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Editing Continued

Basically what I've done here is I did a little bit more tweaking before the break, and I kind of just got the audio, the sound where I wanted to. So what we have now is a musical interlude which we're gonna fill up with some B roll, maybe some establishing shots, and then our story starts. So basically, what we have is no video. You have just going The story starts here. Wow. I promised myself I wouldn't cry, but this is gonna be much harder than I thought It When people ask me my best friend is I say it's Rebecca, but I don't call her my best friend, my sister. So I was able to tweet Get that to a point Where hits the post hitting the post meeting. We're just letting this dialogue lead up to the vocals and let the vocals come in. You don't have to do that. You could just keep it minimized. Background. Something I like to do as an opening in this world brings the viewer into this story. So I'm not worried about this part yet. I'm not worried about filling in the opening I'm more worri...

ed about is getting the story flushed out throughout the whole thing. So I sort of have an idea in my head of what I want to do here. So I know for this part here where the chorus starts, I'm sorry. Where the verse starts missing will let this ring out until the second part of the verso starting here. My best friend is I say it's Rebecca, but I don't call my best friend my sister. Big first. Look, start the first law of the whole thing. Just get it in the established, just so on the eight. And then to the one count, I'm gonna move the next part of my story over. So let's just East clips. And I know I have to do a little rearranging here. So best way to move things around each other's left by primary storyline. Thank you, Axel. My editor homes like, so funny. He's the best. All right, so I'm just gonna move these over and it's gonna bump things out of the way. All right. So I'm just gonna kind of place these down here, and I'm not really too concerned about the audio levels right now. I know my music is overpowering my dialogue in places and that's fine. I'll go back and tweet that later. Genz fleshing out way has always been there for me in the way of pictures sister to be. She's been with me through amazing times and even more so during the sad times. Okay, so that brings me up to see what part of the song on my way pre K. Here comes a pre course, and this is pretty cool to be a good way to go jump back to something else. So I don't know if I would be able to squeeze something small. Amount of time here. She's been with me through amazing times and even more so during this sad time. Let's see what Oh, look at that. Sometimes things just fit. It really, really is. Opie Tool. It really is amazing. Sometimes things just work out. Okay, Um and I love it when that happens, because it just makes my life so much easier. So let's see what way slower. This just so we can kind of get a sense, really sad times. She's been with me through amazing times and even more so during sad times that works right I'm happy. The best waited Teoh. I don't like key framing audio key frames for those of you don't know what key frames are. Key frames are a little nodes that could put along a timeline clip. So, for instance, if we want to raise and lower our audio levels, we can do so by a key frame. So I could basically come down in here into the audio clip, which is now said it. Negative. 11. Devi could be lowered it and I could use Option K to drop in a key frame, go to the next point and drop in another key frame. And then I can raise my volume by moving the key frame up. They don't do that gradually. That's one way of doing it. I kind of like to do a different way. I sort of just take the b tool, that blade and snip it like that. And then you can either mix it with a cross dissolve. I mean, it really all depends on how you want to do it. I think for this, for this instance, may be just the usual Keep rooms. Let's just do exactly most people do like to use key for him, and we will find to these later again. I'm just sort of getting an idea of where I wanna be. OK, so I think it's too soon to jump back to the first look at this point. So let's do something else. Maybe preps brides, getting her makeup done from getting a jacket on. I'm thinking about what we have. Okay, story. Let's think about what more we could add. One for something big has to happen on that moment, right? So let's think about what we got. We had the bride coming down the aisle little too soon in the film. I think, in my opinion, I like to save those big moments. We talked about this yesterday. I could save those big moments for the end. What we can do is get the groom waiting up there. That's kind of a big moment. He's standing there waiting for his bride, or we could go back to the first look. That's another option. So I don't know. Let's we'll cross that bridge when we get to Let's just fill in. The rest of the story here thinks, is a good point to maybe put in some whoops. But it's not the mark that just to put in more dialogue here to thistles, where markers come in handy because I can see visually where the big points in my song all right that I want anybody using markers when you edit you guys use. I'm assuming right, That's great, definitely. So let's see what this is when I know has a heart like hers. And I didn't think any man would be deserving of her love until dirt came alone until dirt came along. Let's show Dirk forget this is my thought process is exactly how I added. No, that's nicely writes exactly. It's rigged, and that's just man, that the stars are lining up. It's not anything that I'm doing. It's a sort of like when you capture a good story and you have things to work with the pieces sometimes, right? So again, let's just flush this out. What's throwing a key frame here in a key frame here? And