audio
      9m 22s
    7. Reviewing all assets
      6m 18s
    8. Adding end credits
      5m 12s
    9. Locking the picture and preparing the Timeline for finishing
      3m 37s
    10. Presenting the picture lock to the client and receiving approval
      2m 38s
  7. 34m 8s
    1. Evaluating the piece for finishing goals
      7m 11s
    2. Polishing the final audio mix
      7m 49s
    3. Correcting color for consistency
      9m 49s
    4. Adjusting the title and animations for the best compression
      5m 56s
    5. Exporting multiple files
      3m 23s
  8. 50s
    1. Next steps
      50s

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

Viewers: in countries Watching now:

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

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

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

Performing an editorial evaluation

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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