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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.
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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