That is your your multi can you multi camera clip if you like what I do is I am make a this is what you make your project falls is your project library these are all your your project falls and um let's go to yeah this is when I prepared before it's what you do is you you basically take your multi cam clip you can either drag but you know the shortcut to cool is to drop down onto the timeline and then I'll show you the moment call very quickly with final cut ten and I'm sure houston you utilize that and as we get into that you know if you if you have any other methods that you want to share will be fantastic so that there is essentially that here and everything like that what do you know so now we starting teo get the multi cam cutting ready okay what you need to do first is you need to go right click and you need to open the angle editor what that does it kind of like opens up what's inside the multi cam clip which is all these yeah all the files sink what I do here before I start cut...
ting I'd do a very quick little color correction you don't need to go nuts here because this is your taco in it and sometimes you know what I have ah lesson a little point about are not a rule but a little point about color correction sometimes you don't need teo you know use or implement so much when you for example have a church that is naturally somewhat yellow if the footage is like super yellow and for some reason you've had like staying glass windows and it's like making the skin tones really yellow and you couldn't do anything about it then you would probably wantto fix the skin tones but as you can see here um you know it has got a bit of a yellow tinge you know um but I wouldn't because it's doctor with it I would you know spend the time to do the grating and correction in the highlights because it's good it's fine you can probably like maybe add a little contrast there but I'll show you that separately otherwise I'm kind of doing different things at once and chop chopping and changing I won't do that we just focused on the multi can't cutting I thought I show you that you can actually going there and expand what is the multi cam and if you need to you can you can go here and then through your color correction tools you can adjust the color the color of the exposure and I'll show you that in a moment all right let's go black tio multi cam you're here all right student again you see that drop down menu here and ugo um show angles there you go now if you don't take that multi cam feature in the plural eyes section you won't be able to get this happening so you need to kind of do that first so then you have that multi cam clip which is this here right and if you have let's say four cameras I'm sorry more than four cameras that's just hypothetically right if it's if it's just two cameras you can do that way but when it this is actually angle so the audio is considered as an angle sidney click in this case and click for and if you have five which you probably would because they got different maybe you got audio for your band or your quartet whatever you go nine and just very simply will just bring up more not not complicated at all pretty straightforward so then oh that's right that's what I figured out you go in when you go into the open in angle editor what's important right you should be doing is you name name your arm your angle because then when you cut can you see how on the screen there I've got over here there's an angle or second can an angle for maine and here I haven't named yet right I haven't named yet I should be naming that um like I the groom or or lectern but in this case I'll just put audio one into and what that does it gives you a reference right because if I just left, you know for example what the second can use and the main cannons the default name it's very hard to distinguish that which one you're coming too I mean you could see in the footage but it's it's better to have it labeled correctly so therefore year you're you're changing to the it's just more efficient basically so audio juan so final cut ten is designed in a way that it will work the more you the more you do, the more you set it up more time spent setting it up and there's a feature their back he words which I make oh touch on a little bit later on the more time you spend just setting it up, the more powerful it is will be for you just for the record are you converting the video footage when you put it in your computer? Are you editing in age to six for good question really good question my machine is pretty powerful so I'm cutting roll not roll like it's raw like you know for cake gonna roll for two to program from a senior camera but I haven't transco did it so you can if your machine what you can do if you your machines not up to cutting the h two six for like the untranslated um for each you can transport it too I'm not going to demonstrate it because my I added editors, they're a lot more efficient in doing so, but I will explain the process and and then, you know, in your own time, I mean, I'll I'll show you the essentials here in terms of the the when you're cutting with this footage, but you can't transcoder and I shall will show you it's just a matter of ticking when you're importing the I'll show you actually you, when you're important, the files, there'll be an option, I'll show you, and I'll ask you, do you want to transcribe your files and we'll do it in the background, and usually you need to believe that overnight, so I will show you that's pretty straightforward. Um, they just takes a bit of time you have, actually, if you're transporting a whole wedding, actually takes, like, overnight on what you can do it, you can cut in that low, that low quality, um, version, and then do your cut, bang, bang, bang, and then you can revert back to to the actual format that you initially capture the footage that the cap that the footage was initially captured in, right, so