Join Maxim Jago for an in-depth discussion in this video Constructing the story, part of EPK Editing: 6 The Final Product.
- So here we are. This is an important stage in the edit. I've checked through my media. I've organized the shots. I've identified problem clips that I may or may not find work in the edit. And I'm ready to begin constructing the story. This is absolutely crucial. And we have a problem because this isn't a scripted film, so I don't have a structure to follow based on what's on the page. I don't have notes from the director about the intended structure or a rough cut or assembly edit from them. I'm gonna have to make this up from scratch, myself.
And of course, the way to do that is going to be by using the interviews as the basis for the story. We could use some of the visual content, but of course, our behind the scenes footage is all about what's happening as they're making the music video. It's not about people talking to camera about the challenges they're facing. What we really have is the interview clips. So that's gonna be the basis for the structure for our film. I'm gonna start out here, although it doesn't really matter which order you go, I'm gonna start out with the interview with Rob Garrott's shot.
I'm just open this up. And you can see we've got a few interesting bits of content. But I think what I really want to start with is this one here, "Carmen is fantastic to work with". In fact, I've already marked this with in and out marks, just as a reminder to myself, while checking through the media. And maybe it'll work nicely as a start, maybe not. I'm gonna switch over to the wave form view here and just click back a little bit. Let's have a listen to the start of this. - And so, what is it like working with Carmen? - Carmen is a fantastic person to work with.
First of all, she was absolutely 100 percent patient with us on the set and eager to work and-- So that's great, now this is, of course, all about Carmen, and I think that may or may not work as an opening shot. Now I have to make a decision about the settings I'm going to use for my sequence. And remember, of course, with this particular edit, time is of the essence, and I need to make these decisions quickly, without going into a big, complicated back and forth with the production team. Looking at my media, most of it is 29.97 frames per second, and that's what this media is.
I've recompressed most of the stuff in this project down to 1280 by 720, to make it a little easier for you to download. You, of course, may have a more complex decision to make on another project. But for now, I'm happy with this. And I'm just going to drag this interview shot onto the New Item button menu and make a sequence that way. It seems kind of low-down and dirty as a way of making your main master sequence, but actually, it kind of works. It avoids you making some silly mistakes that might reduce the quality of your output later on.
So, I'm gonna rename this. I'll call this Master Sequence. OK, and just out of good housekeeping, I suppose if I can resize a little here, I might as well drag that down into a new bin, which I'll call Master Sequence. And let's pull that out, so it has its own entry in the bin. So now, we've got an organized project. We've got a sequence to work on. And we're ready to pick out some more content. Let me just resize a little again.
I also like another section of this interview. Let me just see if I can find it here. Here we go, "How did you choose location?". So if I just play this a little for you. - First and foremost, we wanted to have beautiful light. The beach at golden hour is probably the most amazing place in the world, and the locations that we picked were all deigned to make Carmen look as amazing as possible and-- - I just love this.
This is perfect for us to include somewhere near the beginning of the edit. So I'll just mark an in point here. Mark an out point. You'll notice I'm just looking at the wave form, because I've been watching and watching and watching this shot. I don't really need to see Rob's performance. He's consistent, he's steady, he delivers well, he looks fine. I really just wanna see how long this is and how much media I've got. So now that I've marked the in and out marks, I'll just pull this down. I supposed I could take it from the source monitor. And I'm gonna put that on the timeline as well.
Now I've got a minor problem here, because my track patching, my track targeting here, from another edit, is set with my audio on a different track, and you see that's kicked the audio down onto another layer. It's not gonna hurt the playback, but it will hurt my brain, as I'm working through the edit, if the timeline is unnecessarily complex. So first of all, I'm gonna fix that. Let's just drag this up. And I'm gonna click and drag up to close the gap on the timeline. However, you'll notice I am keeping this gap between the first and second clips. This is not an edit. What I'm really doing is picking out shots that I think I may or may not want to use, but I'm pretty sure I do want them.
