WEBVTT
1
00:00:00.433 --> 00:00:02.226
So far in this course, we've been dealing
2
00:00:02.226 --> 00:00:06.393
a lot with documentary, non-narrative style footage
3
00:00:07.455 --> 00:00:08.914
and editing it together.
4
00:00:08.914 --> 00:00:13.012
Which is really different than editing a narrative,
5
00:00:13.012 --> 00:00:15.526
such as a film or even a commercial
6
00:00:15.526 --> 00:00:18.509
that has a narrative style shoot.
7
00:00:18.509 --> 00:00:20.727
So I want to teach you and talk a little bit more
8
00:00:20.727 --> 00:00:24.280
about how do you edit together shots from a scene.
9
00:00:24.280 --> 00:00:27.053
And I'm going to be using this commercial as an example.
10
00:00:27.053 --> 00:00:30.855
This is a commercial that I edited and did graphics for,
11
00:00:30.855 --> 00:00:33.432
and this was for a company, a friends company.
12
00:00:33.432 --> 00:00:35.847
So first, let's watch through the commercial,
13
00:00:35.847 --> 00:00:39.402
then I'm going to talk through making some of the edits,
14
00:00:39.402 --> 00:00:43.569
and then I'll show you exactly how I go about making an edit
15
00:00:44.829 --> 00:00:47.538
between two different shots of the same scene.
16
00:00:47.538 --> 00:00:48.990
But let's go through and watch.
17
00:00:48.990 --> 00:00:51.151
And I actually have a quick tip for you.
18
00:00:51.151 --> 00:00:55.318
If you want a full screen preview of your programme monitor,
19
00:00:56.393 --> 00:00:59.226
on a Mac, press control tilde key.
20
00:01:01.118 --> 00:01:03.661
If you're on a PC, it's going to be
21
00:01:03.661 --> 00:01:05.994
the Windows tilde key I bet.
22
00:01:06.906 --> 00:01:10.011
The tilde key itself will just bring it kind of full screen
23
00:01:10.011 --> 00:01:13.221
like this, but the control tilde key, it's the key
24
00:01:13.221 --> 00:01:16.878
to the left of the number one on your keyboard,
25
00:01:16.878 --> 00:01:18.891
makes it full screen like this.
26
00:01:18.891 --> 00:01:21.173
So let's go ahead and watch through it
27
00:01:21.173 --> 00:01:23.508
and you can listen to it too.
28
00:01:25.481 --> 00:01:27.064
Oop, there it is.
29
00:01:28.136 --> 00:01:29.731
The problem of the day.
30
00:01:31.404 --> 00:01:33.848
Say goodbye to your day off.
31
00:01:33.848 --> 00:01:37.156
And say hello to hours wasted on internet tutorials.
32
00:01:38.788 --> 00:01:41.702
Or giving all your money to this guy.
33
00:01:41.702 --> 00:01:43.959
Shouldn't there be a better way?
34
00:01:43.959 --> 00:01:44.854
We thought so.
35
00:01:45.754 --> 00:01:47.703
Welcome to face to face DIY.
36
00:01:47.703 --> 00:01:51.447
The very first app that puts a power of a pro in your hands.
37
00:01:51.447 --> 00:01:52.572
It's easy.
38
00:01:52.572 --> 00:01:57.212
Sign in, select the appliance you're working on,
39
00:01:57.212 --> 00:01:59.480
choose the amount of time you'd like,
40
00:01:59.480 --> 00:02:01.727
and you'll be connected to a trained technician
41
00:02:01.727 --> 00:02:04.352
through a live video call, to walk you through the steps
42
00:02:04.352 --> 00:02:08.555
needed to repair your appliance yourself.
43
00:02:08.555 --> 00:02:12.722
So say goodbye to this guy, and to all those wasted hours.
44
00:02:14.296 --> 00:02:18.463
And say hello to victory and taking back your day.
45
00:02:26.891 --> 00:02:29.774
Don't worry, we can help with that too.
46
00:02:29.774 --> 00:02:31.847
Welcome to a better life.
47
00:02:31.847 --> 00:02:34.180
Welcome to face to face DIY.
48
00:02:35.368 --> 00:02:36.201
Hi.
49
00:02:38.022 --> 00:02:39.136
Anyway, hopefully
50
00:02:39.136 --> 00:02:40.452
you enjoyed that commercial.
51
00:02:40.452 --> 00:02:42.156
It was a very low budget commercial
52
00:02:42.156 --> 00:02:45.040
but we tried to get a more professional feel.