there's like a proxy version and lt version ryan and I'll show you when you just quickly good important is actually it's a it's actually over there you can transfer of media and then you got the option here create proxy media but when you let's say you've got an empty see I've got on my folders I've prepared all my folders here so I can call my footage if I go for example important media let's go just very quickly uh center there it is no this one wedding so you can actually just clicked when you if you need to import when you import you're around your folders you can actually just click on the folder and will create the fall before you greatly that's that's what I love about final cut ten you don't actually have to create the folders initially in final cut ten and then dragged the footage in the folder you can that's why it's important that you have the prick like in place that you have all your your folders labeled properly and then when you come here and you important footage right there's a bride bride prep input selected bang then you've got this box coming up and I went to it but because in the background will start transcribing my slave my computer and you can create different versions off the transporting not going to get into like detail in terms of the difference, but you can basically go create proxy media or create optimized media and that war transco your media so you can edit your footage in amore basically in a smoother fashion in case your mommy shane, as you can see, is having a problem without transporting. So I'll feel we've a question from the internet is not a good time for that. Yeah, it's fine. So how are you involved with the edit before you hand it off to the editor? And how many revisions do they go through with you before they give you the final cut? Like I know, for instance, they used an editor for the sander and farraj for the same day at it. So how does that process work for you before the same day at it? There is probably just one revision because you know it's a live event, we don't have a lot of time tio chop and change too many times, but when we're doing the edit for the film, just as person per normal outside the winning like outs are the same dead it there's atleast, too, teo update two checks up to three, and that will allow me and the team just to quality control. Give some feedback because, you know when one person has looked at something for a long time, it's nice to have someone else to assess and on fine tune, so probably dance the question three times two, three, two, three times okay? And what kind of communication markers do you set up with your editor to assure that quality control is there and that the couple's vision is achieved? Firstly, throughout the day, I'm making a mental chick certain mental no in terms of what is going on, and then I I bring that I bring that home or bring that to the studio, and I make notes, and I give that to the if I'm not cutting it off. So give that tea editor and explain to them okay, so, you know, this is, you know, centre and fire aj, and this is their story because look, there haven't shot the winning, they have meant that couple, they don't know anything, I can't give them the footage into say, hey, cut this and write, you know, have fun, and so I give them a background, so I basically give as much information as I can a cz possible information that I have that I've accumulated over time, I give that to them as much as I can, so that will be, you know, in a nutshell, how they meant what the heart of the story is, some of the key parts of the day that I believe will drive the story because there'll be a lot of moments and a lot of many stories and all looking, hey during this part of the day look out for this and then this and these two things will be like a nice connection and then I actually got some shots at the bright prep that signified that you know what I mean? Because I've spent the time to learn to know the couple I try and get really specific shorts that that is part of the narrative and I translate translate that and communicate that to the editor and then they know what's the look for they're more efficient in their process and therefore the building off the story continues you know and and it will continue right to the very point until they receive their film and leave and I'll go through that I'll discuss that that that process a little bit later when they after it's been edited what happens after that which is really cool so I have that answer the question you basically need to communicate with your editor very much like communicating with your you shoot this on the day so it sounds like just defending recap what you said that throughout the day you're taking a mental checklist of what the story is so you have in your mind okay? These are the many stories within the day and then you're translating that the skeleton of the story essentially to the editor okay and then you go through a few alterations if it's the same day at its only one one revision that you look really a three for another one that's right my might like you know suggested different shot particular place but other than that just one revision will do and then just one more to finish that what is the workflow for the final sign off like when do you know it's good to go and then you just tell the other ok we're done or what you haven't workflow process around that workflow process so how how do I know that it's it's yeah I'm satisfied ran I mean the films as you've noticed you know it's um it has to have a very, very strong flow and it has to you know and the length see people say, well, how long is the film into bay wei have a guideline in terms of what we find works for the highlights but I'm what I'm looking for is I'm looking for, you know, fairly strong intro I'm looking for and I'll discuss this in a moment but the music selection is really important, you know and that's part of the revision