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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 Premiere Pro and Documentary Editing with Final Cut Pro X.
- Interpreting a creative brief
- Exploring the documentary postproduction process
- Organizing footage and using searching techniques
- Setting up and using digital transcripts
- Building sequences and scenes to form the rough cut
- Adding effects to repair and enhance footage
- Fine-tuning the sequence to reach picture lock
- Receiving feedback
- Finishing the film with titles, color correction, and professional audio
Skill Level Intermediate
As we've been talking about throughout this chapter we're often presented with footage that is less than ideal. Sometimes you'll need to correct a portion of your video frame, whether that means fixing scratches or color correcting and underexposed or overexposed area, or blurring faces for people that didn't grant their image to be released. All of this can be done quite easily with the Paint Effect. Now for a full explanation of the capabilities of the Paint Effect you can feel free to take a look at one of my other lynda.com courses, Editing with Compositing and Effects in Avid Media Composer.
But here we'll just visit some of the most commonly used documentary centric Paint Effects. All right, so I have my scene here of the farmers market, and I have a piece of footage here near the end where I think the sky is a little blown out, it's just bright white, and there's little blue tinges around the leaves. So what I'd like to do is just make the sky, in general, just a very light blue, I think that would look better. All right, so I can do this with a Paint Effect, I can just go into my Effect palette, and it's in the Image category, Paint Effect, go ahead and apply it and open up the Effect Editor, and what I want to do is just draw a shape right around here, and I am going to include the leaves because I'll be able to cancel those out using one method, so I am just going to zoom out just a tiny bit.
And I have my shape drawing tools over here, I am just going to grab the Curve tool and just trace an outline around this general area, like so. And we've got a bright red shape, and that is because in my mode menu I have Solid selected, and it's also because the Color is red. So I have a lot of options in here that are good for color correcting, as you can see, most of them are color correcting options.
Before we actually choose one, what I am going to do is I am going to change this to Outline and all that does is just make a general outline around so I can look at the video underneath. I'm going to choose this white color, because I want to say that anything that is white, I want to turn blue. So I do have a few things that I want to ignore, and I do that with the Magic Mask. So I'm just going to use my eye dropper and click, and without releasing the mouse I am going to come over here and sample the white and then I'll release the mouse.
And so now Magic Mask is enabled, I have white elected, and now I'll come back into the mode menu, and I am going to choose subtract. Now subtract basically subtracts the color from the shape that I have selected, so I'm going to choose subtract and then go into Color, and I am going to take a look at my color wheel. So this is the general area where I want the blue sky to be, and I am right here right now, so I am just going to move this up a little bit. Got that orange and the opposite of orange is blue, so it's going to take away orange from this area, and it's quite dark right now, so I am going to just come into mode and dial it down may be to right there, and I am going to click away to show you one more thing.
It's a very stark edge, so I'm going to select the shape, come over to Feathering and increase the Horizontal and Vertical parameters under Feathering, so it's sort of blending the shape into the background, and then I am going to decrease my Bias a little bit, okay. So here's my new sky. It might be a little obvious to you, since we just worked on it, but go ahead and look away and then look back and look at obviously our subjects, and it's not so noticeable.
We'll do before and after, I have a dual split here. Here is before, and I have my white triangle is all the way over here, it probably is going to open up for you just in the middle here. To do it before and after you can just drag that all the way to the right and here's before and here's after, all right. So looks pretty good, I'll keep it and any other overexposed or under exposed areas I can draw a shape around. And do a little bit of experimenting about what works. I tried Colorize before but I did like the results with subtract a little bit more, so that's why I chose that.
So, there's a lot of options but I did want to show you one more thing before we stopped, it's on this shot here. Let's imagine that this woman saw us taping and then came over and said you know I really don't want to be on film, I don't grant permission for you to use my image, so we've got to blur her out. Do the same basic thing, if I click on the Paint Effect and drag that over, I am going to open it up. And I am going to go to the first frame, and I just, I am going to take the Oval tool and draw a shape around her face. And there's too obstruction commands in here.
One is Blur, so she'll look like that and the other is Mosaic which I like a little bit better. All right, but as I move through, she obviously walks out of her Mosaic, so we need to have it move with her. I can add keyframes and do it, but I want to show you how to do this via the Tracking tool. All right, so we've seen the Tracking tool before in a previous movie. This time I am going to open it right here, this button opens up the Tracking tool. And I have the tracker, and what I want to do is just place it right on an area of high contrast, okay.
So it basically works best when you have an area where it is dark and where it is light right over the X. The inside box is where it's going to focus and the outside box is basically where you're saying don't go out of here when you're looking for it. So, initially, I always start my track just in the default mode, and here we're using the Correlation Tracker engine. What you want to do is just make sure that the yellow X sticks onto this place as she's walking through the frame. So I am going to start my track. All right, so it probably is going to be fine, it sort of moved.
You'd like it to stick a little bit more than that, but let's go ahead and try this tracking data, this yellow part right here is the tracking data, and it's not too much movement, but I think it'll work fine. If not, we'll go ahead and redo the track. Okay, so I am going to come back here, select my shape which it is selected and then I am going to twirl down tracking and then just attach the tracking data to it. So now when I go through you can see that the Mosaic shape goes with it. Now she is walking towards us, so she's actually getting larger, which means that the shape needs to get larger.
So I'm going to just click on this last keyframe and just increase the size of that shape and then now, not only will it move through space, but it's also going to grow in size. Okay, so I am just going to play it in the Timeline. Okay, so there is our two Paint Effects. Obviously for this one what I probably would do instead of destruct her face is just use a different crowd shot and not have her on it all, but sometimes you can't do that, sometimes you have no choice, you need a shot and so you need to Blur or Mosaic somebody out of out.
So it's quite easy to do, once you've drawn the shape and have changed your mode you might have to add a track to it. And as long as the track is successful, it's a really nice quick fix. So this type of editing is called inter-frame editing, because we're literally climbing inside of the frame to make visual adjustments. This type of quick fix can be extremely valuable in documentary editing and can mean the difference between scrapping a shot and saving a shot.