Creating a Video From Start to Finish

Lesson 30 of 37

Rough Cut to Final Cut

 

Creating a Video From Start to Finish

Lesson 30 of 37

Rough Cut to Final Cut

 

Lesson Info

Rough Cut to Final Cut

But before we start, you know, I wanna go back to Premier here. And in our last segment, what we did was, we assembled a rough cut, you know, we looked at the different rough cuts that I had, okay? So what I'm gonna do is I'm gonna start this segment by going back one rough cut, and then going to the final cut with the B roll laid in, okay? So there's gonna be a version in the middle that we're not gonna see. So we're gonna see the one that's like three and a half minutes, and then we're gonna jump to the one that's about two and a half minutes and we're gonna see the difference, okay? And I think what you're gonna find when you take a look at that is the first one gets the message across, but the second one, what it does for us is it helps us really emphasize the why. It helps us really emphasize the message that we're trying to get across. And remember, that five sentence story board that I put together for this edit, it starts to ring true here a little bit when we take a look at th...

at two minute and thirty second edit. Okay, so here's that longer edit, it's gonna be running about, ah, I'd say it's about three minutes or you know, three minutes and change so... (rewinding video) Okay, here we go. And I'll go full screen for this. Passion for fighting and wrestling, if you experienced it, you understand it. It's incredible, it's like you think about it, you obsess over it, you love it. Every day you think, you wake up to it you go running, you think about it. At night time you think about moves, you think about old wrestling matches from the Olympics, and, you know, NCAA so you're completely obsessed by it, if you like it. I loved it, so it was incredible. My name is Ivan Salaverry, I have a MMA gym here in the South Lake Union area of Seattle, Washington. When I first started ten years ago, I just walked around the city looking at spaces, we're looking at little warehouses, looking at all different places, and when we first started the clientele came because, you know, we had a very good MMA program. It was very competitive, lots of fighters. Yeah, it was all awesome, it was really tough but then little by little, we have had a range of different type of personalities and people that come through here, that give it depth, and I enjoy it very, very much. It's not what I thought I was gonna do ten years ago, but now I'm blessed. When you first walk into the gym you might be nervous you might be nervous, like, what am I getting into? What is this? But we take you through the process. You come in here and like anything else it becomes a step by step process, you come in here, you put your wrestling shoes on, and next thing you know, you do a little bit of stretching the coach guides you into a warm up then teaches you a certain technique. And then little by little you start gaining these techniques and you start wrestling with these techniques. And that process, the day in, day out of doing that, you learn how to wrestle. Then, comes obviously what you get from wrestling, the endorphins, the biochemistry, of just the adrenaline. To me, I honestly believe that every man and every woman needs that. And that's what I think that I create. And it, might not be wrestling, it could be boxing. It could be kick-boxing. And then all of a sudden you get this fever for it. And that I believe is the passion. Is that obviously you have become very enthusiastic for what, the feelings and what you get from it. This environment is very natural and it creates itself because there's so many personalities, and the grouping of these personalities creates the gym. And I'm blessed to have what I have here. You can't duplicate this as far as the culture. We're not, per se, lifting iron or going on a treadmill or on a bike. We're dealing with human beings. What they experience is addictive. There's nothing more primal than to be able to be competing head-to-head against a person. Because it involves competing with yourself, it involves a team, but going head-to-head against somebody creates a very unique experience. And it teaches you a lot about you. Okay, so we're gonna go straight to the next cut, okay. The truth behind passion is that you can't teach passion. If you experienced it, you understand it. It's incredible, it's like you think about it, you obsess over it, if you like it. I loved it so it was incredible. My name is Ivan Salaverry, I have a MMA gym here in the South Lake Union area of Seattle, Washington. When I first started ten years ago, I just walked around the city, looking up spaces. We're looking at little warehouses, looking at all different places and when we first started the clientele came because, you know, we had a very good MMA program. It was very competitive, lots of fighters, but then little by little we have had a range of different types of personalities and people that come through here that give it depth. And I enjoy it very very much. When you first walk into the gym, you might be nervous, you might be nervous like, What am I getting