so I'm looking for these things that the music and the many stories that are put together they all they're all in sync you know that they reflect the field off the couple you notice with center and fire aj you know, music was quiet, you know? It's quite relaxed, you know they're quite a conservative couple you know that's just who they are and this story and how it unfolded we just found that that that that music was appropriate for them so I'm looking for those things that the music basically resonates who they are and they're feeling the energy of the day you know, there was a lot of dancing you know, at the reception there wasn't any dancing didn't have any dancing that's just part of the culture which is cool, you know, that's his two they are and you know, as I've mentioned to you guys like if there's something that doesn't work when you film me just move on you know don't force things to happen because then you're not creating real moments there's so much happening throughout the day you there will be other things that will happen that will probably just be better for you so there's the things I'm looking for music selection good intro nice outro and the atreides good have basically just complete the film and as you know this with the films that I've shown you it doesn't leave you guessing like well doesn't leave you like like a well what's next you know I could we could do that but it's not me percy that's not what I'm trying to do we're creating a complete film and and therefore this there's a seal it's complaint and it's finished verification question from willy santiago who is from the philippines do youse prize on the same day at it or just the camera mic audio now he's paralyzed from the audience okay yeah thanks cool okay so um so there we are we've got this with labelled all the angles you see here just makes things a little bit easier and we go back click here so this part here is thinking on its all dark what happened well that's just basically the footage where there was nothing happening licious there was audio start because I usually start the audio quite early just to be safe so I know it's rolling you know and what I do is I kind of and it's on second can and I think from memory the main camp started first so what I do here I could go right click and change your angle you go from second camps and main camp but while you're editing you can do that through here see how it changed into a blade right so you can go do it in real time you can play and then as it plays you can just cut life from one camera to the next but you could just do it you can do it quicker than that you can just scroll okay just wait for the okay so just gonna play it that's good the audio is working waiting it's coming through good I'm happy I'm just gonna check here I may have been the first one starting now okay, so we just go back to ken one sorry man can just find the spot where it actually start so here I'm just basically cutting the I'm not cutting the highlights here I'm just preparing the decorated so it's all this is my work flow I liketo have the ceremonies or sink or cut or done and then once I'll show you a few cuts out I'm going to get through the whole thing obviously because I'm not as fast as my editors I haven't had as much practice is as they have you can go a shift and then arrow okay, so then what I'll do now is I go command be that basically cuts right through and then you go there all right? I'll put the fades and things a bit later, but my first thing is I'm just gonna basically cut this and cut to the different angles and you could do it very quickly you could just basically go just zoom in, zoom in a bit and then I think it's a so basically yeah, I can I can see right and I'll just get some more real estate here so then you're on you're on your way you can basically what I do first is I cut the video cut the video and you know there are different ways you can do this, but I cut the video and decide where I want to cut and I should what I'll do is I'll just swim in a bit more here we go I don't have a mouse here but you know I recommend getting a mouse and not using the that's ismay I just find a more precise with my editing with the mouth and you also get those special editing um what little there's a little box that you can maneuver your you curse and everything is there's something different for everyone I use sometimes the pad here on the mac book but you know the masses really good as well could you go over the other gear you have up there like the external hard drive in the orange thing and kind of describe what that is? Yeah, definitely actually I forgot to mention that once you've captured your footage it's really important to create it back up and invest in a very good got a system archive system. So this is what I brought from australia but you know what we what we have is those docks you get those docks where you have the drives, you can feed them in and they go in cases so and they're all labeled so therefore you can have, you know, maybe a few weddings on one drive and then you duplicate that and you can have it on offside, you have an off site so it's your backup so once you've captured your daughter it's important to back it up and have it on another drive because you know drives to fail sometimes and you want to have that backup you don't wanna lose you so yeah these are yeah obviously want what I've come here I've got what I do is my workflow is this this is thunderbolt which is a lot faster than us three when I'm working on a project or maybe two three projects at once I'll put them on my thunder about dr and then a ll the other projects are on two drives if I'm on the go and I'm traveling to different cities will have two drives I'll have one back in australia and I'll break them up in our kind them into drives here as well so you know it sounds like sounds like a bit of an overkill but I prefer to be safe than sorry I've