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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.
Once we've identified some messaging concepts, we put those concepts into play in the way that we produce a video. Now in this case, the video's already have been shot, and we're entering in at the editing stage, but I still want to pause and look at some quality of the interviews that were created just to create some tips and pointers for when you're out there shooting videos yourself. I'm in Premiere here, but I want to switch over to my workspace for Metalogging, and this is actually one of my favorite things about Premiere.
As we have a Metalogging setup that lets us navigate our media very easily, and we can open it directly off of the drive, meaning there is no need to bring it into the project. If our goal is just to review--as it is now-- we can actually do that right inside the media browser without actually creating any clips yet to edit with. We'll do that later. So here I am at my interviews, and I'm going to make some space here so I can see their full names.
Those are the interviews I have to work with, and I'm going to start opening them one by one and just seeing what we've got. Here if I scroll through, this is going to be one of our main interviews with the farmer named BD. And one of the first things I noticed here is I like the framing fairly well, and I like that he is on location. He's got this orchard in the background, and I think that really fits with the subject of the interview. So there is one of the pointers is shoot your subject in a place that makes sense. As I go through I noticed that I've got this style of sit-down interview, and it is done on location.
I also have this interview with our chef named John Downey, and again this is that sit-down type. These other ones at the Farmers Market are more standup interviews, and we'll look at them in a second. Another thing I noticed as I'm looking at the sit-down interviews in particular is something I can play for you right here an example of. (John Downey: Where people go down to the pub and see their friends, here you can go to the market and see your friends. It's a social event, almost, you know, so--) I like that bite. At the very beginning he's talking about growing up in England, and the reason I like it, it goes back to that messaging goal of developing characters and tell me a story.
I always like it in these types of interviews when there's personal angles to the story. Where I grew up it was like this, but here we have the market. That type of thing works really well. So these other interviews are different versions of what I call the running gone or stand-up interview at the market. And we have to look at these a little bit differently because the possibility exists for camera problems or lighting problems, audio problems. So when we look through these, we're looking for quality, and we're listening and looking at the visual at the same time.
I did notice one other thing in one of these interviews, and I want to point it out. Listen to what happens here. (male speaker: Every Tuesday and Saturday.) Let me back it up so you hear the question. (female speaker: And how often do you pick up here?) So how often do you pick up here? Every Tuesday and Saturday. Well, every Tuesday and Saturday is really not a bite, it's not something that's usable without context, so listen to what the interviewer does next.
This is very smart. (female speaker: And why do you buy organic local?) (male speaker: Because it tastes better.) (female speaker: When you answer a question, could I have you repeat the question in your answer, so you can answer in complete sentences.) Do you hear what she did? She knows she doesn't want to hear her voice in the final edit, so she gave a little instruction to the subject to answer in a full sentence and repeat the question and the answer. Now he does it again, and he actually does something usable. (video playing) (male speaker: Starting over?) (female speaker: Yeah, sure.
What's your name, and where are you from?) (male speaker: My name is Justin West, and I'm from restaurant Julianne.) (female speaker: And how often do you pick up from Earthtrine Farms?) (Justin West: I pick up from Earthtrine Farms every Tuesday and Saturday.) Okay, he's starting to get it. If you play this to the end, you'll see that he continues to improve. He starts with these like two-word answers, then she gets him to speak in full sentences, and finally by the end he gets comfortable, and he actually has some flow and doesn't seem all that flat. So these are just some things to look at as you evaluate interviews.
You spend a lot of time looking at interviews and hopefully shooting interviews, so you want to always be learning for what's good and what's bad for the next time you go out to shoot.
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