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Structuring the edit

From: Documentary Editing with Premiere Pro

Video: Structuring the edit

There are a lot of approaches to planning an edit, and this is a good thing, because there are lot of different types of projects and a lot of different types of editors. For myself, I definitely do different things on different projects. For instance, on a longer piece with a lot of sources, I may do a more traditional editing script or paper edit, including all of the time code details for the important bites. I am also a big fan of more visual techniques, like Index Cards, which are classic, or working with a team on a big Whiteboard. Whatever the tool, the goal is always the same.

Structuring the edit

There are a lot of approaches to planning an edit, and this is a good thing, because there are lot of different types of projects and a lot of different types of editors. For myself, I definitely do different things on different projects. For instance, on a longer piece with a lot of sources, I may do a more traditional editing script or paper edit, including all of the time code details for the important bites. I am also a big fan of more visual techniques, like Index Cards, which are classic, or working with a team on a big Whiteboard. Whatever the tool, the goal is always the same.

You want to find a way to organize your content prior to starting the edit, to create some sort of guideline or road map, so you have an idea of the structure before you start to execute. In this case, I want to work very simple and organically for the amount of material we have. I am just going to start by listing some of the highlights from my logging process, I am going to organize it into shots and also bites. I'm not being terribly detailed, and I'm not trying to get everything, it's just the things that have jumped out at me that I know are going to be helpful to tell this story.

So some of the shots that I really enjoyed, including that open, and also some of the things that I think will go into scenes like on the farm and prep and pack where everything gets packed up and ready to go. I think those are going to make good scenes and separately I've listed the bites, not by the exact bite, I've already done that with the markers, but by some of the ideas that I want to incorporate. In the second round or if these were on index cards, maybe just by shuffling, I start to organize these and they sort of fall into a natural order.

So I've put the order of the scenes and shots and also kind of the bites or ideas that I think will go with them, and I'm just sort of alternating here and making little notes like, this is a mini-scene or history is based on stills, and again, I'm sort of seeing a progression here. So, when we get to the market, I think we're partly talking about how the market is a place for community and connection, but we're also starting to transition to our final idea, which is the farm to table concept, that this is a full path from the farm to the kitchen, to the table, and by the time we are at Downey's Restaurant, we are really going to be making that point strongly.

And then I still have a note for my clothes, which I'm not sure about, and I'm actually okay with that. As we edit, we're going to notice more things and although nothing is jumped out at me as the best way to close this piece, I'm confident that when I continue working, I'll realize a way to fill in those question marks. The idea here is simply to apply a little bit of nonlinear thinking before we actually get to the nonlinear editor. Sometimes I do it this way, sometimes I use other techniques, and sometimes I come back to the stage later in the process, if I feel like I need little space from the edit, and I want to go back to that whiteboard or those index cards, shuffle them around again and just think about my structure.

You don't always need to do an exercise like this, but I find that I tend to, and I find that it's helpful.

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This video is part of

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Documentary Editing with Premiere Pro

44 video lessons · 11190 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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