we're just gonna audio when the dialogue comes. Things we know we don't want. That's a music over. No one I know has a heart Lakers, and I didn't option Kate Option que also gives you or command K is something totally different. So health and get those confused does happen and bring this back up. All right, so you see home starting to flesh out the story here, Okay? And we still have the homily to work with. We haven't even touched that yet. All right, let's go back. Let's I'll tell you what, Let's do this. Let's continue one more segment. Let's start. Let's introduce our ceremony. Let's introduce the homily. Then we'll go back and start filling in these gaps. You can start to see everything really come together. So I'm thinking to show the groom here based hind people coming in for the ceremony, taking their seats first. Look, homily on time shifting, moving around, showing different parts of the story. We have four different elements. We've got the first look, the toasts both the morning and the evening when it was actually happening. The homily and the vows. All right, so I'm gonna try to incorporate time ship those around each other. I'm thinking, remember, we talked about the finding a length of your film. I'm thinking two minutes on this one. I'm not gonna have time today to edit a five minute film principle is the same. The way I'm gonna build the story is essentially the same. If I were doing a longer film, I probably have longer gaps of music and visual longer pieces of dialogue to fill the time. And I have a lot more content to work with. We only did very small amounts of a wedding day. We didn't have any bridesmaids to work with. We didn't have a large photo session. So I'm thinking two minutes. Because today I want I want to show you something that's finished by the end of the day. You know, I want you to see something, John. Good. Okay. Um, what do you What would you do if you didn't have the music? What if you if you had Teoh? You know, you didn't know what music you couldn't find music or used to start to edit. I would chunk out all my pieces, get all my dialogue cut up to know exactly what part of that I'm not going to use the entire homily. I'm only gonna use the best parts of it. And I'm only use the best parts of the maid of honor speech. I'm just gonna chunk them out. I wouldn't be doing what I'm doing now, which is fitting it to the music. I would lay out all of my dialogue, so soundbites air there. And then once I had my music, I'd go back and start putting it to the music B roll. The filler is what I do last Nat sound and stuff like that. So we don't have any of that son of her doing the makeup and stuff. We might have some that sound of him helping him with the jacket. The best man in the groom. Oh, and that last that comes in last dialogue. Chunk it out. First music fit the dialogue to the music, then go back in there in your filler. B roll. Other parts, like the first look, I can the first look so awesome from yesterday. I have cut that up in the six parts and use them and we'll get to that. That's why I want to show you a little bits of each year. So you're not getting bored going. Okay, Rob, we get it. We know how you flush out of story, alright, But I do want to show you how Ah, full story can come together. So let me go and add another piece of the homily that answer your question, John. Okay, because I Yeah, what? What? Anybody like not having music, though? Are there times that you run in the issues finding music that well, I mean, well, you start off saying that you don't edit to music like that that you don't, But we're kind of like this is I guess you're kind of doing it simultaneously because we have the music here. It's not like you just late. And I can tell by your style that that you have it in your head and that the music is just a company. But sometimes if I'm doing like a family said I don't have the music, You know, I'm just like, all right, women. And I have these clips and I'm just like, searching for some music that would fit the mood or something like that. So I You can't edit to the music. I don't have it. I will do that a lot. Let me address. This is a perfect example of that check. Take the ceremony. For instance. Right here. This is just a ceremony clip. Sometimes for pieces where I know I'm just going to use score. Musical score Instrumental with no lyrics. I will not edit any music. And this edit divisions first. Here's a perfect example of that. I'm gonna take the audio, the music, immune it. All right, watch this piece. Now undress in the coal. We're going to share their vows to one another. You've always stood by my side. Even if you didn't agree with my point of view. Yeah, You've always supported me. Especially when I second guessed myself. It wasn't supposed to be there like that. Let's fix that. Done. No. I promise to be open and honest with you. You mean when you don't want to hear it? I promise to encourage, inspire you toe laugh with you and to comfort you a tons of struggle. And I promise to cherish you and always hold you in the highest regard. Yes, my love is yours. And I love you. So I ended that without music. I just put it together. So I get the pacing down where I was gonna put the cuts where I was in cut back and forth where I was gonna put in reaction shots. Okay, then I went back and just literally laid in a piece of music with no editing whatsoever. And this is what it sounds like. Now, undress in the cold. We're gonna share their vows to one another. Way stood by my side. I didn't do anything special. I just put the music in. What's more important is the visual storytelling in a dialogue. In that situation, the music is just enhancing it. By the way, those birds, that's a sound effect. Now, undress in the coal That's without careers without one another. Very flat, very dry. The birds filled in that little gap. Their silence. You had that