Wedding Cinematography

Lesson 28 of 33

Video Ingesting & Mini Sequence Edit

 

Wedding Cinematography

Lesson 28 of 33

Video Ingesting & Mini Sequence Edit

 

Lesson Info

Video Ingesting & Mini Sequence Edit

let's work with this footage that we that we shot over the course of the past two days I've got my uh cf card plugged into my handy dandy card reader and hopefully my mac is identifying this this card reader tenderness okay so as you can see here I've got my my cf card in there with some of the footage that we've shot over the past two days during the live shoot and now we just need thio um get this footage ingested and there's a couple ways that we do it now remember this this footage here is h two six four some people will enter and I think adobe premiere is one of the programs right now that can end it these native follows with no problem in real time in final cut unfortunately you can edit these follows natively a real time but you're causing your mac system to work double just to try to decompress these very compressed follows h two six four generally is used as a acquisition and distribution koda not really it's not really intended to be a net it kodak and that's why apple came o...

ut with a kodak called apple progress which we love to convert the footage to I'll show you a couple different ways that we convert our footage tio apple press one of the ways that I I personally liked in just the footage so is using this log and transfer and this here should identify the clips that are on that card and hopefully it's going to read that card that I have connected to the computer I will say they come up here just a moment take this might take a couple seconds any questions while we do this does anybody use any other software to convert their footage to progress we're using an impeaching extreme clipper and we're actually most of the time using them ah not the progress but sony extra comics similar size of the files which is a friendly kodak friendly correct also for final cut yes and it's perfect and you mentioned that although this version of final cut cannot edit h two six for natively without rendering each time you make a change the new final cut ten of course can similar to premiere and there's the option there that as you import it can also create optimized media which is progress so itjust automates that on import in final cut ten okay perfect yeah and listen you can edit these native falls in final cut seven the only deal is if you started playing filters and things like that you're going to have to run the clips get smooth playback without the dropped frames so that's kind of what I think the only difference between double mirror and the and the new final cut ten so these clips are taking a wall to get in here another program that we use is a program called uh uh bro or soft video converter there's a pretty good program so you get everything converted over we'll just open this up since our final cut is just crashed okay so we'll open this out this is all good all right so we'll open bar soft and we'll do here is we will choose a foreign format that we want to convert to which is going to be apple progress and we use the lt version which is apple programs light and we're going to select a location where you want to say that we can actually brows and I'll actually just say this to my desktop and I'll create a new folder on I'll just call it uh creative live covered that's it so we've created that and now we just need to select our follows that we want to convert so we'll come in here tor cf card okay so we will select all the clips we need here weighed only that just make sure all these clips of government okay perfect so let's just select a few of these we'll cover tamal way would just drag him into uh brush off get a load all the fouls on this works pretty quick and we're ready to convert so you just click this button here in broad soft and this is going to go along and it's just going teo hopefully very quickly start converting all the files that we just dropped and it's going to place them in this creative live folder that we've designated on her desktop so I'm gonna fire up uh final cut pro gun with as much traveling is you and jessica do um how much of this editing and some of your work do you do on a laptop versus you know a dedicated pc with some of the more you know heavy duty processing power and things like that did you just say pc where you're stand alone and alone way probably dio desktop one hundred percent of our editing on the macbook pros because we're just we're they're always on the go or we're sitting on a couch trying to be comfortable editing okay or sitting in bed you know I mean trying to edit lately yeah I've upgraded the ram on mine and I've had some good luck with it but I didn't know if you guys and you guys said it uh on your bed at night like yeah your laptops and things like that all he's very disciplined he says no way twenty seven inch display doesn't fit on my left okay okay okay yeah so we have we have ah a few macbook pros so let's see how this is doing I want to bring this footage in here we'll take a look at bro soft and it's almost done very well it's importing do you uh is that creating a copy or you actually transporting the original files no it's actually creating a whole new fall okay and it's it's uh the actual original fouls air not being compromised in any way so since you've backed it up twice in theory would you just delete those original files so that you're not having four copies of them just you're not because I know I can fill up and drive so quickly so are you doing to backups trance coding and then deleting that that fourth backup I get very nervous who went to leading the original files like I told you before but I'll tell you what I've been doing I have been converting every owns footage that we have from a wedding to apple perez light and making two or three copies and then deleting the original h two six four photos whether or not you want to do that it's entirely up to you um but I've been doing that just because we just want to edit that peress falls on not even mess with originally to six force things like that so it just depends on what your methodological um what's your method is for backing up your footage do you ever keep original for sure you know how long you keep forage on after you are done with the project we haven't deleted any waiting since we started so we still have what weddings dating back to when we first started so you know like a hard drive I mean about the original files not there another image files from for dvds or way after about two three years I would just kind of keep one copy of the entire wedding after about two three years and you know just in case you want to come back and maybe order all the old files from the wedding or things like that or they want to have edited the full versions you know the ceremony the speeches and things like that so we try to keep one around way have tons of hard drives thing around pretty much everywhere so we just try to narrow down to just one copy of the wedding on dh hopefully nothing happens to you know the hard drive storing that stuff yeah okay so I think our footage is done so we will go ahead and bring that into now with adobe premiere can you just dragon drop folders here why couldn't I do I opened a premiere and I couldn't