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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.
Now that we've taken a look at both the interviews and the observational shots there is one more content element that I want to evaluate, and that's these historical scans. They're all right here in the exercise files under original scans, and I want to open all three, but I want to open them in Photoshop, which is going to be a better way to make that evaluation than inside Premiere. I have a few goals in mind for these historicals, so let's think about those goals first.
First of all, I think these can add some variation to the look, it's really nice to have that beautiful footage, outdoor footage, Farmers Market footage, but I think when we go to these historical stills it's going to provide some variation that will be kind of nice. Second, as I look at the content here certainly my favorite thing is this picture of BD, I already know BD is a main character, and when you can take him back into his past visually that's going to just up the ante on that connection we want to make with the viewer.
Likewise, I think something like this is going to be nice to establish the Farmers Market. I'm starting to see this little mini scene that takes us back to the beginning, probably in the first half of the piece, and I think this is going to work well. At that moment, the look is going to change, and the pacing is going to change, and I think we have the right material to do that with. If I look at one more I am a little less excited about this one it doesn't seem to add much compared to this, which I think is the better shot of the Farmers Market. The last thing I am going to do is a bit more of a technical evaluation just to see how large my photos are, what the resolution is? All I care about now is just to check the size and resolution to make sure that I have enough pixels to work at any video resolution, and I have more than enough here.
This will need to be doctored a little later, but for now that's going to be fine, so just Cancel. And then the very last thing, and it's obvious, and it's important, I'm sure you've noticed it already, is that these images are pretty distressed. I'd like to take a close look at what that distress really looks like, so I'm going to bump up to a 100%, and you see that it is pretty severe. If we start to try to work with this kind of pattern from printing it may look ugly in video.
There are some tricks and ways to get around this, but for now it's enough to make a mental note and say I want an old-timey look, but I don't wanted to be just like this with this stippling, that's not going to work well. When doing historical research, especially at early phases of a project, it works to cast a wide net, you may not know yet if these images will work their way into your edit, but they might just be working their way into your mind, you might be learning more about your subject that may come out with editing the images or may just come out in a different way in your edit.
So I would just encourage you that if you have the opportunity to spend time with historical images to go ahead and do it even if you're not quite sure how it might fit into your edit.
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