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- Preparing and importing your media
- Evaluating shots and performances
- Incorporating additional assets like images
- Editing a dialog scene
- Adding reaction shots
- Using alternative takes
- Editing a montage
- Selecting and organizing clips
- Enhancing a scene with audio
- Replacing location audio or a dialogue track
- Transitioning between scenes
- Using creative color and effects
Skill Level Intermediate
Abba Shapiro: What you're about to watch is the first rough cut or assembly edit based completely upon the script. Go ahead and watch it. It will give you an idea of what the story arc is and some of the footage that is used in this course. (music playing) female speaker: What do you design for? In other words, what drives you? male speaker: Well, I design for the client, first and foremost, but in doing that I use my own inspirations to sort of tap into what it is that the client is seeking.
Design, to me, is extracting the universal emotions that drive us all, no matter what the job is or what the building is meant to represent, because when it comes down to it, we all share the same wants and needs. female speaker: Well said. So it's clear you put a lot of heart into your work. Sensation no more, once award winning architect fails to deliver on his downtown music hall. Mr. Dalton: Joseph is our most gifted architect. He takes risks. We all know it.
These unique buildings sometimes take time to accept. I stand behind any and all of his designs, and that's that. Joseph, we need to talk. This music hall project has really caused the firm to take a hit. Joseph: Well, then, there isn't much else to talk about then, is there? Mr. Dalton: So, how's the coffee? Joseph: It's cold.
Mr. Dalton: Did you finish it? You know, I'm taking a big risk putting you on this Columbia project. Firm could be on the line here. Six p.m. tonight, simple deadline, meet it. Joseph: That's it, 6 p.m., huh? And if I'm a risky choice, then don't use me.
We all know what risky decisions lead to. Look, the company's in free-fall, and you want to take risk again? It's a creative approach. Mr. Dalton: My creativity has nothing to do with this. I did my time. My job now is to wear this suit, please clients, and make sure you do your job, nothing more, nothing less, understand? Six p.m., deliver.
Oh, and this design better not resemble the last few of your strip mall-inspired creations. Get out of the safety zone, Joseph. Do your job. (Clears throat) Patton: Mr. Dalton sent me to collect a design, is it ready? Oh, I see. Well, 6 p.m. Joseph: Is he sending you in here with scripted-out dialogue and everything? Patton: He suggested words, yes, and to come every hour, but I decide whether to come before or after the hour. Joseph: Oh, I see.
Patton: Oh, I'm also supposed to tell you that-- Joseph: You know, Patton, hang on a minute, bud. Um, I want to get the boss man on the horn here so we can all have a little chit-chat, all right? Mr. Dalton: Yes? Joseph: Hey, yeah, I'm here with Patton, and he's telling me that, um, you want him here every hour on the hour, checking in on me? Mr. Dalton: Patton, you there? Patton: Yes, Mr. Dalton, I'm here, and I never said on the hour.
I just told him that I decide before or after the hour. Mr. Dalton: No matter, just continue to do as I requested. Oh, and Patton, did you let Joseph know about the other details? Patton: Oh, yes, Mr. Dalton, I will. And no, Mr. Dalton, he didn't let me. Mr. Dalton: Let him know. Joseph: What other details? Look, I don't have-- (Phone Clicks) Patton: So, the other details.
The boss man decided to put Leavitt and Myron from 42 Designs on the project as well. They've been working on concepts all week. The Columbia tower board meeting is after the end of the day, and if they like any of the concepts, then, well, we'll all keep our jobs. Joseph: All right, I see. Patton: I'll see you in an hour. Maybe more...maybe less...goodbye.
Joseph: Nuts! I can't believe this! (music playing) Joseph: How's it stick together, dad? Joseph's father: The sand? Well, the water and sand mix, chemistry stuff. But that's not the exciting part.
The exciting part is the lines. Joseph: The lines? Joseph's father: Yeah, the lines. Here, let me show you. You want strong lines, unique lines, fun lines. Joseph: Can I try? Joseph's father: All right, kiddo. Get in there. Let's see it. (music playing) Mr. Dalton: Well, it's a complicated process, but I assure you I'm bringing you the best.
Yes. No, it's not that. It's all right. Well, I look forward to meeting you and the board tonight. Yeah. Patton: Here are the copies of the Bell contract you asked for, and I grabbed you a coffee. Mr. Dalton: Thanks. Patton: I thought you could use it. Oh, and you forgot this in the bullpen. I need to get back to work. Mr. Dalton: Oh yeah, I've been asking earlier, trying to figure out who had this thing made up for me for my birthday last week. It's a thoughtful gift.
You know, I had this thing since I was a young hotshot, just about your age. Did you have anything to do with this? Patton: Um, no sir. Actually, that was a gift from Joseph. As far as I know, no one else was in on that. Mr. Dalton: I see. Patton: I did put money in for your cake, though. Mr. Dalton: Thanks. Patton: Anything else? Mr. Dalton: Um, just those designs.
Mr. Dalton: Patton, no need for the six o'clock check in, I'll see Joseph myself this hour. (music playing) Joseph: Hey, dad. Mr. Dalton: Hey, kiddo.
So, you got a design for me? Joseph: Yeah, I think I do. Mr. Dalton: Good. Joseph: Thanks for the message. Mr. Dalton: Just doing my job. (music playing)