Instructor: So far in this course, we've been dealing
a lot with documentary, non-narrative style footage
and editing it together.
Which is really different than editing a narrative,
such as a film or even a commercial
that has a narrative style shoot.
So I want to teach you and talk a little bit more
about how do you edit together shots from a scene.
And I'm going to be using this commercial as an example.
This is a commercial that I edited and did graphics for,
and this was for a company, a friends company.
So first, let's watch through the commercial,
then I'm going to talk through making some of the edits,
and then I'll show you exactly how I go about making an edit
between two different shots of the same scene.
But let's go through and watch.
And I actually have a quick tip for you.
If you want a full screen preview of your programme monitor,
on a Mac, press control tilde key.
If you're on a PC, it's going to be
the Windows tilde key I bet.
The tilde key itself will just bring it kind of full screen
like this, but the control tilde key, it's the key
to the left of the number one on your keyboard,
makes it full screen like this.
So let's go ahead and watch through it
and you can listen to it too.
-: Oop, there it is.
The problem of the day.
Say goodbye to your day off.
And say hello to hours wasted on internet tutorials.
Or giving all your money to this guy.
Shouldn't there be a better way?
We thought so.
Welcome to face to face DIY.
The very first app that puts a power of a pro in your hands.
It's easy.
Sign in, select the appliance you're working on,
choose the amount of time you'd like,
and you'll be connected to a trained technician
through a live video call, to walk you through the steps
needed to repair your appliance yourself.
So say goodbye to this guy, and to all those wasted hours.
And say hello to victory and taking back your day.
Don't worry, we can help with that too.
Welcome to a better life.
Welcome to face to face DIY.
Hi.
Instructor: Anyway, hopefully
you enjoyed that commercial.
It was a very low budget commercial
but we tried to get a more professional feel.
All the sound effects were really actually
free sound effects that I found online,
the colouring was done by myself,
we had a buddy shoot the film,
and a buddy act in the film as well, or in this commercial.
The graphics that you see here,
this was all done right within after-effects
and that's something that I did too.
So if you're interested in after-effects,
you can do this kind of thing with screens,
and the buttons, and the motion of, you know,
that screen little popping out like that.
So anyways, talking about the edit though,
with editing between two shots, here are
the types of shots I'm talking about.
See this first cut from him eating breakfast to the
washing machine, which this is a little bit of movie magic,
because this washing machine isn't even in this room.
This is in a completely different part of the house.
And then we have these few shots of his wife coming in
and then the close up to her face.
And this is one of those shots where you have,
we did a lot of takes, and while you're shooting you have to
be very aware of what's she doing with her hands,
what's he doing with her hands,
what's she doing with her face,
because actually there weren't that many close ups
where her face looked exactly alike,
and this was the closest one.
Also she's moving, see it?
I'm just gonna go frame by frame.
You can see that she's stepping into place.
So we had to cut right when she kind of stops moving
and then in this shot she's like just settling
into her spot too, moving just a little bit.
And that's something that you can do while you're editing.
Sometimes cutting on motion makes the edit seem more fluid.
As editors, what we're trying to do is
to be invisible really.
You don't want people noticing, oh that was a strange cut,
or oh there was a cut there, you want it to be fluid.
And so if that looked fluid to you
then that's achieving my goal.
Some of these other shots you know, it's not cutting
from one A camera to B camera in the same scene.
Another example of this is at the end.
Where he finishes fixing the washing machine,
we cut to him walking away out of that shot, into this shot.
Again, movie magic, just a completely
different part of that scene.
And then there's a close up,
and then it cuts back to the wide,
and then we actually cut to the close up again.
And that's a jump-cut.
You can see that he's there, he's going towards his phone,
and then he's automatically has it.
That's a complete jump-cut,
but we had to get this commercial down
to under a minute fifteen seconds or so.
And so sometimes you have to do that.
You have to do jump-cuts to cut down time,
but you gotta make it look natural,
without it feeling like, oh well he was there
without the phone and now he has the phone.
But because he's moving this way, you could kind of see
what he's doing, he's moving,
and then he moves back in that shot.
He's out of the shot, it works.
If he was in the shot already, without coming in right here,
it wouldn't work as well.
And then we cut back to the wide shot,
and it works perfectly, it looks like she just
took the phone, looking at it.
Again, the movement's not perfect.
His hand motion is right there, it's coming down,
crossing his arms, it's coming down
and he doesn't cross his arms in that shot, see that?
But if you're watching it play throughout real speed,
it's something that you don't really notice too much.
And this shot, and the whole shot,
actually I cut down a lot, it was a lot longer
and I'm gonna show you that.
So let's look at that and how I would
actually edit this scene.
So I've skipped a couple steps, but basically what I do
is I bring down shot A on one time track in the timeline,
and then I bring shot B on the next track in the timeline.
And so then I find where I want to go
in the beginning of this shot.
So we're coming out where he's already in frame,
kind of wiping off his hands.
So I'm going to edit this, just hovering over here
on the left side, pressing command
to get my little editor right there.
So that jump-cuts everything to the left.
And then they look to the left.
So I want to, I think I'm going to cut
right after they look to the left.
I'm not gonna do it before.
I can show you what it looks like before.
So it would be right about here.
So I'm just going to trim this over here, like so.
And then I just kind of match it up.
So I move this to the left, and then I play through it.
That was a little bit too quick, so what I'll do
is just nudge to the right, just a little bit.
And what I'm doing is just selecting this clip
and pressing command, right arrow on my keyboard.
If I zoom in here you can see better what I'm doing,
nudging to the right, just a frame at a time.
Kay, that's a little bit too much, they already start
to look over, so we want it to go right about there.
So I can just drag this over to the left.
Interesting, but it's a little bit,
it's a little bit weird
and then they have this kind of weird pause.
I like this reaction better,
see that reaction to the noise that's happening.
So I'm actually gonna cut right into there.
So I'm just gonna cut out the first part of this.
But I'm going to cut right into there,
right after they look.
So they look, beat, beat meaning just like a little pause,
look, beat, and then with sound effects
we can make it sound better and feel better
because there's gonna be sounds
that cause these reactions from them.
So that little stutter.
And then maybe even we'll come in
a little bit later to this reaction.
I like that reaction even better.
So I'm just going to again, just use my
command trim tool.
Maybe just a little bit more.
Something like that's pretty good.
And then I would cut out of this right away.
Back to the next shot.
But we're gonna cut this last shot
just a little bit shorter, so that right when he's about to
push his wife towards whatever's happening over there.
We're gonna trim that, bring it back over here.
And we'll just shorten this just a bit.
You can see that it's a lot of nudging,
it's a lot of practising .
So with the final shot with the sound, let's listen to it.
Narrator: And take back your day.
Instructor: So lots of stuff going on in the background,
the crashes that are causing these reactions.
This wasn't something that we recorded on set,
it's all done in editing.
So that's a little bit more information about
how I would edit a narrative film,
how do you match together shots,
the practicality of laying them onto different tracks
and nudging them around.
If you have other questions about this please let me know.
I've edited a lot of narrative films,
short films, commercials.
Documentary is my specialty, and that's what I think
a lot of people are using Premier Pro for,
so that's why I geared this course for
sort of, non-narrative filmmakers.
But I would love to help those of you out
who are wanting to make more narrative films.
Thank you so much and we'll see you in another lesson.