Choosing The Right Footage
So, once you've gotten all your footage together it'll look something like this once we open this guy up. The next thing we're actually gonna look at is working with audio in Premiere. Which, over the years, its gotten even easier to work with audio in Premiere. Okay. So, if we go to Selects, yeah there we go. Here is, that was me playing with the title. I don't know if we'll use that or not. I'm gonna just turn that layer off. (upbeat beach music) I'll just roll the music a little bit while we watch this. This could potentially be a cool title opening window here. So obviously, since we shot at 60, sometimes it takes a while to get to the shot. And we're gonna show how we can time ramp things. And also some of these are a little dark, we'll want to in a color grade, we'll want to lift some of those shadows, lift some, maybe add some contrast back into the shot to bring our highlights up and maybe our black levels down. Always a shame to look on different screens too. I'm gonna, oh, th...
is is surf, it's already gone to that shot, so that was our orbit shot. And you know, we were so focused on filming the surfers, like, there's a lot of potential for filming waves, I mean that would be a good example of getting those kind of nice shots of just getting the motion of the waves. Especially when you're trying to go to a different shot to cut to, you don't, since you don't want to always cut to the same kind of perspective on the subject, just having those different angles, those different elements of the beach. I'm kinda amazed at how clear, I mean, yeah, it's kinda murky water, but how clear it caught the detail of the seaweed. The surf's pretty good. Alright, so right now I'm just gonna toggle through, so if you want to toggle through your footage just real quick, to see what shots you have, you can use the up and down arrow key, and it's easier to see when I've got this minimized, see up and down lets you toggle through. So I think these are a couple, oh, by the way, this sequence, sometimes you'll see edits where it's got more of a widescreen look, and that's what this is, this is not 16x9, this is 2.35:1, so if you go up to Sequence settings, that's one thing I've changed, after I did, and not that you always have to do this, but I think it's kinda fun and another thing it affords is to slightly re-frame your subjects, so if you, you cut off the top and bottom, then you can kinda work your framing, like if you didn't have it perfect. So you can go to Sequence settings, and you can see right here I did the frame size as 1920 by 817, and that's just after doing the math of what's 2.35:1. So I just have that kinda memorized, but 1920 by 817, and again you don't have to do that, it's just I kinda wanted that kinda like cinema look. Widescreen. So if you were wondering about the aspect ratio, and why he might be framed right on the edge and why I call that a Select. Typically I wouldn't, but if somebody was framed that close to the edge, but see what we can do here is you click on that clip there, you go up here to the Effects controls, and go to Motion, and Position. You've got your the width, kind of the, and then your height. And so you can drag him down, and you can see that's the end of the frame. And so then I put him right there. Y'know, if that was a select we were gonna use, that's probably how I would frame that. Alright, so we saw enough of that. There's another shot of just by the cliff. Oh, move cursor. Off the screen. Picky, picky, no just kidding. Cool. Here we get to see just more of the tracking shots that we got. Cool, and then if you just wanna kind of view some of the rest of your shot, you can hit that L key just to fast forward. This was that kinda wide reveal. Okay, then I'm just gonna toggle down, check out our next shot. And I might just fast forward it to kinda remember what it was like. Okay, next one. Fast forwarding with the L key. So this is when I was gettin' maybe a little braver, gettin' closer to the surfers. Cool, I'm gonna fast forward, see kinda where that takes us. Yep. There's another one. So as you can see, I was just doing a ton of tracking shots, I couldn't help myself. So in some of those, we're gonna want to speed ramp that, like, speed ramp it to save some time in the, have it be more like real time and then when he hits some of those top notes, kinda slow it down, so yeah. Oh yeah, this is when he got pretty close. Yeah, that's kinda cool. So yeah, a lot of tracking, here's kind of a little bit of an orbit. Kinda like how the light's reflecting on the water there. More tracking, and that's our select. So I think I had something like eight minute's worth. Yeah there's about eight, eight minutes worth of select to then put down into a minute, 60 seconds. So first off, I'm gonna stop the music in iTunes here. And we're gonna take a look at the music, 'cause we're gonna want that music to fit, we're gonna cut to the music basically. So,
Is the music already set to your final time, like have you cut it to the, your final deliverable is gonna be 30 seconds, have you like--
Yeah I haven't done that yet, and I wanna kinda show the process that I go through.
Got it, perfect.
There's a couple little tricks that make working, like for maybe they used to exist and I just didn't know that they were there, but there's a couple little things that you can enable in Premiere to make working with audio doable. Whereas before, I used to roundtrip it to either Adobe Audition, or sometimes I'd bring things out to ProTools, and then bring it back in. But, gosh, Premiere keeps getting more and more audio tools that you almost like, it's almost like the rare case now that I have to roundtrip it to Audition. So what I like to do is, I'll take, if I expand my Project panel, what I'm gonna do is take the Selects sequence, and I'm gonna right click on that, and click Duplicate. And I'm just gonna call that creative live edit. So now I've got the same stuff, now I can just kinda be ruthless with, with it and if I just delete something or whatever, it's always back in my backup of the Selects sequence. So okay, double click on that, it brings it up here, I'm gonna clear this out just to keep things tidy.
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Blayne Chastain has over three decades of practice flying RC aircrafts. He is the co-founder of Cloudgate, a film company specializing in cinematic aerials. He's captured aerial footage everywhere, from the seat of a kayak in Iceland to chasing snowboarders down a mountain with his drone. With the teachings in this class, you’ll have the ability to maximize your flight hobby, and turn your images into a part of your business.
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