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Documentary Editing with Premiere Pro
Illustration by John Hersey

Refining scene order


From:

Documentary Editing with Premiere Pro

with Jason Osder

Video: Refining scene order

One of the first things that I like to consider during the fine cutting phase is the order of the scenes or ideas in our piece. Are we deploying our best stuff in the best order? Sometimes at this phase I go back to the note card exercise or outlining exercise that we did earlier, and I actually shuffle around those note cards to try to conceptualize different orders for the piece. In this case, our piece is pretty short, and there's not really that many possibilities, but during my valuation I did notice one potential opportunity.
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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

Refining scene order

One of the first things that I like to consider during the fine cutting phase is the order of the scenes or ideas in our piece. Are we deploying our best stuff in the best order? Sometimes at this phase I go back to the note card exercise or outlining exercise that we did earlier, and I actually shuffle around those note cards to try to conceptualize different orders for the piece. In this case, our piece is pretty short, and there's not really that many possibilities, but during my valuation I did notice one potential opportunity.

Let me show you where it is. When we moved to the scene with John Downey at Downey's restaurant, we've got an interesting line that we could use in a different place to introduce BD. Listen to what I'm talking about. (John Downey: We opened this restaurant in 1982, and in about 1983 BD came through the back door.) Now ignore the audio level. We will fix that later, and remember that we identified this bite way back at the beginning as an interesting place where our characters' stories connect.

The possibility I realized is we could use Downey to introduce BD. We could basically start here, start at the restaurant and use this is as our very first line. Structurally, I think that would work okay. I'm not sure if it would be any stronger, and normally I would probably do the swap just to see it, but I'm not going to do that, and let me tell you why. This project is the Farm to Table project, not the Table to Farm project, and it doesn't make any sense to me just to do a swap to see when I know that editorially and thematically it's not the direction we're going to go.

See, sometimes things are possible, but they're just not warranted by the material or the mandate of the piece. And I see this as one of those occasions. Now to be clear, on a longer piece or a piece with more flexibility, you want to spend more time at this stage really thinking about the order of the scenes. In this case, I think they're kind of dictated. We have some very clear scenes in terms of the farm, the farmers market, and the restaurant. And we have a clear mandate from the client to go from Farm to Table.

It's very hard for me to justify shuffling things around when the mandate is so very clear. But recognize that those are observations about this particular project and apply this type of thinking to your own project, particularly a long and complex one.

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