do that I was just doing it wrong it knew it was you and final cut it knew I was a final cut guy okay all right so this stuff has already been converted which is great I got this stuff look so uh what is all this stuff look so contrast it let me take a look at something so let's see what we got that's still looking that is so odd my best guess here is that maybe something happened in the conversion in gross offs and the conversion is all right so you know we'll do it we will actually well just bring in the original files furrows light no it's okay let's just work with original falls so when it works we use bro soft or the log in transfer to bring in our files but we'll just deal with original policy that looks better no all right so we'll bring in some files on we'll just work with these there we go now we have a good looking broad again okay so we're bringing in the files were looking for what smooth footage we're looking to clean up the footage so this is what we're doing in the rough cut stage what we're organizing our clips to certain sequences were looking just clean up the clips now if you notice here when the makeup arses dabbing from the makeup to the bride's face we want this movement here because this year we're going to use to complete like a little mini sequence of shots so from here I'll set my end point and now she's brushing I and then I'll probably set an out point and this just became ah to second club two seconds with about nineteen frames you could give yourself just a little bit more since it's just a rough cut I'll sit it out and now it's about three seconds in twelve frames and I'll send that down to the timeline I will match sequence settings and I'm getting that on my sequence again what someone in the chat rooms thieves is saying the under exposure is a bug in final cut pro seven that the viewer changed the background a white and then back to black does that make sense to you change the background white blood troubleshooting troubleshooting maybe it has something to do with um the live you hear from mom from the laptop to the monitor could be okay are they saying are they seeing the clip um I guess they're seeing both I guess you're seeing it looking good and they're saying what's on this thing okay okay so basically and so we could free the shot I would just go along and we'll keep um here you can see a different clip where I went from we'll just go through the rough cut stage won't pay too much attention teo exposure problem that's going on here well set are in here and you can see we landed here so even though while I was filming I was in the same spot I generated to pretty usable shots with same without having to move so I've got one static shot which is going to be here which avery which has a very important movement which is the makeup to the bride's face and then my second clip is here where I have more well movement clip now she'll make sure that's clean right about there and then I'll set my out and then I'll send I'll send this down to the timeline and I'm just going to kind of keep going along I can't even do one where pulls out so I can go from here to here and even back too there and here I'm just giving my editor a lot of content toe work with even though it's the same shot I'm gonna get my editor a lot of shots to work with and the edit so I'm going to send this down and and this is basically our basic rough cut where I'm gonna go through I'm gonna go through all the bright perps shots now remember that original shot the first shot that we took where she was going from the makeup to the bride's face now look what's happening here when we go to do are wide shot you see that so now from that tight shot I can cut to a wide shot as soon as as soon as she's working on that on that right eye of the bridle and we'll do that what kind of piece together a little mini sequence and we'll send this down to the timeline and when you're creating a many sequence look what happens here so now I have something that looks like this make a move this along a little bit right about there and now when I pieces together now it kind of looks like there was two cameras in the room and if I'm fast enough I can even add maybe a third shot so this so this is what I'm talking about when I'm talking about little mini stories that you're creating within the film that make it look as if there was two or three cameras in the room when there was only one but the timing you know it's almost like piecing together a puzzle and and the time is going to be critical and remember you have to let the you're gonna have to let the clip each clip live on screen long enough for the person to kind of identify the clip digested process it and then you can cut to the next clip you know but you don't want it too long toe become stale so just think about how long the clip should exist on screen before you cut to the next clip okay and then we'll just move along and here we can kind of see what we have uh and we could probably start this here and end it there so a lot of these clips aren't even that long like this clip here's one second twenty frames but it could work internet it's somewhere right there and how does that clip look it's not like a normal looking shot that you would just expect to see in a wedding video it's kind of different it's kind of unique you know I'm using reflective surfaces and things and when I'm shooting and like I said yeah the day before yesterday we're just trying to add interest to these shots just look for something that can make this shot a little bit unique so we will add that down to a rough got which looks pretty good set up and we're just moving down the line here and now this is this is the zeiss hundred macro two point oh now I'm getting a little bit more intimate here make sure my exposures on okay good and actually would this clip here I can I can create my my three shot sequence okay good so I'll bring this down to the timeline and now maybe we do something like this hey is this one it is so now we'll see how this looks but we do like a three shot sequence and just an example of how you can start to piece together some of these shots that you do and that's it so we just basically go along each clip looking for shots not now these shots here obviously where the makeup artist is bending down trying to find her makeup this is all going to be considered junk footage so we're going to trim off and we're just kind of looking for thiss movement here this woman here is critical because as you saw with the first little mini story that we did it allows you to now stop this shot and moved to maybe a different composition and with the intention off piecing these clips together and post and this looks pretty good right here and now we can move to the next clip that we'll see what we have and as you can see here as I'm shooting you could almost predict what my next shot was because I've already got I've already got this and where do you think I'm going next I'm going to a tight shot I'm going to come in close and this is all the order of how I shot it and now I've got now I've got my tight shot here so just becomes very easy and post to pieces stuff together and how the shots loved they look good if they weren't hunter exposed um okay good now it's all underexposed okay all right so let's work with something different before I switched to adobe premiere