into? What is this? But, we take you through the process. You come in here and like anything else it becomes a step-by-step process. You come in here, you put your wrestling shoes on, and next thing you know, you do a little bit of stretching, the coach guides you into a warm up, then teaches you a certain technique and then little by little you start gaining these techniques and you start wrestling with these techniques. And that process, that day in, day out of doing that you learn how to wrestle. Then comes, obviously the, what you get from wrestling, the endorphins, the biochemistry of just the adrenaline, then all of a sudden you get this fever for it and that I believe is the passion. Is that obviously you have become very enthusiastic for what, the feelings and what you get from it. This environment is very natural and it creates itself because there's so many personalities and the grouping of these personalities creates the gym and I'm blessed to have what I have here. And you can't duplicate this as far as the culture. We're not per se lifting iron or going on treadmill or on a bike, we're dealing with human beings. What they experience is addictive because it involves competing with yourself, it involves a team and it teaches you a lot about you. Cool, so what we noticed there, guys as we kind of move from that rough cut to the cut where we actually laid in the B roll and laid in the soundtrack all of a sudden we have a lot of moving parts now that become much more inspirational, ya know? We spent the last seven lessons learning how to get to that point, okay? We're still not done yet though. 'Cause if you notice, the color was off. If you noticed, you know, how can I clean up this timeline? You notice the video was like, choppy and that kind of stuff. It was dropping frames because my computer is just completely chugging through a lot of information, okay? So, there's little fine tune things that we have to do to this in order to get us to the point of delivery, okay? The last 10, 15 percent here is probably gonna be the most intensive, the most time consuming, the most really, really concentration necessary work you're gonna have to do, okay? So, what am I talking about? So let me get out of this project and get into the next project here so that we can actually look at something real. Okay, so just give me a quick second. (keys clicking) Okay, so what we have here, give me a minute. What we have here is our completed timeline, okay? And when I say that it's not clean, can you see how each track here, sometimes is doubled up? In terms of video. I've got camera one here is showing track two, but I've got video laid in underneath there. If I don't clean up my timeline here, If I don't clean up my timeline here, what's gonna end up happening is when I get into DaVinci, I'm gonna see a lot of clips that I think I'm gonna have to grade, okay? But I won't need to grade them in reality. It's gonna really confuse what you're looking at. There are some people who can manage that, I'm trying to get it down to as little bit as possible for us to look at so that we're not overwhelmed, so that we can just get in and get out without losing our shirt, okay? So, when I say clean up a timeline, all I mean is this. See how it looks different, much different now, okay? Here's the first timeline that I had. Here's the second timeline, okay? So I'm picking and choosing and as that play head comes from here to here it's playing video track one, then video track two, then one, then two, then one, then two, then one, and then it's going to B roll 'cause my third track is my B roll track, yeah? One, two, B roll, two, B roll, two, B roll, two, one B roll When you do this, what is does is it allows you to do what's called exporting an XML out into DaVinci Resolve much more cleanly, okay? So when you do this, there's a couple things you wanna pay attention to, no titling, absolutely no titling, no transitions, no transitions, you want it as simple as possible. 'Cause what round-tripping is, raw to jpeg. That's what we're doing. Not in a sense that, we're not jpeg-ing out our file, we're baking the changes into the file, or a copy of the file when we hit DaVinci. So I'm taking this clip, I'm putting it in DaVinci, and then I'm gonna do some stuff in DaVinci and then I'm gonna kick it out of DaVinci as a second file but, as that file, that's it, it's toasted here. Raw bread, toasted. Once it's toasted, I can't un-toast it, right? (audience chuckling) That's the concept here, so once it's toasted, I'm gonna take it back into Premier, and take that toast and make a sandwich out of it. (audience chuckling) But if at any moment, I think the bread's too toasted, I have to start back over here with the raw bread, and choose the level of brownness that I want. So that when I get that into Premier, the sandwich that I'm having is properly toasted. So any change you need to make here to the toasting of the bread, has to be done in DaVinci, you follow? That is round-tripping. That is round-tripping. Because once you get here and you've got that toasted bread with that sandwich, you've gotta, gotta, gotta be sure that you want that because you can't just change it anymore