back in little, little things like that make a big difference in and edit and bring you bring it to life. So, yeah, to answer your question like music, you don't have to edit to the music. We're doing it. In this case, I can illustrate how I added to the music, in a sense. Okay. All right. So I Rebecca has always been there for me. Okay, so let's see what we got here. I told her my sister standing and just kind of visualizing here. Rebecca has always been there for me in the way of pictures. Sister to be. She's been with me through music times and even more so, girl sad times. She's been with me through amazing times and even more so during sad times. Okay, so I'm gonna grab some homily and started growing in here. Then we'll go back and fill in some of this stuff. If you have any other questions. Shot amount. As we go, I'm going to take a second and I'm gonna bounce to our ceremony sink and let's see what we got from the officiant member yesterday on. Mike went down. We're very fortunate in the sense that he actually came through on the groom's mike. And this is what it sounds like. Come get to the part where he's talking is more than joining the bonds of marriage. It's a little far away, right, but when we read meat and redoing, it sounds much better. So through their time together, they realize that their personal dreams hopes. Here's something to get a big difference, right? Meaning here's something to notice. Look at the view meter through their time. Together they've come to realize that their audio only coming out of one channel, right? Because the audio recorder was recording mono Left Channel. Let's find easy fix for that is his highlight. Your clip. Come up here to your inspector window, go down to channel configuration and change from stereo to dole. Mono personal dreams hopes. Now it's in both channels arm or a very simple audio fix. Raising up a little bit The Union of Rebecca and Dirt in marriage. Nice, right? Trans er 50 microphone Sounds really good, right? Mike? Mike sounds pretty good. Recorders. You know, pre amps are important. I think it really comes down to a lot earlier. Mike, you have a question about the song freedom and getting the rights to a song. So you're allowed to, like, manipulate a song and, like, double intro change where the bridges and stuff Beautiful rights. You could do whatever you want to it. That's fine. Okay, let's take a piece of this. Let's see what the officiant says that we can use. Let's see what we got here. We're gathered here today to witness a celebration the union of Rebecca and during in marriage. Yeah, through their time together they have come to realize that their personal dreams, hopes and goals are more attainable and more meaningful through the combined effort and mutual support provided in love, commitment and family. And so they have decided to join their life together as husband and wife. True marriages more get a little winded, their their time together, they have come to realize that their personal dreams, hopes and goals are more attainable and more meaningful through the combined effort and mutual support provided in love. Three Blade toll shift. Let's cut all that go back to where he started and during in marriage, through their time together, they have come to realize, right, So that's a fragment. That sentence You can't start there. So we have to include beginning dear friends and family, your friends and family. Okay, Blade, toll chop. This is it. It's anything is boring and tedious sometimes, but it is what it is, man. And you have to do what you have to do in order to build a story. So I'm only selecting what I need here. I know I'm going to use these three angles. Okay, So we have That was our top angle. Probably needs to be a little bit recomposed. This is after the sun came out members. So we got really dark in that room. I think this footage looks pretty good for being 1600 eyes. So 35 generally for the aperture and about 50th of a second. Most most of us were somewhere between 40th and 50th of a second. It looks pretty good. I mean, I'm happy with the luminous on that in marriage way. Don't see the priest's face during this part. We don't see him talking except while on the wide shot you will, you know. But that's good. That's a good thing. So way have a few questions about sound effects? Sure, Nick Miller films wanted to know out the bird chirping What sound effects library I use of others. A website called sound rangers dot com Sound rangers with an S, and you could purchase sound effects individually. So if you need birds chirping, you just taking birds chirping and it'll bring up a whole ton of birds chirping. You could play them previewing down look a dollar 89 each, and I've built a pretty big library here, and I don't like buying sound effects library because sometimes some are good and some are bad sound. Rangers is cool cause you could go and pick through the ones you really want. So here's my sound effects library. Ambient sounds downtown. If I'm on the street doing the photo section school put background. Otherwise here, real trucks going by. I don't want that. I want it to be subtle. You know, um, one of the ones I use the most is applause, and you'll see this later on. It can stuff do, but it actually works so much fun. Question from Bobo is how does Rob choose the right songs? That's a good question. Um, I don't like to use to mainstream music. That's to mainstream. I don't I mean, something has some great a great selection of mainstream music. I avoid the really mainstream stuff because I feel like it dates the piece. I'm looking for singer songwriter folk in indie music, indie music a lot, because in the music is really a lot of money. A lot of songs I was using my films about a year ago that weren't even heard off are now becoming popular songs, not because of my films. It's because they're gaining popularity because