53
00:02:45.040 --> 00:02:47.250
All the sound effects were really actually
54
00:02:47.250 --> 00:02:49.132
free sound effects that I found online,
55
00:02:49.132 --> 00:02:51.397
the colouring was done by myself,
56
00:02:51.397 --> 00:02:52.997
we had a buddy shoot the film,
57
00:02:52.997 --> 00:02:57.330
and a buddy act in the film as well, or in this commercial.
58
00:02:57.330 --> 00:02:59.000
The graphics that you see here,
59
00:02:59.000 --> 00:03:02.036
this was all done right within after-effects
60
00:03:02.036 --> 00:03:03.698
and that's something that I did too.
61
00:03:03.698 --> 00:03:05.991
So if you're interested in after-effects,
62
00:03:05.991 --> 00:03:08.440
you can do this kind of thing with screens,
63
00:03:08.440 --> 00:03:10.942
and the buttons, and the motion of, you know,
64
00:03:10.942 --> 00:03:13.363
that screen little popping out like that.
65
00:03:13.363 --> 00:03:16.230
So anyways, talking about the edit though,
66
00:03:16.230 --> 00:03:18.791
with editing between two shots, here are
67
00:03:18.791 --> 00:03:20.930
the types of shots I'm talking about.
68
00:03:20.930 --> 00:03:25.097
See this first cut from him eating breakfast to the
69
00:03:26.793 --> 00:03:29.816
washing machine, which this is a little bit of movie magic,
70
00:03:29.816 --> 00:03:33.595
because this washing machine isn't even in this room.
71
00:03:33.595 --> 00:03:36.753
This is in a completely different part of the house.
72
00:03:36.753 --> 00:03:40.312
And then we have these few shots of his wife coming in
73
00:03:40.312 --> 00:03:42.668
and then the close up to her face.
74
00:03:42.668 --> 00:03:45.046
And this is one of those shots where you have,
75
00:03:45.046 --> 00:03:48.485
we did a lot of takes, and while you're shooting you have to
76
00:03:48.485 --> 00:03:51.283
be very aware of what's she doing with her hands,
77
00:03:51.283 --> 00:03:52.664
what's he doing with her hands,
78
00:03:52.664 --> 00:03:53.946
what's she doing with her face,
79
00:03:53.946 --> 00:03:56.583
because actually there weren't that many close ups
80
00:03:56.583 --> 00:03:59.979
where her face looked exactly alike,
81
00:03:59.979 --> 00:04:02.080
and this was the closest one.
82
00:04:02.080 --> 00:04:04.064
Also she's moving, see it?
83
00:04:04.064 --> 00:04:05.369
I'm just gonna go frame by frame.
84
00:04:05.369 --> 00:04:08.348
You can see that she's stepping into place.
85
00:04:08.348 --> 00:04:12.465
So we had to cut right when she kind of stops moving
86
00:04:12.465 --> 00:04:16.500
and then in this shot she's like just settling
87
00:04:16.500 --> 00:04:20.188
into her spot too, moving just a little bit.
88
00:04:20.188 --> 00:04:22.712
And that's something that you can do while you're editing.
89
00:04:22.712 --> 00:04:27.265
Sometimes cutting on motion makes the edit seem more fluid.
90
00:04:27.265 --> 00:04:29.973
As editors, what we're trying to do is
91
00:04:29.973 --> 00:04:31.365
to be invisible really.
92
00:04:31.365 --> 00:04:34.398
You don't want people noticing, oh that was a strange cut,
93
00:04:34.398 --> 00:04:37.794
or oh there was a cut there, you want it to be fluid.
94
00:04:37.794 --> 00:04:39.676
And so if that looked fluid to you
95
00:04:39.676 --> 00:04:42.333
then that's achieving my goal.
96
00:04:42.333 --> 00:04:44.587
Some of these other shots you know, it's not cutting
97
00:04:44.587 --> 00:04:49.246
from one A camera to B camera in the same scene.
98
00:04:49.246 --> 00:04:53.144
Another example of this is at the end.
99
00:04:53.144 --> 00:04:56.340
Where he finishes fixing the washing machine,
100
00:04:56.340 --> 00:05:00.740
we cut to him walking away out of that shot, into this shot.
101
00:05:00.740 --> 00:05:03.227
Again, movie magic, just a completely
102
00:05:03.227 --> 00:05:05.431
different part of that scene.
103
00:05:05.431 --> 00:05:07.721
And then there's a close up,
104
00:05:07.721 --> 00:05:10.537
and then it cuts back to the wide,
105
00:05:10.537 --> 00:05:12.968
and then we actually cut to the close up again.
106
00:05:12.968 --> 00:05:14.512
And that's a jump-cut.
107
00:05:14.512 --> 00:05:18.600
You can see that he's there, he's going towards his phone,
108
00:05:18.600 --> 00:05:20.171
and then he's automatically has it.
