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Presenting the picture lock to the client and receiving approval

From: Documentary Editing with Premiere Pro

Video: Presenting the picture lock to the client and receiving approval

We've already talked about picture lock from a process perspective. Briefly I want to talk about picture lock from a management, budgeting, and communication perspective, how you present the picture lock to the client and get feedback. First off, picture lock is a great way to manage the budget. If you have milestones in your project and your client knows to expect certain things along the way, getting their approval of the picture lock is a way to move forward and know that your client has confirmed all your work up until that point.

Presenting the picture lock to the client and receiving approval

We've already talked about picture lock from a process perspective. Briefly I want to talk about picture lock from a management, budgeting, and communication perspective, how you present the picture lock to the client and get feedback. First off, picture lock is a great way to manage the budget. If you have milestones in your project and your client knows to expect certain things along the way, getting their approval of the picture lock is a way to move forward and know that your client has confirmed all your work up until that point.

The idea is to get any changes in now and not need to go back later and make them which will probably cost you more time and money, because it's going to be out of the rhythm of the way you work. When you present the cut, make sure your client knows that this is about their content. We use picture lock internally to talk about the process. Sometimes when I'm talking to the client, I slide in the term content lock to mean basically the same thing, but to telegraph to them what it is that they are approving.

You never know your client's priorities for certain. Typical at this stage is to get a comment like, we need to see more of our star, or more of our CEO, or you're presenting too much of a certain type of feeling. Now these might have been good editorial decisions from your point of view as an editor, but your client is telling you that the way they see their organization and message is different. And you really need to listen to them, because their priorities are important. It's a good idea to try to educate the client at this stage.

If you can get them to understand the idea of picture lock that we are really looking at content and cuts, editorial decisions, not the detailed polished work like graphics and audio, they can really come along for the ride and help you. So try to educate your client, but be aware that it doesn't always work and they're often distracted by things that aren't really the point of the cut. One of those things is typically audio, because it is very distracting. Although we haven't mixed in the project yet, if you're going to present a picture lock cut I suggest that you do some light mixing just so you don't get a lot of feedback about what you can't here.

Now we know that's not the point, but your client may not. The bottom line is picture lock is your friend. To make the most out of it try to find a good way to share it with your client and get their approval before you move into the finishing stages.

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Documentary Editing with Premiere Pro

44 video lessons · 11220 viewers

Jason Osder
Author

 
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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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