Basics of Editing

 

Video Fusion for Weddings & Portraits

 

Lesson Info

Basics of Editing

We are going to touch on I'm gonna have to talk a little bit about codex and um storage I just wanna mention story trance coding so I don't have some of these issues now with transcribing because I'm going to use premiere um but simple commands basic color corrections on titles and some people are wondering how to put titles in a fusion piece importing exporting footage I definitely want to focus almost on the export I'm going to show you how easy when we get up cells you have cliques of buttons that do it for you on just because it's an export button to set doesn't mean you give it away the case then we'll talk about ok that the guilt trip with her but it doesn't take me any more time to do this and this a bit like you like selling the image. How long did it take to create the image? How many years of practice did you have and all like all your talent goes into that one image is not southern piece paper or create your on the piece of paper, that kind of stuff so let's make a star I'm ...

going to show you so basically I just dumped all the footage in here this is all the movie clips what can you see this quite a lot? Hey lorenzo, wait we're gonna have a lot of left on from the first day where I couldn't stop start and even yesterday while we're talking so what I'm going to show you is how we can quickly do something caught in an out points um before I start I'm going to talk about I didn't start this editing software I learned final cut seven so let's talk about trance coding I literally to import this data file import and then just drive this data him but then also I double click on something I can actually drag it to my timeline I need to resize my windows I couldn't do this with final cut seven I had to transco footage the way I explained this to know we have raw images okay you can't printable image can't do really anything with it to put it in a program and unwraps the rapper of the file this is the same so with final cut seven and some other operating system software it has teo transco the footage to something it can use which is called progress falls on final cut seven you have a lager in transfer and it will be real time so for me I spent a year and a half trying to learn final cut seven it didn't feel right I hated it it was really tough andi was like I have to edit how do people do same day at it when I'm waiting for the british to transco before I can see it on what the beauty of premier zhou is final cut ten or eggs you couldn't drag it in I can actually scroll through this, but I couldn't do this final part seven it will window orender render. The other thing to know here is you must have a very nice, powerful mca's well, because if I tried to do this, maybe on a mac air or older version of mac, I am going to know I'm not going to have to do this. That makes sense. It will take a bit longer kept but yeah, I have well, I haven't. I sat with my editor for the last two edits that I'm going to show you because he keeps thanks to me, I really need to look at final cut x is much easier, so I would say anyone out there that maybe has used it could let us know, but it looks there's some really cool stuff that I light, it does look easier than this to put another together. What I haven't mentioned is enomoto and I know loads the photographer, especially in the us, some of the uk use animator I have never used up and the reasons why I'm going to probably pitch to you that when you start your user, but for mae, I need my work to look different. So I don't know how many templates there are, but the fusion pieces I've seen people couldn't have the same templates and then who's to say your work is any different and who's to say there's one image that I just want to zoom into the eyes, I just want to zoom up I guess this is me anal control I want to create the whole piece of land, create each piece of the puzzle as I would tear the wedding album, so I probably do things that the heart away instead of just shoving it in something hidden orto go yet, but then for may, I have the time I'm costing my time and money on my editor's time and money to do it. So if you're a lower based range photographer doing fusion using tomato use, I maybe don't spend the money, but if you want to pitch a different market, they will not want what everyone else has their in the mass market. They wanted to look different, they want the word bespoke mike, I love that word, especially for may. I want something no one else is, um I think it would do is I've pulled some stills and a swell, but the stills, I'm not even going to edit the stores. Because I want to spend hours everything I haven't got you know people were going probably asked me I thought I should have got my droplet from guy cowan installed here but people will go to his website but let's start scrolling through so at the bottom here I have something called my project window and in that project window I have dumped a lot of the footage ip little clips that we've shot over the last few days here is my media browser so if I want teo take more stuff off the drive I could literally pick something I'm not actually going to import this import and then it will hit into my project you haven't effect button that you will want to look up the effects of things like the effects that I use here I wore a just using again I don't use any of the autos of finance has never worked may I use levels instead of maybe contrast just so I can kind of pick up what I want from their um and I