got one really safe locked away back in australia it's it's got all the weddings and the basic whatever's here I've got it back at home back in sydney on got these to travel with and I've also got this this is my editing what I'm cutting here now is on this and I recommend you get one of these is a really cool really power like very light there's no power cord required and you can just edit on the flight this has to do with your editing process in your finished product because you've been in the been doing this for quite some time what do you do as a cinematographer to keep your visions fresh to keep from becoming stagnant? I mean do you ever find yourself kind of feel like you're in a rut? Is there things that you do personally to kind of have they established different types of techniques specifically to anything obviously toe editing or just for your brand yeah definitely um it's so important to work like what you're doing here you know you're you're basically reaching out for yourself and um networking with other other filmmakers or other you know, winning guys and other you know, other people in the business and that's what what that's what works for me and that's what I recommend people should be doing should be getting out they're going to events going to conferences seminars and meet different people and that's how I find I boost myself and find new inspirations and obviously you know you can even watch films you can read books and poetry everyone's different I'm not a poultry guys but you know I think the big thing is is networking and getting out there meeting people because there's so much talent out there and you know I'm so excited about it because I know I can learn so much from other people because they've had different experiences and different journeys and that work become that wood comes up again and it very much it makes sense for me journeys because we're all part of a journey you know you guys have come over here and you've traveled this way and it's I find it really exciting so dante question yemen getting out there and looking for a new ways and and different everyone's got different approaches I want to hear about it you know I'll be very clear what I'm doing here may not be I know it's something it's unknowing something anyway but it works for may and and I know my editors for example because they spend a little time editing I learned from them actually sometimes you know I catch up with the editor that I use you know just to get some ideas and have an understanding what goes on because that allows me to improve my shooting it's important to understand the whole aspects even though you like you have certain areas that you're extremely strong in then others it's important to get at least a general idea of what's going on with everything so even though you'll come to a point where you get really busy for example you might have an assistant and they'll do something emails it's important that you're aware of how the system works you know don't be completely oblivious to it and I'm not completely oblivious to editing otherwise I wouldn't be here and showing you howto very simply, you know, organize your footage in a very efficient and organized fashion because I'm aware of how it works I can show you some color correcting now and I'm aware of it so it's important? Yeah. So look, this is pretty straight forward, right? You basically you go through a cut and so do some cuts here. So you see second camera kind like it's shaky and I will cut teo that and then the view changes, right? That's cool. So that's that shot that's my black hand shot and what I'll do is I'll just re mean, all right? Because the boys room in the more control you have because otherwise it's very hard to get the precise cut. All right? Oh, what happened there? Alfio? Okay, cut there. Hey, nice rack focus, then let's cut there. Now you're probably thinking what happens if you're both your half like you haven't got the shot, then I would just put a cut in and then I would just, you know, um fade the audio just fade the audio because a cz long as you have most of the entry, you know, sometimes it gets a live event. And look, I'm not a fan ofthe having unless it comes down to what they expect from you if they made it very clear and they said, you know, I really want every single person coming in and they really adamant about it and you know it's a kind of a game breaker then I say I look like I could get into the camera I can look it often put on the sides and we say I don't like doing that because I'm just not a fan of having too many unmanned cameras unless for example doing the one cam operation system and you know you basically put in a spot where it's you're in full view where it is but you know for example in a church there's like different pathways and sometimes these pillars and you can't see what's happening so you can you know utilize a man camera but you don't rely on it um and even though like for example I mentioned that with the one can package I still bring my assistant it's not really on meant but it's I'm just doing all the work when it comes to the crate creativity and the technical that's why I'm saying like I'm not a fan of like leaving on man cameras completely um I've had a a situation where I had the seventy two hundred on tripod a pie like like that camera and a kid bumped into walked into the tripod and the whole thing just fell so you know listen he I know it's editing big keep your equipment safe so I could just continue here um and I just go kart but to cut there comes a kid nice just keep going etcetera any questions right with that I'm a little old school I think in terms of multitrack can you pop the bottom open so you can see the multiple camera angles maybe that's a style thing? You mean like that's your basic separate the because when they're saying like if you find a situation right where both for you this is how I am like I make it very