HDDSLR: From Still to Video

Lesson 15 of 20

Overview of Editing the Final Documentary

 

HDDSLR: From Still to Video

Lesson 15 of 20

Overview of Editing the Final Documentary

 

Lesson Info

Overview of Editing the Final Documentary

So what we're gonna do right now is, uh show you um that you know what? What came together from our piece yesterday for those of you who joined us if you were not here on your insurance seeing how this piece came together we brought a great artist miguel over here to work with us in the creative live studio we through these cameras at these fantastic students that kind of rocked it um and we decide to shoot a short documentary piece and we let him use different types of tools from handheld riggs two very bare bone rigs a cz well as sliders slaughters they went left to right as well sliders that kind of went in a direction that you want and we started to do it at it yesterday on premier iran to one of the little technical snafu who's so we kind of regroup together and, um put everything together overnight uh with help of you know, the two students sitting right by me right here and I will let you guys walk us through a little bit different steps um that we all went through dan work with...

us to set up the bass player miguel one correct and this is basically just the audio interview with obviously the three cameras set up so the purpose here is to show you the progression of how you know why we have three cameras and um they were going to show you the different layers and at the end, hoping you could see the final piece and how everything works and layers. So do you want to talk a little bit? I think this is good enough for now to keep it simple. If we have time, we'll go into the other one. So here is the base level layer and, uh, check it out. This is just the interview. You guys hearing the audio over there. No, okay, I'm very cross. I'm very process driven and it's you know, when I'm there building it it's about that piece my process kind of is evolving you know photography has been my main thing sculpture is going really well, but it's I'm still you know, figuring out the way that I like to work best, you know, some some people really like to make their money from their artwork and collect to release that pressure from their artwork and have side jobs and kind of kind of do a mix of the two I mostly I feel pretty lucky and most people respond really positively to my work and I really enjoyed that, but it's I do enjoy the counterpoints of of people reaction, an interesting experience in new york a guy wanted to know like really engagement are speaking just like make up stuff that I didn't mean and just kind of walked away from that one. Um I like to make things that are beautiful. I'm starting to work more conceptually than I used to, but I think it's funny when people wanted to fly in their universe based on your like just make this convoluted story that isn't necessarily there, which doesn't, so you'll notice that basically, uh there was a twenty minute interview cut down into about ninety seconds of audio and you know what dan did a fantastic job of um is too kind of piece things together in a way that if you were simply listening to it, you would notice that this is actually cut from twenty minutes down to ninety seconds and that's kind of the base layer you also see immediately how being able to switch from camera angles based relative to what we saw yesterday where we were just looking at one continues camera angle every time that unless you have a locked down camera even if you don't you'll see the person can't jump with the audio so the base goals to get that base sound track down the perfect audio interview and you kind of build it like a cake so here's the base cake layer you also here one point there was audio spike uh that was interference or something going on with his last mike, which is why we thankfully had thie shotgun mic I'm not sure if you guys got to mix that internet we didn't you didn't ok that's something you would do if we had a little more time is to when that happens kind of quickly default back to the shotgun mike to hide that little mistake it happens almost every single of you someone will hit their lab mike like I just did um and brush against it or you know their their clothes will rub against it and it can kind of run your interview especially it's a great great spot so we didn't end up using that part anyways, right for what you did and you also see how you know it wasn't perfect, but I kind of really liked how the a combination of a locked off shot with handheld to me just added energy to the peace. So if you had, you know, three cameras perfect locked down, uh, it feels formulaic. Where's this felt fluid kind of met the vibe men that he had. So, um um, I'm gonna have travis walk us through where he kind of started stepping in, which is adding the b roll on as a second layer to cover some of those times where miguel start to kind of go a little too far off the frame or, you know, and also trying to add the second layer of information. Yeah, kind of first step is you have your three cameras or layered on top of each other it's kind of switching between kind like you said and kind of finding that happy medium of mixing the role and mixing hit him on camera. And so, um also, I kind of built a like a select ce riel of the best segments of all the b roll on that trimmed down from like, three hours like, how long did it take you, uh, took me about forty five minutes so it took in forty five minutes ago for all of the footage cs five was actually a big help and that you didn't convert anything, so in forty five minutes he was able to go through three hours of footage years as that total so between the three cameras red going we shot three hours worth of stuff and of course you script for a lot of it I'm sure is you don't watch it real time um and you just make