whereas before, you got to DaVinci you could make all the changes you want. Okay, you follow? Great, you had a question? Two things, so would you remove your scratch track out of here? Yeah, so I would remove my scratch track. I've got a couple of other tracks in here. I'm gonna keep my soundtrack in, this track up here, right here, is what I wanna keep, that's my audio track that I've gotta keep in. And the other thing is, so, I've been playing around with Premier and then using Adobe SpeedGrade for color grading, and then the latest version of Premier, they removed the automatic button that took everything into SpeedGrade, so I guess I'm just wondering why you're using DaVinci. Does Premier not have good color grading features, what's going on with speedgrade, why wouldn't you just stay in the Adobe environment? That's a great question. If I had my choice I would stay in the Adobe environment, unfortunately time kind of took over there, so I learned DaVinci, I learned DaVinci before I could learn SpeedGrade and then the functionality in DaVinci became something that I learned much more quickly because of the color target in DaVinci. So that color target, I'm gonna show you very, very shortly here, that color target saves me hours of color grading. Hours of color grading because what it'll do is it'll allow me to match footage from different cameras by just shooting the target. That's what's so impressive about DaVinci, is that I can use that target, match my footage, go through and then just kinda take a look and do some color adjustments and take a look at wave forms and make some adjustments some stylistic adjustments, maybe I wanna add more contrast or whatever it is, but then I don't have to worry about color so much. So, once I get to this point, it's really easy. Very, very, very, very, very, very, very easy. So I'm gonna keep my timeline open, I'm gonna come down here, I'm going to say export Final Cut Pro XML. What this does, is this is a function inside of Premier that essentially writes a bunch of little instructions into a file, okay? Bunch of little instructions into a file that then DaVinci can look at and go oh! He needs to do this, but before I do anything, I have to still do some more prep work on my timeline, okay? In order for me to edit, at that first point, in order for me to edit what I had to do here was initially what I did was come in here and doot, doot do, I clicked a clip here, gimme a second. Initially, when you guys come in, and put footage into a timeline, right? It gets that big doesn't it? So that's 4k footage sitting at a 1080 timeline. And as you saw, like, as we saw yesterday, we go, oh, okay well that's confusing. There's two ways for us to scale this footage down for us to make it usable. One way is great for DaVinci, the other way is not. So one way people scale footage is by doing this. They click the footage, they come here to scale, and they bring it down by like 50% and boom, hey it's framed. And then they do that to every clip. Well the problem here is when XML writes out the changes, it writes out that the clip must be reduced by 50%. So then when you actually bring it into DaVinci, it's 50% small. So what I can do here, we want to be able to see the full frame in DaVinci, so instead of coming here and doing this at 50%, we're gonna right click and then click scale to frame size. The scaling function on the timeline allows you, inside of DaVinci, to see the full image, okay? Edge to edge. It doesn't touch anything, it just allows you to see it. Got a question? So when you did the scale a moment ago in effects, clip by clip, It was full. Yeah, right, so are you doing, specifically doing scale to frame size as opposed to set to frame size? Is that the the differentiation that you're making there? Yes I'm doing scale to frame size here. So I'm gonna scale to frame size, and once I do that, you notice it's a little different? I've got a black bar here and a black bar here now. That's okay, just ignore it, don't get distracted here. It's okay here, we're gonna do scale to frame size and then move on. So what I'm gonna do here, alright, is I've already preselected, I've already done it all, but if you look at all of my time one clips. Boom, I've scaled everything to frame size. So, no transitions, no titling, no scale up here, okay, in effects controls. Do not scale in effects controls. In motion effects up here, if I click on effects controls and I come over here to motion and I hit that twirler, do not scale here. You're gonna select all the clips that need to be scaled and you're gonna right click on the timeline and click scale to frame size. That's step, whatever, step two or three. So from here, I think we're ready. You're gonna go file, export, Final Cut Pro. It's gonna boom, boom, boom, hey it's gonna ask you, where should I save this? I'm gonna save it into a folder that I've called XML exports, inside of my project files. And I'm just gonna go ahead and hit save. It does it. Kicks it out, done. Gives me a little translation report, say, hey if you wanna read that report, go ahead, all right. So now, I'm done in Premier. Okay, that's it. Not done, done, done, I'm just done for the time being.