of song freedom in, like music, bad in all that kinds of. So we find oftentimes that our music is being coming more mainstream down the line. But I don't want to pick something that's mainstream now and then it's gonna get tired after a while. One of biggest compliments I do get is that Wow, I love the music you picked because it's not typical music I'm never gonna use Shania Twain's from this moment. Never any use Gangnam style. Nothing like that. It's never going to use popular music. I really try to go to something, and I'm looking for mood. I'm looking for feeling and emotion, and I like a song that builds starts off kind of slow. And then the chorus is build one by one toward the end. It's like just grand and strings come in, and it's got a lot of feeling to it, because I could make my visuals match that in the pacing. My films tend to get faster in the cuts toward the end, so I'm starting off with the slower movements, slower pacing, slowly building its rising and falling action. It's storytelling. Take a basic storytelling course. Rising action, falling action, that sort of thing. It's a great idea. Take a basic. There's some great storytelling online courses. You could take that. Basically, just talk about how authors build a story on paper, and we're essentially doing the same thing. Except you're adding that figure, that picture, that your dialogue, your spoken dialogue is your words on the page. We have this extra element of of, ah, visual that we add to it like visual aid. And then we're working in the fourth dimension. A lot of editors have a problem getting their head around that thinking in the fourth dimension is really especially for photographers or learning cinema, sort of like they're good at visual storytelling. One image, you know, click while the expression there really says a lot. But what happens when that expression is changing over the course of five seconds for light changes? You know, how do you deal with those issues? And how do you tell a story over times of being ableto live and move and think in the fourth dimension you're dealing with not three. It's weird. What's one dimension? One dimensions a line right straight line. Not this, because that's one them. It's heightened with what first to mention is line. Second dimension is adding with an length. Third dimension is adding depth, right? We don't use depth here, so we're mainly dealing in the second dimension with in height or within length. Rather, we're skipping over the third dimension except your you know, your depth of field. And then you're jumping right into the fourth dimension, which is time. So we're trying to make the second or trying to marry a second mention in the fourth dimension. That's what video X film story Storytelling is sort of all about that. All right, one more quick one from Addy. Far in England. In what situations are sound effects, not advised? Get a good question. Um, fart noises, comic relief. You could make a groom look really bad, Especially. He's got this kind of look on during the toast. Just put that in there. I wouldn't do that. Um, no, I don't know, man. I use wala a lot. This is great. Wala. Let's say you've got people standing around cocktail hour just set the tone of the mood in the room. Sometimes we'll use wishes for like transit quick transitions during dancing footage. You know your camera spins. You know, trailers use that a lot way. See that? A lot of trailers, brides, typing on a keyboard, typing your vows or updating your status on Facebook. Sometimes you get it on camera, but they be allowed bridesmaids. They're screwing up your audio. You know, I use a lot. I mean cheering, like during the dancing footage. Just mix it in. It should be subtle. It should never be in the foreground in the mix that you never be like. Wow, that's really loud, You know, when the bridegroom were pronounced husband, wife and the kiss in turn. If I don't have good sound from the ceremony, I'll put it cheering in the foreground like clapping and cheering in the foreground. And if you mix it well with the music, it works, all right. But I don't know bad instances. I don't know, just I think it's addition by subtraction that the scene doesn't need it. Don't use it. But if you feel like the scene is empty, listen to turn off the video or turn away and is listen to your mix and if you feel like there's missing elements. Like something sounds too empty. That's a good time. All right, so that way we copied this. Let's move this over to our at it. Cl wedding chorus right here. Control V is gonna pop that in. I'm gonna extend my music out. OK, good. So now I've got this piece of the homily in here. Your friends and family witness celebrate marriage through their time together, they have come to realize that their personal dreams, hopes and goals are more attainable on more meaningful combined effort and mutual support provided in love. Holy cannoli that fit perfectly combined effort and mutual support provided in love. And I can't even space that out because he's really kind of jamming his words in there. I can kind of space him out to fit perfectly, to hit that post again. And then I'm on to something else, right? So, really, this is starting to come together for me. In my mind, it's really in its infancy stages at this point. So let's start filling in some gaps. You can see how I start piecing that together, beginning what I want to show here. I didn't get a shot of the outside of the building. So what can I show here? Needs some sort of established, right? How about we know we're going to see her? Wow. Giving promise. What? We show her writing the speech to begin with. All right, All right. We need footage of our brides. Maid of honor. I got my keyword collection here. Let's go start pulling some generic shots and I don't want to use axle. See lips moving way Do have this nice slider. Let's start with this but