also use let me get brightness contrast but again what we said just I I can't latitude is not all trialled maybe one of these clips and I'll just show you this there's not like twelve stops in here however if okay we zoomed in all one hundred percent two hundred percent into the video footage this is just scary um okay color correction may find infusion pace I want to shoot stuff that's almost grated in camera does not make sense I want to try and get the colors right in cameron with the right white balance before I'm shooting because really you would probably want to use an external program to color or two color grades if we're going talk cinematography we're using divinci resolve and people who google those but now you're talking like you need to be a color expert I guess I think what I've learned from here is colorful photography and then you look at what I'm going to bring you up her where is that three way color correct so here let me get a clip first let's talk let me slow down and talk from the very start okay so we need to first of all is a bit like think about this when you put it in all your images from a wedding you need to do your pics if you call out the picks here a quote my picks so we need to work out this footage what is the meth on? What is this stuff we want so what I normally would do here so you see there's a bar alone here if I hit the space bar I could just let it roll you could see that see what the difference is the focus so the in point is like picking out the star of the frame that you want and then the employment and the shortcuts of them are eye and oh, but they do differ between several difference ofthe west, so if you're using something like, I'm sure in final car it's very similar on premiere the things I come, I think it's some other software, they're different but all amusing is space by in out points, but I'm also going to show you if you don't want to use shortcuts but it's quicker so you almost want to wait to this is in focus to maybe here I hate the m point and we might want to stop it maybe there let me show even if I didn't want to stop it there, but I've picked my own point out points for what I'm going to do here is I'm using I need to talk through this system doing this as well if you guys don't sorry I'm using the plus and minus button if you can see by hit minus let's get smaller, I can't see what I'm doing here even on here you guys but we have a better look here but I have tio plus this bell and to see this clip then what I would do is james took about the in and out point, then we're going to click was called the play head so you can see this in the left hand side is of bulrushes on the whole clip that goes from here to here about five seconds and then here is thie snippet that we've not out here when you hit the play button if I click on here and hit the play button that's going to play if I want this one to play, I have to click here and this will play to say if we wanted to stop that there instead of up there I don't need to go up here and do this in and out point again all I'm gonna do is if everyone can see that yeah is this I'm enabled I can pull it back I can pull it out so normally when I do occur I will do rough in an outpoints start putting it together and I call what I'm nipping so even like this beginning big now may I probably will want to just start maybe there I'm going to get by you guys whether this you're getting what I'm saying or know your question, you both look a little no so that's why I'm realizing what you were talking about the five seconds before and the five seconds after so that you can kind of roll those yeah, even if I need maybe three seconds because here watch the wobble and the focus this is like the end yourself right now we're focused I need it from there, I don't need this probably a couple of seconds and then at the end as well but don't get me wrong when you first start shooting and if you're in a pressure I shoot especially with kids we'll go out the window but as long as if you're aiming for seven, ten seconds and you get five, seven seconds the kind of came for that but then you're going to get that whereas if you aim for your three seconds that you need all four seconds for the editor and you don't quite get that like a second I'm not gonna have anything because it is going toe is called a jump cut it will be like when I talk about jump cuts that may explain myself in a film trailer you never see something I'm going to keep using these words okay linear linear is say if we do a trailer she gets wedding morning, he gets ready then there's the service then there's a reception is this features and then the darts nonlinear is where we just and I really love those ones so we'll chop and change us so nonlinear could be him during his speech, which is the verity so that's not where it started off and then it would jump so if anything, this is when your storytelling you can have several many stories in your timeline and it doesn't need to be linear and think about our film trailers so when I talk about john cuts, you'll go sniff it too the film if it's an action film you literally see here for like one second two seconds was good like a junker and it makes you feel edgy and it makes you feel action adventure you're not going to see a romantic film that's don't jump up jump up yeah again depending on this is all the this's what's amazing about the idea on video is that is not just the one image and it's just not your footage is how you put it together is the track that we maybe choose so we choose something minor should