clear we're not here to capture absolutely every second as soon as I get a a little like an idea not idea that I have a a clue that they probably going to be like that they're going to be like I really want everything I make it very clear when it comes to the ceremony you're going to get that pretty much in full but there will be some moments where we'll have to just cut a little but you essential will get the whole thing and no time that attended fine with that but you know you can expand that is that what you mean? I'd like on the bottom just for my editor I want to see the main timeline and the second camp timeline in separate tracks on the bottom yeah, you can you can see that when I see where you've cut between the two yeah, because we're in multi cam mode you basically say here okay, right? But you can go uh that's what you mean right yeah yeah yeah cool see what happens here because with final cut ten you know you have to be careful because you can you can cut multi cam like this as well you could I could go in here and cut it this way and then like a trim like that but you know you say that doing it the other way where it's it's all compact you're not gonna have any risk of things getting out of sync because you know like things like this can happen very easily yeah whereas if you go back to back to this everything's just compact you can see it he happening and then look let's say I need to cut here I just for some reason jump so what I would do I could just put like a little faded black quick fatal black and then you just spent expand the oreo yep and then do that you put like a little arm you can put like a little black thing here so you can fade to black and so that's how you can you know smoothie audio out and etcetera etcetera you continue cutting through until you get something like okay so he's a shantel and sean says you can see here actually you know because I actually did this all myself you know it's this part here is it's all good it's all good it's just that I have a lot of things happening here so you gotta be careful that you know you know lose you think so so once you've done all that now what I do I've got like I've got thesame or done I've got the speeches and toast all done this is what I'm going to present to the couple is the second or the other film their main feature film then I would triplicate this project fall so I'll bring the ceremony that's all cut nicely and the toast and I would duplicate the file because if you start cutting this then you're deleting work right? So that's how I do thie rough cut and it's very simple you just get right click um triplicate project and then you can you rename it something else so bank and you just duplicate the project you don't need teo do anything else and create other events and all this stuff and as is location yet escaping in the lake for a drive and then I'm like a rough cut one I've already done that so I went to it again I've got a rough cut to got rid of one because it's just I don't need it so I click on here and so after a rough cut one eye so let's now let's move into the actual the juicy part of the editing where where you're like you got a ll this information you've cut you spend all this time you know, putting the ceremony together you're cutting all the angles right showing you that in the beginning will take a bit of time if you like me to take a bit longer, I just haven't got the practice, but what it comes down to is not about the so much the technical in terms of cutting all your angles, but once you got all that, I need to think about the story this is where it comes down to the building of the story, so what I do is I look for connections, right? I go for firstly, the most obvious the vows and the toast, right? And in this example here, you know, shona shantel had a lot of story, but you know, you have some couples that may not have a lot of dialogue story, right? Talking story, so they may have more of a visual story and storytelling doesn't have to be just dialogue and you find with great films, you know, powerful film, a powerful storytelling is showing no, I'm not doing it through dialogue, very minimal dialogue and using cinematography to tell the story that's why we know we've taken the time over the past two days look at lenses and look it like techniques and lining to tell the stories much that we can visually so therefore we don't heavily rely on speeches all the time we don't have to, but that's, what drives the story? So what I do is I I listen, I go through it actually listen to the whole thing, that's just how I do it. I listened to the whole thing and I look for based on me, knowing the couple and we're going back to that, okay? We're continuing the to to use that that that process off knowing the couple, I have that in my mind about this story and I and I'm thinking about that while I'm going through the footage and I'm listening for a sound good sound bites and and then I start trimming off, duplicated the project, I'll start chopping out of need that making executive decision, I don't need that, but it's okay, because the project you've duplicated, you've got the whole thing there, so for sun rays, and you need to get back, you no want that little mini story or that little dialogue is really good, I'll get back to it. So we talked briefly about what happens when how many revisions you happen with the editor. Do you ever have clients that you have to have multiple revisions for? Because they didn't like the outcome or there wasn't enough information about their ceremony? The only time I've had a request for change is like a particular shot. And it's. Funny little time that could be, I don't like that. Price made things like that's, like, oh, I don't like that person. And can you just had a bit of it, like, you know, disagreement, and we know. Yeah, something like that, usually, because I put out there, they they hide us to trust, have trusting us.