Class Description

AFTER THIS CLASS YOU’LL BE ABLE TO:

  • Confidently make a movie from start to finish
  • Expand your photography skills to motion pictures
  • Tackle pre-production and post-production essentials
  • Capture video and audio expertly
  • Edit in Adobe Premiere Pro and Audition

ABOUT VICTOR’S CLASS:

Photography and videography have several things in common -- but what about factors like audio and telling a story using video editing? In this filmmaking class designed for photographers, learn how to use the DSLR or mirrorless camera that you already have to capture high-end videos. In this start-to-finish course, you'll master everything from planning to post-production. The goal of the class is to teach anyone how to create a video from start to finish.

Dive into video production from the planning and pre-production phase, where you'll learn how to choose an idea, scope out locations, research the client, and more. Jump into video gear -- and what's really necessary on a low-budget -- and learn the essential filmmaking tips for recording. Discover how to capture excellent audio and tackle those B-Roll shots.

But this filmmaking course doesn't just teach you how to use editing software -- you'll learn the editing process, start to finish, from storyboarding to exporting. Work in Adobe Premiere Pro to perfect your footage and Adobe Audition to fine-tune that audio. Tweak color in DaVinci Resolve. Add soundtracks, titles, and keyframes. Then, finalize and export your project.

WHO THIS CLASS IS FOR:

  • Photographers eager to add motion pictures to their repertoire
  • Beginner filmmakers
  • Self-taught filmmakers ready for additional insight

SOFTWARE USED: Adobe Audition, Adobe Premiere Pro, DaVinci Resolve

ABOUT YOUR INSTRUCTOR:

Previously a photographer, Victor Ha is now a filmmaker. His experience working with both stills and motion pictures helps him guide other photographers through the same process, from photo to video. He's known for his straightforward, practical teaching style that's easy to follow along with.

Lessons

  1. Class Introduction

    In the first lesson, meet your instructor and learn what to expect during the class. Know what's up ahead by pinpointing the goals for this class at each production stage.

  2. Putting Ideas Into Motion

    Start the filmmaking process with an idea. Learn how to flesh out ideas and turn them into successful projects.

  3. Client Profiles

    Video projects come in many different forms, from cinemagraphs and short films to commercials and features. A client profile is a type of video telling a story about a person or business. Learn what's involved in this simple video type as an easy format to get started with.

  4. Choosing Your Subject

    Video projects start with a subject -- but just how do you choose? In this lesson, Victor discusses how to narrow down your ideas to choose the best one.

  5. Scouting Locations

    Part of the planning process is scouting out different locations, an essential part of pre-production. Learn what to look for when scouting out different locations and how to spot good camera angles. Then, work with that information as you prep for shooting.

  6. Researching the Client

    Understanding the client -- and what they are looking for in a video -- sets the stage for a successful video project. Learn how to research your client and the essential pre-production questions to ask.

  7. Choosing Equipment

    You don't need an elaborate amount of gear to shoot video -- Victor goes through the essentials for video, and how that list may change for different products.

  8. Waveforms and Scopes

    Waveform monitors show a visual of the video's exposure. Using waveforms along with vectorscopes can help you get the best results in camera as you shoot. While confusing at first, these tools offer big advantages on set.

  9. Shooting Strategy

    Build a strategy to organize those thoughts from pre-production and create a shooting schedule for the project. Incorporate these factors into a shooting strategy for success.

  10. Interview: Setting Up for Success

    The interview is an essential style for filmmaking. In this lesson, learn how to set up an interview for the best results, including audio suggestions and pitfalls to avoid.

  11. Prepping for the Interview

    Before you head into the interview, have a list of questions -- and practice asking them. Master the essentials for interview prep, including research.

  12. Capturing Audio

    Video and audio go hand-in-hand. Gain tips for capturing the best audio for your video, from dual system sound and setting levels to working with audio gear.

  13. Capturing Room Tone

    By recording the ambient noise in the room, unwanted background noise is easier to edit out. Learn how to capture the room tone and tricks to create better audio by adjusting the room.

  14. Audio Q&A

    Audio is scary stuff -- learn from the most frequently asked questions from students like you.

  15. B-Roll: 3 to 1 ratio

    B-Roll is supporting footage for your video, helping to add interest and fill gaps. In this lesson, learn why B-Roll is important -- and how much you need to shoot.