we do something major? Shall we have some things got ready for speed and kids? Why should we have something really sodom and cinematic and crazy? You've seen so many layers to this but hopefully the last two days when we get to this stuff starts thinking on by the course honestly I'm not one of selling west effort you are never ever going to get me to do three days of my soul for ninety nine dollars anyone not even a day I mean I'm sorry I know you guys better by this school let's get going I probably for may now and this is when I'll get frustrated myself that hand over here is when I want to see her face yeah so we could have a look now no footage do we have her face double click it bring it right back on again these on grey shirt okay did you see that big dunk? The camera can't use that as you let's use it on let me show you what it would look like so I'm using my in point out point I will pick an outpoint q kay depending whether you've got we'll soon find out with this switch down on this or not there was like a snap to imagine now if I move this and do this yeah can you see that? That means it snapped it right up there's no gap I would really advise to turn that on because otherwise I could do that and then I've lost I've lost a bit of the edits in the last year keep no dang you guys here for this is making sense now watch even this little bear it's gonna look really horrible as it clips and jugglers from there so we instead of redoing the in and out point again we hover over, we pull it tio probably for me I want to see her actually smile. So did you see that one day I need to talk through this isn't down concentrating I'm hitting the space bar so where the time headers I'm hit the space boss, I know I can drag this now all the way to that so you hit the space bar to find what you need to drag that too so there were, you know, like searching really? I should just pick a good inn out point pull it down on just tripped I want to show you that you can do this too we put it in um but I'm sure there's probably a better shot. You can see how if you get way talk about transition someone was asking about transitions I cannot write click here oh hold on applied default transition okay, the default punches in is a cross dissolve but I have like you can have faith to black on this is what I do see infusion pieces across the servers will emerge them or people think you need to fade out I guess this is beside shows sometimes that face black the next one m watch something from hollywood and that there is none but you want to make your life easy used them if you're struggling to piece pieces together use them. However, if he didn't want to put pieces together because we're shooting time wide, this is when you need the three sixty so this isn't a great cut right now still a little bit of a jump between the two but you probably won't notice there's no transition is your eye again is suggesting that she's handing or you don't know who's doing this but it's getting past to somewhere then you see a face on our move nose again how you're your brain you don't need to see everything your brain will fill the gaps and we're not we haven't got any audio yet let's see what else I've got here the way to move around this way and I know we would have to screams back home it is cause for may I want to see this one really really big have that and then I need to hk I want to look at all my footage so to me that I'm just gonna pull not that one this woman okay, any questions so far what we keep having a look at what we've got here yeah cool okay kare that's a fake some hit me I I'm him put that that might fit I'm going to show you now either that probably for may if you look at continuity. So this is a big thing that I noticed on my kitchen for case you is if you're going to film something twice or three times it needs to be identical like some films have issues in. So was the glass in her hand meter that shot me from again the glasses in there kind of thing that these guys are going to walk him to shop here everyone and not just hair this just happened so here he's moving out is actually in her hands yeah says in her hand she hands that over so really we probably yeah and she does not bad there but here he's handing it back to her what do I need then her something with her aims or they're going into her or look let's look again I need his hands handed back to her because you hear what she couldn't you know I can tell that this is when say it's the groom's hands or the bryant's hands and this is when it's getting it is really difficult when you get in said I'm being really anal here but literally nobody will probably pick that out but if you want to be really really good at this so you wouldn't really kind of guy I want to know what I should do the best I could see that he's handing this way and if it was a groom handing something to the bride and you could see his rings and watch but you do the bride handing it to the groom there was someone out there okay okay so I wouldn't use the very beginning shot where her hands and to him you got her head him you know got him to her and we would want then him doing it see if we have gone we may not even have it so what I'm doing here is well is if you look at this I can scroll through this and not even double clicking on my timeline get a good idea of what god made up for that I probably didn't even take that shore is that him let's have a look can we do have this let's go here so again just hit the space bar I hit a space but to play again we may even cut that shorter because this