And I'm putting them in, roughly, the order that I intend. Now let's check out some of the content from Carmen. Now these are already divided into separate pieces. At this stage in the edit, I don't really know if there's a way to use this Hello world shot. I really like it, though. If I just play this back, you can see, it's quite short. - Alright. (laughter) Hello, world. - Hello. - I just think that's great, you know? It just shows that she's quite an unassuming person, that she's not too self-conscious, and it shows her character really nicely.
But I don't know how we're gonna fit that into the edit just yet. What we do have, though, is the story in the video clip. And this is a relatively long clip. Let's just check the duration. It's a minute, 12, so we've got quite a long explanation about the story. I'm just going to get rid of the in and out marks there, that I had on the clip. And I'm gonna take the whole thing. This is already divided into a single piece of media on the hard drive. You can see, if I click to the wave form view, it's pretty much all the way through, she's talking about what's happening in the edit.
So again, at this stage, I'll just click back again, I don't really need to worry too much about the timing of the part of the clip I'm gonna use. I just need to put the thing somehow into the timeline. So let's just drag this straight down as well. In this case, I'm gonna pull her video onto video one, but I do want the audio on audio two, because I want to create that separation between the two. I wanna have my Carmen Perez interview media on one track, my Rob Garrott interview media on another. That's gonna make it much easier for me, later on, when I'm producing the audio mix, because I've got just one track for one kind of audio and another track for the other.
That allows me to produce track-based audio effects. And from now on, this is all I'm gonna be doing for the next half a day, I suppose. I'm going to be looking at sections of the interview. Maybe, let's have a look. Shooting on the beach was beautiful, let's have a listen to some of this. - But it gets really cold sometimes, especially when your feet are getting wet and California water is really cold, so-- - Interesting, so we've got a bit of a challenge there. She's talking about some of the struggles of making the film.
Again, we've got one long section here. I'm just going to use the keyboard to get rid of those in and out marks. I'm gonna throw this down. That's great. Let's put that there, pull the audio down. I suppose I could speed this up by separating the track targeting, but I wanna jump back in again and have a listen to Rob Garrott's interview. Let's open this up. I like this section, where he's talking about the look of the video. - Describe the look. - Yeah, the look of the video was really intended to be as magical and sexy as we could get away with, in terms of light.
Again, the beach at golden hour is just such a-- - Great, so we've got some of that already, maybe, but let's take it anyway, and let's jump in and click here, and I'm marking an in point. It's quite a long section, though, isn't it? I wonder if we can get away with taking a piece of that? But for now, I'm just going to mark it, and there we go. I'm gonna pull this down to the timeline. So, what I'm doing, is very very simply constructing something of a radio edit.
And I'll just resize this a little bit, so we can see the markers on here. And of course, I need to turn that on using the settings on the timeline panel here in Premiere Pro, but pretty useful to be able to see those to identify, because I've got the name of the content in the Carmen Perez shots. Not so much with Rob Garrott. Now, at this stage, I'm genuinely just working with the interview media. And I'm gonna carry on again and again and again, working with my shots to build a story, just using this content.
I'm not even gonna touch the behind the scenes footage, which I'll come to later on, once I'm pretty happy with the wording that I've selected. This can be a challenge if you don't have the director with you, because there may be information that you're sharing, they would rather was not shared. They may not want the audience to know, for example, as Rob describes in the interview, that they forgot to order the lights for one of the locations, that somebody thought that somebody thought that it had been sorted out. And of course, the director may say, "No, no, no, we can't include that", but I think when you're at the early stages of an edit, and you're just pulling together an assembly, as we are here, you can go for it.
Put anything you want in, and then run it by the director and see how they feel. And you might be surprised by what they're prepared to let you include. So that's the initial process of picking out shots, putting them together into sequence, and getting the bare bones of an outline for your edit.
- Choosing footage to use
- Assembling a rough outline edit
- Getting a cut ready for the client
- Making decisions on color and the look of the video
- Creating graphics and titles
- Outputting your project