trying to find the best shot of about trying to find a shot. Shut up, Rob. Let's see. Try that in amusing the keys I and 02 set in an ounce. I'm happy with that. So I you know, you could see the yellow range that's been selected here, and I'm just using that part. Final cut Pro. The new update 10.0 point six made it so you can select multiple ranges on a clip and they save. There will be there when you get back is always you. Hold down command so far. Yeah, command, right there we go. It'll save the so if I click away and that was so annoying with the first version is you know, you wouldn't be able to do that. So let's go pull that clip again. I think it was somewhere right here. Right? Get there. Just so let's go in. And I'm looking for, like, a to three second shot. Nothing crazy. Okay? And I know it's gonna go down here. I'm going to use a Q Q. The key work, you or keystroke. You is append connected clip. So I'm just gonna start that there. I viewed my audience. Let's back up. Perfect. Let's grab another shot in the sequence. Member. We talked about sequencing yesterday. You're going to see the first sequence come together. Actual shooting has increased again. I'm doing this on the fly, guys. Okay, so that's good. I'm like, extending us out back a little bit, just trimming here. I'm just grabbing my clip in this, extending out the the beginning a little bit. I don't need the audio on these clips, so I'm gonna mute them in case I start talking. But they probably did their instruction. Good. I'm not always editing to the music. Changes to that becomes a little bit too predictable. So I want to try to keep my pacing smooth and fluid, but I don't want to change when the music changes. I don't want it to be always a cut. So let's see it for which I really like. Okay, that should be good. Let's see where that puts us right about here. And everybody has their own methods of where they like the place clips on the timeline. I'm sort of just all over the place. Let's go with a close up of her face. Here it is to establish her working in groups. I'm very shallow here. Get in there. Building the sequence. Wide shot, close up, close up. Medium shot. That's three close up. So consider breaking it up, but also I have because it was really rushing. Okay, so here's these clips are a little bit longer. Remember, I kept the camera rolling. Normally, each of these shots would be individual clips. I would stop and start the camera, so I'm gonna zoom in a little bit final cut. You can take this slider and zoom in to a range of time. Helps you to scrub a little bit faster. Find different things here. Medium well, she's kind of thinking about what she's gonna write. What I would like to do is so let's maybe cut that in, try cutting in right here. That should bring us right to where we want Obey somewhere around here, actually want overlap those a little bit and let's drop this clip in here who don't want to do that. I'm not used to working with a try patty that you guys work with the track pattern mouse. Now it's right. I usually edit what mouse. It's really tough to death with. A truck hand goes up. Their continuity is important for me to Yeah, continuity is really important. It makes things cut together way more smoothly when hands air consistent between shots. She's almost teaches writing in that shop beforehand. I'm not worried about that. I just want to build Wow. Okay, let's talk about Jnl. Edits you guys know what Jnl edits are okay, I You make a lot of use of jnl at its. I want my audio to start before my changing visual. It's a it blends two sequences together. So, for example, I don't want to just assumes the maid of bottom starts talking here Cut to her on as she's talking, I want to let the audio coming first and then show her maybe a second or two later. Okay? That's called a J Edit picture. Well, for you, is this picture the letter J, right? And then an l let it is the opposite. And now that it is where the visual continues over the audio, right? All right. So I don't want to show that yet. I'm here. I'm gonna start multi camping now. We don't want to get to her yet. See how much play we have in the shots. Alright, let's try that. Wow. I promised myself I wouldn't cry. Okay, just blends it. It's not perfect. Just blending in a little bit. Maybe we'll consider throwing in maybe another shot. So we go from this and I wish I had another wide shop that I don't deal. Way to use that. We did not use that. Grab a question from your Carter media from Atlanta. Will transitions be added later? Or are they not needed? I'm a street cut kind of guy. I rarely use a dissolve. I'll use it. Dissolve to show the passage of time. If I'm going from one scene to another, and there's been a long passage of time. I'll use a dissolve in that case if I'm going from. If I'm just trying to blend two sequences that I think it is, all works for emotion, I'll use it 98.9% of my cuts or cuts. Yeah, I never use wipes. I'm not George Lucas making Star Wars. I'm just not into any other transition effects whatsoever. Would you ever have two clips playing side by side for any reason in the edit, like inside of cutting back and forth between bride and groom and the person giving this speech? Would you show them facing each other? Not my style. That's purely a filmmaking style. Steven Soderbergh loves to do that. Ever watch Ocean's 11 Ocean's Ocean's 13. He does a lot of sequences where he's doing a lot of split screen theory. Journal director of the original Hulk movie Waas. Ang Lee, Big Ang Lee. He loves to do split screens, not my style. As a filmmaker, you have to define your style. If that's your style, is nothing wrong with that? And your clients like that? That's great. It's not myself. Wow. I promised myself I wouldn't cry. But this is gonna be much harder than I thought it when people ask me, right? Simple cuts, guys. And you could see the story starting