is taking awhile okay let's bring that down but I'm gonna trim here because for me is all this clippers too long again we just need the insinuation of his past it to her I'm going to show you what I do which is almost layering that's going to make sense to you for like fight to show when you have players I'm going to move this place once I get my in and out point again keep going here so just hit the space ball and put it in this in that movie bring it out still a long way and what this is the bit that I want I want this will make sense of them another that we just scared maybe him I'm gonna zoom out my timeline let about and then what I am going to dio is if you can see here the top part here is my video I have several layers of video on the bottom part is my audio I can also switch audio on enough he's already got it you're smart you know what they see I'm going to do I'm gonna guess wherever it is that's trying to see what it looks like start seeing hagen piece slowly. However, even if I thought really, this shop isn't long enough underneath or where I got this so let's move this out the way again and have a look and go that is the point that I want to see the hand over, so really, we need just before however, when we finish, I want to let from that clip out don't a few for that so I could do and they don't really use the razor tour. I'm going to cut that clip in half, I'm gonna go back to my roo selection talk, I'm going to move it and let's see there's now looks like okay, a little bit, our timing, yeah, because if you want it hands over and then she hands it over when we get to hear, okay, so we need to trim this one, then we get the focus point they end? Yeah, we see now how no transitions. And now adding a wide shot of the face is the details, and this was just one little thing that we're playing with any questions so far on the internet, and I haven't even drug stills, and yet so almost even what we shot is we've already got kind of a video sequence here was you could just have ten seconds and just all the stills let's be more diligent let's just look through here and go say right let's quit them you can see we've got a little bit of a sequence there let's have a look at what we got anything I mean there to frame there but boring looking at camera like this woman what she's saying come on e I could do this kind of I can get scrub that I would be first in and say nothing maybe here can that's another look dog stuff okay can let's have a little? We got the book catching what we got there so we know we've got a shot there orjust him do we have a shot of her somewhere? I can't let me show you this that this is this rapid fire so we kept it rolling I think is an editor I don't need any of this fitted this has taken up stories face, but when it comes to the heat of the moment, I knew you need to just get it shot do up but generally order on a wedding then I think I don't do the dogs because you'll get we could do another sequence here and then you still let's have a look at what this dog he did I'm gonna scroll three like I was interested to see that so it took a few seconds to render before I started scrolling through. It was when I want to find the bull section so it guys that this is where you can see take time if you die in shoot for that did it and you leave it rolling. We have it here. Okay? Detail shop in the little paws will be cute. This is where you can can you really see that focus plane? You see it there and if the ball or the dog the poor goes there, so be a miracle. No, I can't let you die and we're just looking for those moments where you and your mind remember that ball dropped those those men in that magic moments, right? Let me just growth. Very okay, that's got it made when they hear over cut something. Yeah, this is joyce. You're seeing now the joys of living at rolling combine the fish. But we know we shot this shot somewhere. Now imagine I send this to an editor that wasn't now on the shoot. Okay? And I'm paying him per hour to sit through. That goes on talking isaac, okay, even let's get a little bit of this I'm saying because I want to pull some store them on, I also want to dissect it if you want to ask questions I's asking a question right now so the question has to do with you do outsource as you've talked about two editors do you sit with them through the rough cut or do you send them a paper at it and on dh make out it says needed and how many reviews you usually go through or you get a final product I will sit with the new editor with white the way through the first trailer and then hopefully my editors get an idea of what I want I did d'oh a shot down this is hears music tracker won there was some kick butt footage like pulling the guys would have shot shots that I know he shot and explain to him where they are on dh this is a stalin filled I want it to be like and then from there but then once they're not gonna get a rough car, I probably will make two three changes even before my client sees it because I know them so well I know what they like and don't like time is money when you're outsourcing they spend the time up front and which comes first zoltan wants to know the chicken or the egg do you cut to the music or do you bring the music to your cut? Okay um I would have always said that it first and the music but I did it totally the other way round for my fairy township and it made me shoot edit much more but on our wedding day can you control that? I'm not sure it is chicken and egg films they don't films there's all post but they've got big budgets and films