Join Maxim Jago for an in-depth discussion in this video The radio edit, part of EPK Editing Workflows 06: The Final Product.
- Before we get into mixing up some visuals using the behind the scenes footage, and so on, putting in our B roll, let's take a little look at the shots that I'm pretty sure I'm gonna want from the interviews. Of course, there's a lot more content. There's a lot of subjectivity in making these decisions. But I'm pretty sure that this is where we're going to end up. So, I've got here in my Radio edit, if you like, an introduction to the story by Carmen.
I won't play all of this, but it's a nice opening because it sets the context for the rest of the material. - Ample, you know we come, me and my mate, or my soul mate, we come from the stars and eventually in the lyrics, I talk about how in the story of Mars, Venus came to play her part-- - Now there are some issues with this, because we don't really have any reference to Venus or stars, or anything else like that, in any other part of the interviews, and we certainly don't have any of that content in the music video or the behind the scenes footage.
But, it's a very nice opening and she becomes quite animated when she's talking about coming from the stars and I think it's a good start even if we don't follow through with additional information to back that up. It's just a good opening to the piece. Then we've got this section from Rob Garrett, where he's talking about getting extra shots. Now the beginning is quite negative and we might want to cut this out later on. But, it warms up part way through. - I think the thing I'm proud of most, in the video is the shots of Carmen that we actually added in after the fact.
When we first cut the video together, the story was all there. Everything that we laid out in the storyboards from start to finish was all captured, but it was missing something. We really, the thing that was missing was Carmen as the star, as the featured element. And so-- - Now you can watch this yourself, but what's interesting for me, is this this second part where he's saying that we captured everything we needed. Then there's that negative part where he's talking about missing an important component. But, there's some really nice content here, and of course we don't have to use all of the interview from beginning to end.
We can chop it around, we can change the context and we can take just little pieces that backup what we want to say. Then we've got a nice section here about the look of the video. - 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 spectacular place and you know to-- - I love the stuff he's saying about the beach. But, it's interesting where he's talking about the whole video being as beautiful and as sexy as possible.
Now I work internationally quite a lot, and of course, even just using the word sexy may not be appropriate in some contexts. So it would't surprise me if the client ended up suggesting that we remove just that word. But if you listen again, if we ever come to that, the sentence structure flows perfectly well, without it. - The video was really intended to be as magical and sexy as we could get away with-- - So you could say it's as magical as we could get away with and it still works. So again, if I work through here, I'm pretty happy with this content.
We've got information about it being challenging to get the shots, because the light was changing. That's very interesting. But we don't really know, at this stage, if we have enough behind the scenes footage to show that. Remember, the behind the scenes camera crew are going to be doing everything they can to make the crew look good. So they're not really gonna want to show them panicking and dashing around, looking nervously at the sky. But, we might have some content we can work with. Then we've got this great content about Carmen being about love and positive energy. - One of the great things about Carmen, is that her personal brand, who she is, is really about love and positive energy.
She has, all of her lyrics have a feel to them that sort of transcends space and time. - Now I love this stuff, I think it works really well in the video. There's a bit of hesitation there, as he's trying to work out exactly how to phrase the sentiment that he's expressing. We might be able to fix that later on. We've got a little bit more here, about Carmen being fantastic to work with. Then we've got this section where Carmen is talking about shooting on the beach, and this is really nice. Now you'll notice, if I just zoom out a little bit on the timeline, then we've actually got three bits of Carmen's interview.
That's partly because I think we're gonna see a lot of Carmen in the music video, when we add that to the cut, and also because actually Rob Garrett says more about the making of the video, than Carmen does. A lot of her interview was originally about things like her art, as a visual artist, and so on. So, we don't have a great deal of content from here. But this works quite nicely. - Uh, it's great, it's beautiful! The sunset was amazing, we caught this amazing sunset. - Now this point, as I'm watching through the video, I'm visualizing a shot, that I know we have somewhere in the behind the scenes footage.
Let me just jump in here to the beach, and I'm gonna switch to the icon view, and I'm listening to her saying how beautiful it was on the beach and I think this is the one. Maybe not later in the shot, but here we've got this wonderful shot of the beach, that we can probably take a little piece of. And, we've got other content here, as well, like this. Let me just pull back a bit, there. Beautiful shot of the beach. So when I'm listening to her speaking about shooting on the beach, and her experience of it, I'm also remembering, because I scrubbed through, I scanned through the content earlier on, and remembering that I've seen some great footage of that location.
There's another piece right here. Let me just scrub through a bit, there it is. Now personally, I would not start adding these kinds of shots to the timeline, right now. I haven't fully locked down the timing of the radio edit. But I might well, just grab the picture for this and pull it down, and if it's not too long, I can throw it on an upper video track. It's just there, as a reminder, but it does clutter up the timeline, because now I can't really see Carmen. I have to turn this track off and on. It becomes a little bit too busy. So I tend not to do that. Just select this and delete it.
I tend to just stick with getting the audio right, and then I'm gonna make a backup of my sequence, and I'm gonna carry on. We've got this nice section here about choosing the locations, from Rob. - First and foremost, we wanted to have beautiful light. The beach at Golden Hour is the most amazing place in the world. - OK, and then here we've got content about the look of the video. - The look of the video was really intended to be as magical and sexy as we could get away with in terms of light.
- Now, I've used the same section earlier on, of course. But what I'm thinking of, is using different parts of this audio at different stages in the edit. So right now, I've just taken the whole thing to give myself a selection. I'm using the timeline as a kind of a bucket in which I may or may not take out different pieces. I might throw this shot away. But I'm pretty sure I want a piece of this later on. - Again, the beach at Golden Hour is just such a spectacular place and that really became both the amazing thing and the curse of the production.
- Great. So maybe I'll use one part, in a different part of the edit, and another part in this one. Then we've got this nice excitement from Carmen about the teleportation effect. Then we've got here... - It was really challenging to get those shots because we had such a finite window to shoot them in, and I think in the end, we ended up getting some great looking stuff. But it posed a lot of challenges in post and in pre production, as well. Planning out the sequence of shots that we needed to get. - Now, I'm not really sure about this content, but I know we've got this brilliant line, right in the middle, where he's talking about what we've got.
- We shoot them in, I think in the end, we ended up getting some great looking stuff. - So we've got some great looking stuff, so I think that's an interesting line to finish on. Especially as I'm beginning to visualize my timeline. I'm starting to think about how we're gonna top and tail this with the music video, and we've got a nice kind of journey that this series of interview clips takes. So I think we're in a pretty strong position, now. We've picked out the pieces of the interview that will work quite well for this edit. And of course, the next thing is going to be adding in some visuals, both from the music video, and from the behind the scenes footage.
- 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