really quick notes and cuts and um you know, you want to jump right into that I'd like to make things that are beautiful I'm very process driven and it's you know, when I'm so here are building it it's about that piece my process kind of is evolving you know, photography has been my main thing sculpture is going really well, I'm still you know, figuring out the way that I like to work best way, you know, some some people really like to make their money from their artwork and other people like to release that pressure from their artwork and have side jobs and kind of kind of a mix of the two most people respond really positively that my work and I really enjoyed that but it's I do enjoy the counterpoints of of people on their reaction interesting experience in new york a guy wanted to like really engagement aren't speaking just like make up stuff that I didn't mean and I'm starting to work more conceptually that are used to but I think it's funny when people wanted to find their universe based on your like just make this convoluted story that isn't necessary which doesn't mean that it is it for other artists your presence to the piece effects it and it affection what it's sort of this this looming I knows miguel I work and I am an artist all right, so you can see now how the next layer it's starting to fill in those gaps really? Well, uh there's clearly one layer that's missing um that is like you can hear a pin drop and I guess jeff, you can kind of address that yes, yeah, we had tio way had to work on the sound and uh um and make up the soundtrack and so uh so yesterday um I spent some time working on a musical idea. This was a little bit backwards because I was doing the music before we had the final edit which you would normally have and be able to to work with sort of the mood of what's happening with with as it's as the piece progresses but but I I was here all day I was working on it and uh and got to be part of the interview and so I knew I knew how it was going to go down and dan had talked a little bit about what he was looking for a swell you know, so I knew the vibe that was going to kind of happens so so I started on some musical ideas that might fit that and then uh got to sit and watch travis and it the whole time and really just and see exactly what where he was going with the edit and so then when I got the final edit I could then take that and take the musical idea and fit it to to what travis had edited and uh and then after that after working on the music I was able to also adjust the sound levels a little bit and uh yeah, so it was a good check out how this you're seeing how it's holy coming together one thing I really want to point out as well as uh if you're watching yesterday you saw how times because the gear was so new to the students and the process was do the students they would spend five, ten, fifteen minutes on a shot and if you look at these cuts as you also listen to it now you'll see house off so many of them are far less in a second and most last just a second only parts at last a bit longer than that had to be the interview part so that's why I kept saying, you know she saw me at one point stripped the camera off the tripod and just putting a sandbag and just shoot this right now let's move it move it move uh hand holding and roll that if you do have some jell o at some points or it's out of focus it's not going to matter in the end piece was going to be picking a little pieces there and I really think you're seeing that come through here there's one or two really nice like you know slider shots and kind of you know higher tech quote unquote looking shots that brings up the production value so it's watch this piece it is the last one with everything in the fourth version on top with the grating uh yeah your greatest for so there's some great on this if some brain this is the initial grade um with the audio mixing and the score if you will um and uh you also heard like there were some moments or uh you saw this far is coming out there was dead silence and you're like you know that doesn't work and that's where jeff came in and fixed things I like to make things that are beautiful wait we're losing one of the tracks for some reason just this computer which is always interesting it's worked out three computers this morning every other computer works on so maybe you just concentrate on the way things like that wait all right, and now, let's, go to the final area might get lucky. It probably won't probably won't work. Um, all layers are there's, just some strange thing going on this machine right here where it's ah, only exporting only certain layers and I I can't explain that one. Uh, what will probably do is is, uh, get another laptop out, see if that works and show that later. You know, susan, get that working. Um, but on live tv, just kind of keep rolling, so here is the final version. You had a little bit of text on top of it. Get it, get it in. Ok, so that's, just a little bit of a great on top, um, and, uh, let's. See, this is typical of the one of the final steps. I think a bit of a look to it. Wait and see if we get lucky internet saying they like it without you.

Class Description

Learn what it takes to make the move from photographer to filmmaker in HDDSLR: From Still to Video, a digital filmmaking course with Vincent Laforet.

In this comprehensive digital video course you’ll learn; how pre-production can help you develop a better movie, both documentary and cinematic filmmaking techniques, and which editing suite is right for you. Vincent will demonstrate the production essentials of setup, script development, and shooting quality b-roll.

HDDSLR: From Still to Video gets you up-to-speed on the latest gear, cameras, and production techniques. You’ll learn the skills you need to make the transition from photographer to cinematographer.

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