Class Description

Ready to find out what separates wedding videographers from sought-after wedding cinematographers? Join acclaimed event cinematographer Ray Roman for a crash course in wedding cinematography.

As he shares what he’s learned about filmmaking working with NBA All-Stars, high powered CEOs, and everyone in between, Ray will guide you through every stage of filming a wedding, from first looks to post-production. You’ll learn about the key gear needed for documenting weddings. Ray will cover basic film structure and time-shifting methods. You’ll also explore both basic and advanced composition techniques that you can easily integrate into your workflow. Ray will also share his proven sales and marketing techniques for connecting with clients and turning consultations into sales.

By the end of this course, you’ll have the skills you need to market your services, capture weddings on film, and give your clients a jaw-dropping record of their once-in-a-lifetime event.

Reviews

a Creativelive Student
 

A couple of years ago, I made a bold and somewhat wreckless choice to take out a home equity loan in order to help finance my son's dream to start a wedding cinematography business. Together, we embarked on a journey to learn everything we could about the business. The most important choice we made was to purchase the Ray Roman Wedding Cinematography course. This class saved us so much money as it helped us understand our camera, audio and essential and non-essential gear. We were inspired by the artistry in Ray's work and have implemented many of his techniques in order to Improve the quality and production value of our films. In under three years, we have filmed over 50 weddings and our company is well established in our area. Buying Ray's class was easily the best investment I made for my son's business, One Night Only Films. Thank you Creativelive and Ray Roman for helping us start a successful and profitable business.

a Creativelive Student
 

WOW!!! What an amazing experience. I had the opportunity to be there in studio with the creative live team and Ray and all I have to say is it was amazing! The creative live team was FIRST class and this course was jammed packed with information!!! Forgive me if I asked to many questions but I wanted just to pull all the info I could of out of Ray. From being there in person and owning the course itself I have to say that this is a MUST have for all cinematographers of any level! Buy it and watch it again and again! Thank you creative live for this amazing opportunity! -Aaron gracemedia.info

Gingerbread Productions
 

So good, that I've returned to it again! An incredible course, filled with information. Along with Rob Adams' course, I believe this to be the best Wedding Cinematography training possible on the Net. Ray is an absolute genius. Humble. Respectful. Intelligent. His tips of using the bride to get things done his way, are genius. The way that he constantly refers back to his wife, is great. He speaks in a way that trains the brain. I take in every word because of his presentation skills and what he did with a monopod helped me greatly in my first wedding. After viewing both this and Rob Adams' course, I feel ready to start doing this. More of the same, Creative Live! I would love another two tutorials like this, and would instantly purchase them! Thank you and thank you Ray! Inspirational.