  16. Planning for B-Roll

    B-Roll should help tell your story -- so what should you capture, especially when the scene doesn't seem so interesting? Find out how to plan for B-Roll and ideas for the most interesting shots.

  17. 5 Rules to Capturing B-roll

    Use these guidelines to capture better B-Roll for your project, from gear tips to determining what's important.

  18. Using B-Roll to Shape an Edit

    B-Roll is secondary footage -- learn how to tackle video editing with B-Roll in mind. Then, jump into editing with Adobe Premiere Pro editing software.

  19. Introduction to Footage Review

    After recording, you may have hours of footage -- how do you decide what goes in and what stays out? Make footage review less daunting by tackling your fears first.

  20. Asset Management

    Organizing footage saves time and helps you get a jump start on that edit -- but the organization doesn't have to be elaborate. Learn how to manage the assets for your film project.

  21. Edit Setup

    Before you edit, preparing helps get the film project off on the right foot. Learn how to prep for editing, from working on audio first to identifying mistakes.

  22. Edit Audio in Adobe Audition

    Victor suggests photographers edit audio first to get the aspect that we're least familiar with out of the way. Build an understanding of audio editing and skills for using Adobe Audition, including eliminating that room noise.

  23. Syncing Your Footage

    Set up for a successful edit by creating "goal posts" and allowing enough time to reach each one. Start working on the edit by laying out the timeline and syncing footage.

  24. Conceptual Storyboarding

    Building a storyboard guides the edit and helps you tell a story, without meandering away from what's important. Create a successful story -- and learn why Victor creates his later in the process -- by working with a storyboard.

  25. Editing Choices

    Video editing is full of choices -- but you can always change your mind. Learn how to get over hurdles and make the best choices for your filmmaking project.

  26. Selecting a Soundtrack

    Soundtracks give your edits a tempo -- but what song should you choose? Victor talks about choosing neutral soundtracks, avoiding songs you already know, understanding copyright, and everything you need to know about soundtracks.

  27. Building the Rough Cut

    Start turning that storyboard into an actual edit by building the rough cut. Learn how to shrink down long footage, decide what to cut and what to trim, and start organizing footage.

  28. Refining the Story

    Take that rough cut and turn it into something less rough. Start moving footage around to match that storyboard. Victor explains the "meat and potatoes of editing" -- going through footage, listening, cutting, and repeating that same process again.

  29. Adding B-Roll

    With the shape of the video in place, work in footage from the second camera and B-Roll footage to fix continuity issues or simply add more interest. Develop not just an understanding of the editing software, but a workflow for editing your film project.

  30. Rough Cut to Final Cut

    Move from that rough cut to the final cut with an overview of the last stretch of the editing process, including mastering transitions, color edits, and polishing that timeline.

  31. Color Grading in DaVinci Resolve

    Create color-graded videos inside DaVinci Resolve. Learn how to use the software, import and export, and color grade your project.

  32. Three-Way Color Corrector in DaVinci Resolve

    A three-way color corrector allows you to fine-tune RGB values. Walk through the basic color correcting process to correct issues like color cast.

  33. Export from DaVinci Resolve to Adobe Premiere Pro

    With the color correction finished, be sure to export your file properly for a seamless transition back into Premiere Pro.

  34. Add a Title in Adobe Premiere Pro

    Adding text and titles in Premiere Pro is simple. Learn how to add text frames to your video project without leaving Premiere Pro.

  35. Export Project from Adobe Premiere Pro

    Once your edit is finished, it's time to deliver. Learn how to export your project from Premiere Pro.

  36. Adding a Keyframe

    Keyframes are simply markers in the video that signify the start and the end of a change. In this lesson, Victor uses keyframes to adjust the audio of only a small portion of the video.

  37. Creating Multiple Projects from Your Edit

    With the main project done, what else can you build from your material? In this lesson, Victor discusses additional options to add to smaller supplemental projects to your main work.

Reviews

Beatriz Stollnitz
 

Victor is an incredible instructor, clearly passionate about teaching videography to photographers. His teaching style is engaging and energetic, and the content is interesting and useful. I was very fortunate to be part of the audience for this course.

Lynne Harty
 

Victor is a wonderful, knowledgeable and enthusiastic teacher - I learned so much. Thank you.