109
00:05:20.171 --> 00:05:21.926
That's a complete jump-cut,
110
00:05:21.926 --> 00:05:24.096
but we had to get this commercial down
111
00:05:24.096 --> 00:05:27.692
to under a minute fifteen seconds or so.
112
00:05:27.692 --> 00:05:29.891
And so sometimes you have to do that.
113
00:05:29.891 --> 00:05:32.064
You have to do jump-cuts to cut down time,
114
00:05:32.064 --> 00:05:34.500
but you gotta make it look natural,
115
00:05:34.500 --> 00:05:37.979
without it feeling like, oh well he was there
116
00:05:37.979 --> 00:05:40.597
without the phone and now he has the phone.
117
00:05:40.597 --> 00:05:44.292
But because he's moving this way, you could kind of see
118
00:05:44.292 --> 00:05:45.914
what he's doing, he's moving,
119
00:05:45.914 --> 00:05:48.429
and then he moves back in that shot.
120
00:05:48.429 --> 00:05:50.512
He's out of the shot, it works.
121
00:05:50.512 --> 00:05:54.350
If he was in the shot already, without coming in right here,
122
00:05:54.350 --> 00:05:56.841
it wouldn't work as well.
123
00:05:56.841 --> 00:05:59.401
And then we cut back to the wide shot,
124
00:05:59.401 --> 00:06:01.758
and it works perfectly, it looks like she just
125
00:06:01.758 --> 00:06:04.258
took the phone, looking at it.
126
00:06:05.652 --> 00:06:08.142
Again, the movement's not perfect.
127
00:06:08.142 --> 00:06:12.225
His hand motion is right there, it's coming down,
128
00:06:13.359 --> 00:06:16.276
crossing his arms, it's coming down
129
00:06:17.478 --> 00:06:19.974
and he doesn't cross his arms in that shot, see that?
130
00:06:19.974 --> 00:06:23.455
But if you're watching it play throughout real speed,
131
00:06:23.455 --> 00:06:28.041
it's something that you don't really notice too much.
132
00:06:28.041 --> 00:06:30.936
And this shot, and the whole shot,
133
00:06:30.936 --> 00:06:33.335
actually I cut down a lot, it was a lot longer
134
00:06:33.335 --> 00:06:34.854
and I'm gonna show you that.
135
00:06:34.854 --> 00:06:36.468
So let's look at that and how I would
136
00:06:36.468 --> 00:06:38.628
actually edit this scene.
137
00:06:38.628 --> 00:06:42.849
So I've skipped a couple steps, but basically what I do
138
00:06:42.849 --> 00:06:47.016
is I bring down shot A on one time track in the timeline,
139
00:06:49.514 --> 00:06:53.681
and then I bring shot B on the next track in the timeline.
140
00:06:54.887 --> 00:06:57.023
And so then I find where I want to go
141
00:06:57.023 --> 00:06:59.523
in the beginning of this shot.
142
00:07:00.537 --> 00:07:04.276
So we're coming out where he's already in frame,
143
00:07:04.276 --> 00:07:06.056
kind of wiping off his hands.
144
00:07:06.056 --> 00:07:08.676
So I'm going to edit this, just hovering over here
145
00:07:08.676 --> 00:07:11.525
on the left side, pressing command
146
00:07:11.525 --> 00:07:15.021
to get my little editor right there.
147
00:07:15.021 --> 00:07:18.655
So that jump-cuts everything to the left.
148
00:07:18.655 --> 00:07:21.492
And then they look to the left.
149
00:07:21.492 --> 00:07:23.697
So I want to, I think I'm going to cut
150
00:07:23.697 --> 00:07:25.666
right after they look to the left.
151
00:07:25.666 --> 00:07:27.239
I'm not gonna do it before.
152
00:07:27.239 --> 00:07:30.978
I can show you what it looks like before.
153
00:07:30.978 --> 00:07:33.660
So it would be right about here.
154
00:07:33.660 --> 00:07:37.838
So I'm just going to trim this over here, like so.
155
00:07:37.838 --> 00:07:39.309
And then I just kind of match it up.
156
00:07:39.309 --> 00:07:43.476
So I move this to the left, and then I play through it.
157
00:07:46.029 --> 00:07:48.736
That was a little bit too quick, so what I'll do
158
00:07:48.736 --> 00:07:51.712
is just nudge to the right, just a little bit.
159
00:07:51.712 --> 00:07:54.274
And what I'm doing is just selecting this clip
160
00:07:54.274 --> 00:07:57.262
and pressing command, right arrow on my keyboard.
161
00:07:57.262 --> 00:08:00.195
If I zoom in here you can see better what I'm doing,
162
00:08:00.195 --> 00:08:03.537
nudging to the right, just a frame at a time.