I try and get at least a couple of tracks I actually will show you when I pull up my time I'm very teen dom I got three quarters of the way through and I was talking on two tracks I'm hoping they're still then I might be able to play you both of them are sick no, I want this track no when this trick it works to this track networks to that track and I'm gonna show you how I fudged the track the track that I bought didn't have enough intro for his whole speech and I wanted to him to speak first before the singer comes in um but I do want to at least have a look at some of this. Okay, wait oldie as well in their way let's have a look. Uh yeah, sure. Because I always when I did a quick rough cut off by these bring that down and you can have another sequins bring us some of uh find the one my she's laughing because I remember I have that still I don't want to use that I'm sure I almost would want to use then maybe from here and I just wanna hand over a face but she'll move okay and I moved you see the whole frustration of the seven to ten seconds but there is there was a laughing shot from yesterday somewhere in here down more and we have something in the way the chair I think so what would dear is that and then has still I'm just gonna end out points and shots because as well we have a short of this silhouette of both of them in a still some hit in the eye but in a couple of times and you notice here I'm getting someone's nose in the left hand side so framing is all over the place but there I probably wouldn't have that whole not stober so even though my in and out point's been quite quick here see if you can hear I can kind of stop start stop or I can't or I can let you just scrub this timeline if I want so the space ball was starting stop it s so you don't have to find I was start button and then another stop button so you could just start and stop with the space boys yeah but if I want to play that clip original kip I just click on it first so we'll play that now not this and again here let's just raise of this that's one of the seven on then let's talk about pulling still losing as well but this is uh this I need more time now I have a question about I noticed once you kind of shifted the video instead of cutting it now because if you couldn't you can't like missing because if you could have the wrong spot you can't bring it back yeah let me show you oh my gosh how funny was that okay put this in let's deal with this side uh sam when we live like razor yeah right I can't watch this so say if this is what we're going to use I say if I cut it here yeah and then I dilate the other but here it's gone um I can still well then pull out even though I phrased that so that but that we raise it here I could still pull it both ways okay and really what you want you'd want your timeline looking me I wouldn't want to pull this down here in the audio but when I'm doing a rough car I don't do that because I mess around with going let me move that back a second let me move that from there the other thing I definitely would do is try and have things to the beat of the music that certain side of shots I'm going teo grab some stills handle that and we're good on cues I've been I've been talking about so if we, um this is when mac it's this thing, isn't it? Oh, no, I can't do that. I can't pick a couple of stills. I'm not even going to edit these, but why won't dio and I learn my way. I dragged hi res images into my timeline and I spent twenty four hours on forms trying to work out why it would render because it because it's too high risk it's a huge needs to be kind of seventy two dpr, but low growth that that's another thing I say our poor knight four arms and they were telling me to do all these things like I just put a still on of course of the video world like yeah, I don't think no, no, I haven't even called like apple because this isn't final cut while working. Okay, let's, pick a short can make these. Okay, let's, pick this shot that was talking here even knowwho isa moving up. I'm gonna open this. I would not do every shop in photo shop. I batch all my wedding stuff in aperture and do that whole cargo in action and I can go through and pick maybe I don't twenty five thirty images again how long do you want your image on how long's your music? So I picked try and pick the track by then or I start I've grabbed my video stuff that I've got because that's not me a lot less than my steals and go what if I got video wise? Okay, do I have a beginning middle or end? Where will my bits have I got any bonus stuff that has to go in what my audio can obey to really do want to pull the audio in? So one of the questions that I have that I've been thinking about the last couple of days is how you deal with those standard family portrait it's when while you're shooting in other words, you know, people want a mom and pop in all those set ups do you do those a cz well and tell me a little bit about I am I have a plan with my couple about timings for the day um for an english wedding the average a number of groups are between eight and ten I would say we could do that in forty five minutes and then I want forty five minutes an hour with a couple for photography again in the uk they always ask, how do you get so much time with your couple? And I remember thinking this is just educating again, do you really like this film trailers you really like this album we need this time to do this and if I'm shooting fusion I also have to manage the expectations that I would do my stills first and then I need to this video stuff these