to build one. That simple story. When people ask me, we'll start music. Drop that all. We had a beauty. Okay, I thought it when people ask me with this friend is I say it's Rebecca, but I don't call her my best friend. My sister. Okay, so now we can start getting into a little bit more of the filler here. Let's go to the bride's prep. Let's take in some of the makeup shots. She's talking about the bride. Let's go see what we've got. Here's our makeup again. I had left the camera rolling at this point, so I'm gonna zoom in here a little bit. I want peace first. We're that's such a traditional makeup shot for me. I did it yesterday. Let's drop that down there. Sometimes almost grab a bunch of clips until I kind of see what works and what doesn't make up Artist. A lot of times take a bow. Good. Like the shot you get to see her hair, how it was styled. And that's only about something. I don't use a lot of whole big hair. Makeup shots are hair shots, cause a lot of time. The bride's makeup isn't done at that point. It doesn't want to see yourself on camera. Makeup's not at least partially done. That's cool. I do like that. So let's take it from here. That's good. So again, I think this is a similar to how you guys at it. Are you finding similarities here and like the way I'm kind of going through the shots really is. It's common for matter, not doing anything. Ground came here. It's more the storytelling and how we shot it makes a big all of these shots together. She explains it right there. Cool. When people ask me with us for an insight, the's air all B roll shots So I'm gonna start mixing meat. These are audio up, and I like I like my B roll to be paced out, sort of fast. Don't want Oh, this perfect. That sequence ties nicely just like that. It's Rebecca, but I don't. So I'm just tweaking here. I just want to get. Actually, it makes more sense to go from that shot to the other way around. See what I'm doing here. I'm just really trying to tell the story. I'm looking at what I got. Yes, I say it's Rebecca, but I don't call her my best friend. E my sister and a little bit too fast. But let's go to that. I'll just get around here just so we can move on and I'll tweak this a little bit later on my sister. Good. So it's Rebecca, but I don't call her my best friend for my sister, right? So now we can go to the groom. Let's get I. I like to try. I don't spend too much time on. Perhaps I want to get it out of the way so we can focus on other things. We have a lot here. I know. They gave us a lot of work. Brooke, meet this audio. I hate audio skimming. By the way, you could turn off your skimming through that. There's something else we could do. Any questions at all doesn't doing this. Good question. Do you blogged put online every client that you go see if you can choose who and then also like, Yeah, delete stuff that you have done for years ago. Yeah, I manage my online stuff tremendously. I don't post the whole lot online to a block or something like that. I m or like give it to the client for them to share around. Vanessa will talk about this more later on more about giving that putting up on their personal Facebook page and letting them just letting them blasted around because they will do a much better job of getting it in front of their friends. And I will. Their friends aren't coming in my blawg, and I'm not really concerned about block Traffic for me is a business, because that's not what drives don't get business. I'd rather get published on a blogging style. Me pretty or something like that. Little black book members on their website. They get a lot of high end leads from that. My blawg is probably be very neglected just because I don't spend any time. I'm more concerned with trying to get work done. A question from two thumbs fresh. What would What should we do when brides and grooms are talking? But we have music playing in our edit. For example, is it bad to see lips moving on screen? But no dialogue? That's loose lips. I call that I don't like that. It doesn't look professional to me. You wouldn't see it in a film. Yeah, like if you Yeah, I don't know if there's a lips moving. We should hear what they're saying, and I won't just put dialogue in for the sake of having dialogue again. Addition by subtraction. I'd rather it be more compelling using, um, dialogue from something such as the maid of honor, toast of the or the homily or the bows rather than Nat Sound when a noisy room or you could barely it's and it's hard to tell what was being said. I only encourage my editor CDs, Nat Sound preps if it's really if Mike was close to the mouth and it sounds really good, you know, because I want production value to be good overall, you know, I don't want it to be like all the home video is giving. Is that one part of the audience sentinel crap? You know I don't want that, you know. I mean sometimes can't avoid it. And that goes hand in hand with the question that you asked about. Do I put everything online? Not every wedding is a winner, you know. I mean, I struggle just like everybody else. I mean, we strive for, Ah, high level of quality. But not every wedding I do is my tip is my bride is the kind of bride that I want to do. So I'm not gonna show off that wedding because I'm afraid that that will bring me mawr of that type of wedding. And I don't wanna do that. So I've tried. I've worked very hard to be very specific about the types of brides that I promote because that's what I want in return. So does that is a follow up question. Does the loose lip apply to face time with guests? No, because we're adding Walla into the room and the wall A is the people talking? So during face time, you can cut around people going Oh, yeah, really? I'll get out of here, you know, like that's okay, because you've got wallet there, and there's a sense of people talking. It's when there's just music and loose lips. It doesn't, doesn't fit. In my opinion, you guys could think differently. That's my pin. One more question. Do you ever use slow motion effect? Rarely. If I'm gonna do slow motion, I've shot it at 60 frames per second and I'm gonna slow it down via that way. We didn't do any of that yesterday because I really don't fit it into my head. It's a lot. Circumstances were might be nice is maybe the bride coming down the aisle. If you have a nice tight shot, you could slow that down. Or the handoff or Dad hands over the bride. I just have this sense that slow motion to me is almost like old nineties video went back in the days, and the only thing you could do in a non linear editing system was just do slow motion and add black and white and color effects. I don't know. It's not really my style, but you guys do you guys use slow motion in your edits? Not really. Yeah, I don't know. Just not really something that I like to do. Nothing wrong with it. I just not my style as first since you select the songs, Do you have a limit of like how many times you use a song or do say, I'll use it now, but I won't use it for another month limit because this is awesome Song. It's a great yeah, some songs, like a tired of Faster than others And I know my editors just at home right now going Oh yeah, we have, like a list of retired songs. Okay, when I we have screenings in our office. When a film is done, we all gather on and we watched the film and then we beat the crap out of each other. So it's sort of like we watched the film. And if it's a song that I've heard a 1,000,000 times, it's on. Like every film we've edited in the last three months, I'm like, Okay, that's it. That song is done. Put it in the bin. We have a music folder on our network drive on our server at home that has all our music in it, and let's literally take it out and put it into a trash pile will keep it. But it gets removed from the from the music library. Nobody's allowed to use that song anymore. Happens Yeah. Did you have another question? Wantedto like maybe touch more based on, Like, how do you explain to a client that you're not gonna post it? Like, what if they, you know, they buy, you know, the highlight and they want to share it with your friends with their friends, but you don't want to post it, although they can post it wherever they want. I'm just not gonna highlight it on any of my featured stuff. So it's still alive for you are, like, password protected in, all know, making life for them. I'll just hide it from my video, give them the link, and then they can post it wherever they want. That's fine. I don't care. I don't put features up online while put that I put features up online. But I password protect them and I give him to the client. And if they want to share the link and the password with somebody, they want to see it. That's fine. It's mainly there so they can download it and pull it down, and then they could put it wherever they want. That's fine. Once I hand a film over to a client, they have permission to do whatever they want with it. I don't care. That's fine. I will not take a wedding. Um, just because I don't like the wedding and not put it up online for somebody, that's just I wouldn't do that. But I don't get a lot of a lot of clients saying, um well, you featured my sister's wedding. Why didn't you feature my wedding? And the truth is, Well, your wedding wasn't nice enough. Your wedding wasn't I didn't I didn't like it as much. I didn't have emotional appeal that I liked. I only blogged weddings and really highlight weddings. I think you're exceptional. It's just they know that I don't promise everyone a block posting. I don't promise everyone a movie poster these, you know? Yes. And I will throw these in if you book us both together. But if you book me in a different photographer, I can't give you this. I can't take their photo and make a movie poster unless they're willing to give it to me. And I've had brides go and ask the photographer. Hey, my cinematographer disease. Really cool movie posters. Can I get written permission to use his photograph That's fine. But I'm not gonna go call a photographer and say, Hey, can I have an image so I could do a movie poster? There you go. What are you crazy? You know, unless I know the photographer that it's different. I've done that before. Way. No, somebody of photographers, bias, but yeah, you know, it's not This is not a democracy. Well, I guess that's under it's It's not It's not fair. Treat, not Life is not fair. So I'm not gonna, like, treat every client as I'll treat them exceptionally in terms of giving them a great product. But I'm not gonna go, you know, submitting every one of my brides to a blawg. Not gonna do that. Okay. All right. And if you think of more questions like that, shot him out while I'm editing here. I mean, I know you guys kind of see what I'm doing here. I just want to try to put board this together. Any questions, specifically that you want me to demonstrate for you specifically that you're curious about? Because I could do that as well because I'm gonna have an hour and 1/2 between segments. Teoh Really fine tune this so we could get the color grading and that sort of thing. But is there anything else that you want to see in particular? No. What about the audience? Can have. There's a little delay. So we will ask people in there to send in their ideas. Okay. What? They want to see a chat room? Yeah, sure. Gordon? Um, with posting the videos online. Like you said, you give him a link or whatnot. How long do you keep the videos online for them? Because I know with a lot of websites, you can only have x amount of, like, storage or whatnot. Like I'm just curious with I have a video probe count. I can keep much up. There was. I want it's more along the lines of old videos up there. They don't fit my style anymore. I will pull them down. My cell is always evolving, but I'll let the bride no before I pull something down. Okay. Hey, listen, make sure you download this cause I'm gonna take it down. If you want to re posted somewhere else. It's fine. But that's where that I do that I did a mass cleansing of my blawg and everything. Like a few months ago, I would just took out all the old stuff that this doesn't look as good as my newer stuff. See, comes Trumpster like, how do you add a slug? A slug? Okay, that's a great question. So let's say I have Let's see, how can we do this? If I have two clips that are next to each other, let's take I don't want to mess up the edit. Let's just take this clip and drop it down here between replace. Okay, so have two clips that are next to each other. If I just want to add a slug between them, I can select this range here and go to file. I'm sorry. Edit. Insert generator gap and it put it while. Sorry. Put it with the play Head is here. Let's do this right there at it in, sir. Generator Gap. It'll put a slug in there. So that's a slug of black. You can also do placeholders. Same concept. You go to edit insert generator placeholder, and it gives you a little graphic and they actually have different placeholders like that's for a long shot. And this would be for a medium shot and see what kind of plan out your story board. You know, close up. If you wanted to do that, I generally edit as you see me editing here. But that's how you would do it. Slug Another way of doing it would be Teoh. Just use your P toll. Just grab P told grabbed clips. You want to move, and as you move them, that will automatically insert slug Cool warrants. William Warren says I've noticed in other videos foot shots. What is an attractive foot shot and when No gnarly toes? Um, yeah, you could do foot shots. I mean, I how you use it once in a while. I like shots where it's kind of like they're pulling the chair and you see their feet under the table like that. I don't know. They shoes, you know, they shoes bride shoes. Definitely. She's wearing blue batons, man. Christian Louboutins. You want to show them things off, So yeah, you know, Jimmy shoes. Then I will tell you she is. She'll love shoe shots, so shoes. Okay, Okay, let's move along. So All right, so I'm back here, over with my groom, just trying to get some story going here. Brides wide shot. We got the groom, put his jacket on, got this guy watch and he's got the tie here. So let's go from this. That's that. That's that. Let's go to this and again. You guys can rearranged clips, however you're comfortable with on the timeline. Tell me, all of you, that perhaps a tie. Oh, every now and then he puts the tie on. So we got a shot here. I know I have a back shot to, and that's what helps it with editing. Your own footage is you know what you got. What are some general guidelines that you use for transitioning from one song toe another in a longer video? That's a great question, transitioning from one song to another. It's this. Here are a little street. Let's open this film from yesterday. This is the 20 minute film from yesterday. So let's say, do you out and received here. The music drops years and with the slightest touch different, sold as a slave, no other the's air, the hands that will hold you when fear or grief fills your mind. These are the hands that will countless times Wipe the tears from your eyes, tears of sorrow as in today, they're tears of joy. These are the hands that will tenderly hold your Children, the hands that will help you and strengthen you when you need it. And lastly, these air the hands that, even when you are wrinkled and aged will still be reaching for yours. Still giving you the same unspoken tenderness with just a touch right here. The action of loving Well, it's hard to get frame accurate when I'm scrubbing through on a quick time movie here, right? 12 14 seconds. So it faded out and the new music kicked when the scene changed. That's one way of doing sorry. It's hard to get, but basically, yeah, that's I'll change. I'll let my music fit out suddenly let their something be something there to carry it like dialogue. And then when you switch scenes, you got a new piece of music. I don't really give a cross fade music together. I think it sounds like to deejay mixing music during dancing. Segments of people are partying and dancing. I will actually piece together, beat mix like a D. J. So I'll take two songs that are similar and beats per minute and actually mix him. So we're not playing three minutes of the same dance. Song will use a minute and then go on and I'll do four songs in a four minute dance set. Keep it moving. Keep it different from you. Yeah, that's a great question, though. It's a really good advanced question. Leads this way. Okay, so let's go. Just need another quick here. We got the front shot here. Perfect. And then I know I've got the shot of the guy from the front. Pretty sure he walks around the back. Okay, a lot of this is searching, man. I don't go through by all of my footage and separate every shot that would just taking way too much time. I'm not going to spend that much time, but I will go through and break it up in the day part. Yes, I had a question about that. So you won't take the time. Like, let's say, if you have hey, picked up his tie two or three times, you've got different angles. Like you wouldn't break those up into different shots and favorite them or kind of you would just find the one you want if you kept the camera rolling and then just use that you mentioned favoring my favorite. I will do favorite. And that's how I will decipher. Yet if I made him do it two or three times, for example, let's say I like I like this shot. I like that shot right there. I will go like this through my clip. This is all in the same clip. Ah, Highlight Hit F. It puts a green bar over the here. If I click away under another clip, it puts a green bar up here. That means I favor Did that? