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Premiere Pro CS4 Beyond the Basics

The power of suggestive editing


From:

Premiere Pro CS4 Beyond the Basics

with Chad Perkins

Video: The power of suggestive editing

This last principle is really a hands-on technique. It's more of an idea, a concept that you need to be aware of while you're editing video. This all started back in, I think, 1916-1917 with a Russian filmmaker named Kuleshov and what he did is he performed this little experiment where he had an image of bowl of soup and he show this to an audience and then he cut that with a man's face. And so people said, Wow! Look at his face. He kind of looks hungry. His face seems to say. Hmm. That looks like delicious soup. And then he would show an image of a little girl in a coffin and then he would cut back to the man's face and his - the man's face would seem to have tragedy.
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  1. 4m 11s
    1. Welcome
      56s
    2. What's new in the dot release
      57s
    3. Using the exercise files
      2m 18s
  2. 18m 54s
    1. Capturing ambient audio
      3m 12s
    2. Getting plenty of coverage
      1m 48s
    3. Telling a story with camera angles
      3m 18s
    4. The 180 degree rule
      2m 13s
    5. Framing shots
      3m 25s
    6. Allowing "emotional space"
      1m 40s
    7. Overcranking and time lapse
      3m 18s
  3. 11m 38s
    1. Why is metadata important?
      1m 40s
    2. Browsing and adding metadata
      6m 4s
    3. Creating metadata with Speech Search
      3m 54s
  4. 33m 12s
    1. When to cut
      7m 38s
    2. Avoiding bad edits
      9m 17s
    3. Using emotional cutaways
      1m 53s
    4. Fixing problems with cutaways
      3m 53s
    5. Pacing edits
      3m 49s
    6. Matching action
      4m 14s
    7. The power of suggestive editing
      2m 28s
  5. 26m 31s
    1. Contrasting targeting and selecting
      3m 17s
    2. Copying and pasting clips
      2m 36s
    3. Replacing clips
      4m 8s
    4. Editing to music
      5m 0s
    5. Using sample rate for precise editing
      5m 34s
    6. Creating J and L cuts
      3m 33s
    7. Working with subclips
      2m 23s
  6. 11m 17s
    1. Ingesting media
      1m 39s
    2. Examining P2 file structure
      1m 31s
    3. Importing P2 files with the Media Browser
      5m 15s
    4. Converting DVCPRO HD to standard 720p
      2m 52s
  7. 38m 11s
    1. Using the Reference Monitor
      3m 0s
    2. Using scopes
      8m 33s
    3. Primary color correction
      10m 11s
    4. Secondary color correction
      8m 28s
    5. Creating a vignette
      2m 28s
    6. Creating a day-for-night shot
      5m 31s
  8. 37m 19s
    1. Censoring video
      5m 30s
    2. Creating a waving flag
      6m 5s
    3. Creating a lens flare
      3m 36s
    4. Creating background textures
      6m 19s
    5. Playing with time
      6m 4s
    6. Using transition effects
      6m 13s
    7. Working with presets
      3m 32s
  9. 15m 30s
    1. Creating a garbage matte
      3m 56s
    2. Removing green screen
      5m 6s
    3. Compositing with blend modes
      3m 32s
    4. Nesting sequences
      2m 56s
  10. 15m 27s
    1. Creating 3D reflections
      5m 0s
    2. Creating growing vines
      5m 52s
    3. Creating a track matte
      2m 39s
    4. Using the History panel
      1m 56s
  11. 42m 25s
    1. Censoring audio using bleeps
      5m 16s
    2. Understanding sample rate
      3m 0s
    3. Normalizing audio across multiple clips
      5m 7s
    4. Recording audio
      2m 24s
    5. Removing audio problems with Soundbooth
      5m 43s
    6. Working with VST plug-in effects
      2m 3s
    7. Mixing audio
      8m 20s
    8. Changing volume over time
      5m 22s
    9. Working with surround sound
      5m 10s
  12. 23m 52s
    1. About this project
      2m 26s
    2. Performing preliminary edits
      2m 35s
    3. Working with multi-camera footage
      7m 27s
    4. Creating a visual "stutter"
      3m 12s
    5. Adjusting color
      8m 12s
  13. 6m 28s
    1. Transferring projects to another machine
      3m 24s
    2. Removing unused footage
      3m 4s
  14. 25m 46s
    1. Choosing a format
      5m 35s
    2. Understanding spatial compression
      2m 5s
    3. Understanding temporal compression
      4m 19s
    4. About HD standards
      5m 46s
    5. Changing footage interpretation
      2m 17s
    6. Getting the film look
      5m 44s
  15. 27m 10s
    1. Working with After Effects
      5m 56s
    2. Creating titles in After Effects
      5m 39s
    3. Working with Photoshop files
      2m 29s
    4. Working with Final Cut Pro
      2m 2s
    5. Working with OnLocation
      3m 12s
    6. Working with Encore
      4m 27s
    7. Introducing Adobe Story for pre-production
      3m 25s
  16. 15s
    1. Goodbye
      15s