surface it's gonna take me a little bit longer I'm going to ask you to do something a little bit different from opposing can we have the time in for there? So the group shots I will suggest that eight, ten group shots is this time have you got more time to do more group shots? Yes, no, for an asian wedding, maybe shoot thirty different group shots it could go on for like an hour and a half just the group's what's really amazing is there is someone on a microphone cool in the mouth, but for any other wedding I am no directing this is a bit of the day that I don't like doing because everyone stares at me, but I would direct I'll get people on really quick, I also re order I get the clients to give me the list from them and then I re order where I like to go the hugest group first and then cut down, cut down and cut down and cut down we'll start with his family cut down, cut down her family cut down from there and then I've also had quite that didn't want to take any family photos because they wanted it really low back today they wanted to make sure the album was about them I just say your grand is gonna want that photo I guess as well jim talking about I was shoot what I call your book santa groups but when I get to mum died um you're seeing the fusion edit bet I really pushed for that connection if I know it's there so I definitely ask in my consultation are mom and dad together? Are there any family politics that I need to know about? The last thing I want to do is grab mom and dad who do not talk and put them together and come on come in tai have hugs kisses is not gonna happen it's gonna be really embarrassing for may cool because I know that for me I could do a lot of the other types of shooting but when it does at the end come down teo you know doing those mom and pop shoots when I get the entire families together that's when it gets really scary and I get and that's when I get shy personally I don't really want to get shot do I? D'oh d'oh you're presenting created e I'm just like you said it yourself you're also you're also a bit shy sometimes I like the family portrays for me that's where I'm catching when I did jury is course jury dinos course for may now is it on the head that kind of everything it's great about light location kind of having an award winning shot but emotion kicks but even if something slightly off is about capturing that emotion, I think any video really captures that okay ready for your next question what do your feelings on the first look I know that and you know you asked you tell us about how you approach that for with couples in england if there's any pricing going watching please we are very traditional in england and I've had two couples do that however they just superstition back home superstition says you should never see your husband the night before they won't talk to them and then on the wedding day they won't but in an iranian culture or the persians the groom has to go and deliver herb ok and they have tio as part of religion have the first look so I kind of get to do it somehow I find it calms my car's down they kind of have that moment and this is when I definitely don't say anything I mean about the way we set it up and we just let it happen because I think for me even though I'm not going to do it there from there but yeah, I love it but maybe in a year two years, five years behind you guys and everyone's just growing right it's just yeah, like one of those I think clients are more comfortable when they've seen each other and they're really nervous and just the manly raining weather is when they do that and they relax then when she wants something are they really enjoy it but I have tried to picture myself they're not that good but okay, so yeah I mean I think that's one of the one of the most amazing things I think that we're trying to bring to the table here in the states because we talked about that does the same go for your wedding's in india? So are they also very traditional and you're not doing a first look oh my gosh each tradition there's no way in those cultures that we could try and get them to do something girls there's a really, really important stuff that happens the night before five days before then only like five day events just for the wedding on thousands of thousands of people and they're very much if anything the couple I actually don't know that much about the tradition one way when I'm asking them I've never shot a sikh or hindu wedding that is identical they would say oh, we're going to do this we're gonna do now and I would say to them are you going to do this part? I like papa I'm like you guys the space notice no may yeah people chop up

Class Description

Combining video and photography brings an entirely new dimension to crafting wedding stories. Join Victoria Grech for a three-day course that will give you the tools to work as a fusion videographer/photographer, with stunning, marketable results.

Victoria will guide you through everything you need to know about working with both photo and video as a single shooter. You’ll learn about each stage of creating a dynamic fusion story, from selecting the right equipment to shooting seamlessly. Victoria will also cover how to integrate fusion services into an existing photography business and how to successfully market fusion packages to new and current clients.

By the end of this course, you’ll be able to work confidently as a fusion photographer to capture dynamic wedding stories, land the right clients, and grow your business.

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