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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.
We are getting close to the end of the editorial process, and there's something I like to do as a best practice. I would also consider it an item of due diligence, a way to just kind of check that you haven't missed anything. And it's pretty straightforward. It basically means when you're getting close to the end and you're getting ready to lock picture, that you do a process where you go back to your assets and you watch everything again. In the case of long interviews, maybe you read the transcript again, and the idea is just a check to see if you've missed anything good that you could now use.
So I'm going to look at the B-roll. You can listen to the interviews on your own, but open that B-roll bin, nice and big, and Premiere Pro does us a nice favor here, because it indicates with the orange tags what's being used in the video. So at a glance I'm able to see what's not being used because it's indicated with the white icon. So that's useful, although you can't totally trust it because you never know if there is a clip that has multiple shots in it, so you can scroll through these and also see if there's anything further along in a shot that you might be missing.
As I glance through here, a couple things catch my eye. Basically, there are opportunities at the farmers market where we may not have all of the best shots. Here's one that caught my eye. I feel like-- particularly the close-up portion here-- I might like to see one more close up, such as that partially shot. I sort of like that. I think I'm just going to go ahead and mark it right here in the bin, because it's kind of a long shot, and I saw the part I really want, so that's I for In an O for Out, just like we were in the Source Viewer, so we'll leave that for later.
And then I feel like we maybe haven't gotten as much as we could out of these wide shots. This one--actually, as I go through--I think has BD, and I think it could match up with something we already have. And this one here I think has potential. I also see BD in the background. I don't think I need both of these, I think it's probably an either/or. And I think I like the medium a little better, but I am not totally sure. Same thing, I'm going to go ahead and mark for BD's spot here, and here I think there is a BD moment as well. It's small, but there it is.
You know what? I'm not going to mark this one, because I know already that this one is better. Okay, we've got those marked, and it's going to be easy to come back to them, so let's either close this or move it out of the way. I think I'll close it and just look in the project bin going forward. I can always open it back up. So we found a couple of things that look like they could be useful, but where are we really going to put them? Let's look at their likely scene, which is the farmers market scene.
Here's the thing about this process, both things have to be true, it has to be a good shot that you want to use, and there has to be a good place for it. Sometimes you find a shot you love, but it just doesn't have a home in your cut, and although it's painful, you probably need to leave it out. Let's see if we can find spots for these two. (video playing) Okay, I think I found two opportunities, and they're inserts rather than replacements.
The first is for the tight shot of the herbs. I think it would make sense right in between these two shots. Beatty's putting herbs out, this woman's buying herbs, we've got a shot of herbs in close up. Let's see if we can find it. That list is not as helpful as I thought it would be, but easy to skip right back to here. There is the shot. Let's open this up in the Source Viewer so we can get a close look before we make the edit. There it is, and we've already marked In and Out with that close up, but it might need some adjustment.
I like the movement, but might be too much. (video playing) And you know what? I think we got the best part of that shot, even on the small thumbnail. Take it in a little tighter, we don't need much, and I'm going to go ahead and insert between these two shots. But before I do, I want to lock off the music.
I want to make sure we don't affect that. Looks like it's already locked, so we're in good shape. Go ahead and insert this shot, and let's make sure we're properly targeted. We want to be on our B-roll track and on our nats. Okay, let's see if we like this or not. (video playing) I do like it, but I think I may have a little problem with our nat sound, and I'm going to continue the method that we actually used previously, go ahead and extend the one that we actually like, and remember, we were dissolving it out after the fact.
Okay, you see how this goes, and I'll let you play with it some more. My other idea is to get the medium or the wide in after BD, but it needs some time to play with it. It's pretty similar to this shot, so I'm not as certain that it will really add something. The main idea here is just to jump back to the beginning and reassess your shots, to look at them again in light of the cut that you've actually made to see if there's something that jumps out at you anew and can be useful in that cut.
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