163
00:08:03.537 --> 00:08:05.843
Kay, that's a little bit too much, they already start
164
00:08:05.843 --> 00:08:08.623
to look over, so we want it to go right about there.
165
00:08:08.623 --> 00:08:12.040
So I can just drag this over to the left.
166
00:08:13.930 --> 00:08:16.847
Interesting, but it's a little bit,
167
00:08:18.602 --> 00:08:19.990
it's a little bit weird
168
00:08:19.990 --> 00:08:23.101
and then they have this kind of weird pause.
169
00:08:23.101 --> 00:08:24.918
I like this reaction better,
170
00:08:24.918 --> 00:08:28.748
see that reaction to the noise that's happening.
171
00:08:28.748 --> 00:08:33.142
So I'm actually gonna cut right into there.
172
00:08:33.142 --> 00:08:35.633
So I'm just gonna cut out the first part of this.
173
00:08:35.633 --> 00:08:38.485
But I'm going to cut right into there,
174
00:08:38.485 --> 00:08:39.965
right after they look.
175
00:08:39.965 --> 00:08:44.446
So they look, beat, beat meaning just like a little pause,
176
00:08:44.446 --> 00:08:48.393
look, beat, and then with sound effects
177
00:08:48.393 --> 00:08:51.532
we can make it sound better and feel better
178
00:08:51.532 --> 00:08:54.053
because there's gonna be sounds
179
00:08:54.053 --> 00:08:57.136
that cause these reactions from them.
180
00:08:57.999 --> 00:08:59.916
So that little stutter.
181
00:09:01.267 --> 00:09:03.183
And then maybe even we'll come in
182
00:09:03.183 --> 00:09:06.817
a little bit later to this reaction.
183
00:09:06.817 --> 00:09:08.385
I like that reaction even better.
184
00:09:08.385 --> 00:09:11.971
So I'm just going to again, just use my
185
00:09:11.971 --> 00:09:13.471
command trim tool.
186
00:09:18.467 --> 00:09:20.884
Maybe just a little bit more.
187
00:09:24.000 --> 00:09:25.949
Something like that's pretty good.
188
00:09:25.949 --> 00:09:30.101
And then I would cut out of this right away.
189
00:09:30.101 --> 00:09:31.934
Back to the next shot.
190
00:09:34.031 --> 00:09:36.017
But we're gonna cut this last shot
191
00:09:36.017 --> 00:09:39.968
just a little bit shorter, so that right when he's about to
192
00:09:39.968 --> 00:09:43.052
push his wife towards whatever's happening over there.
193
00:09:43.052 --> 00:09:46.969
We're gonna trim that, bring it back over here.
194
00:09:49.136 --> 00:09:52.386
And we'll just shorten this just a bit.
195
00:09:54.953 --> 00:09:57.330
You can see that it's a lot of nudging,
196
00:09:57.330 --> 00:09:58.493
it's a lot of practising .
197
00:09:58.493 --> 00:10:01.969
So with the final shot with the sound, let's listen to it.
198
00:10:01.969 --> 00:10:03.567
And take back your day.
199
00:10:12.129 --> 00:10:13.958
So lots of stuff going on in the background,
200
00:10:13.958 --> 00:10:17.023
the crashes that are causing these reactions.
201
00:10:17.023 --> 00:10:19.507
This wasn't something that we recorded on set,
202
00:10:19.507 --> 00:10:22.114
it's all done in editing.
203
00:10:22.114 --> 00:10:24.047
So that's a little bit more information about
204
00:10:24.047 --> 00:10:27.577
how I would edit a narrative film,
205
00:10:27.577 --> 00:10:29.806
how do you match together shots,
206
00:10:29.806 --> 00:10:32.689
the practicality of laying them onto different tracks
207
00:10:32.689 --> 00:10:34.101
and nudging them around.
208
00:10:34.101 --> 00:10:36.899
If you have other questions about this please let me know.
209
00:10:36.899 --> 00:10:39.239
I've edited a lot of narrative films,
210
00:10:39.239 --> 00:10:41.671
short films, commercials.
211
00:10:41.671 --> 00:10:44.057
Documentary is my specialty, and that's what I think
212
00:10:44.057 --> 00:10:46.244
a lot of people are using Premier Pro for,
213
00:10:46.244 --> 00:10:48.538
so that's why I geared this course for
214
00:10:48.538 --> 00:10:51.376
sort of, non-narrative filmmakers.
215
00:10:51.376 --> 00:10:53.658
But I would love to help those of you out
216
00:10:53.658 --> 00:10:56.606
who are wanting to make more narrative films.
217
00:10:56.606 --> 00:11:00.356
Thank you so much and we'll see you in another lesson.