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Premiere Pro CS4 Beyond the Basics
5h 38m Intermediate Dec 03, 2009

Viewers: in countries Watching now:

In Premiere Pro CS4 Beyond the Basics, Adobe Certified Instructor Chad Perkins explains how to take video editing from simple nuts and bolts to an art form. He shares tips for shooting video in the field to get the most from a subject and get the best footage for a project. He demonstrates how to build a project through the careful use of cutaways, pacing, and suggestive edits. He covers special effects, color correction, and keying and compositing, integrating all these concepts as he builds a music video project from scratch. Exercise files are included with this course.

Topics include:
  • Working with P2 media
  • Keying compositions using garbage mattes and green screen
  • Using transition effects, lens flares, and 3D reflections
  • Compositing with blend modes
  • Understanding spatial versus temporal compression
  • Recording, mixing, normalizing, and fixing audio
Subject:
Video
Software:
Premiere Pro
Author:
Chad Perkins

The power of suggestive editing

This last principle is really a hands-on technique. It's more of an idea, a concept that you need to be aware of while you're editing video. This all started back in, I think, 1916-1917 with a Russian filmmaker named Kuleshov and what he did is he performed this little experiment where he had an image of bowl of soup and he show this to an audience and then he cut that with a man's face. And so people said, Wow! Look at his face. He kind of looks hungry. His face seems to say. Hmm. That looks like delicious soup. And then he would show an image of a little girl in a coffin and then he would cut back to the man's face and his - the man's face would seem to have tragedy.

It would seem to appear touched, heartbroken, because of seeing the girl in the coffin. Then he showed them a beautiful woman laying there and then they cut back to the man's face and the man's face seem to say, "Hey, that's a pretty-looking lady." And so what the experiment concluded, because the man's face was really the exact same every time, what changed was what was in between. So the effect the experiment taught us with video editing, that the way in which we order clips actually affects the story.

So as a video editor, for example, kind of putting everything together here, if you are needed to fix a problem with a cutaway and you wanted to make somebody look like they were tired, maybe you might get a clip from earlier on the movie or some other piece of footage where they looked like they were sad. So you can take different pieces and put them together and really change the way that those pieces impact the audience, based on what comes before and what comes after. And that's really the great artistic point that I want to leave you with as we leave these artistic chapters on shooting video and the art of video editing.

I want you to be aware that editors are storytellers, as this experiment proves. Even if you aren't the story writer and you didn't take part in writing the screenplay and even if you aren't the director or the producer, the editor still does have some semblance of storytelling. So you might want to brush up on your storytelling skills and be aware that a lot of the stuff is in your hands. And even if you don't direct dramatic pieces, if you are directing, let's say, a commercial work, even like a commercial for a kids toy, or something, you can affect the way the audience feels about something, based on the way you put clips together.

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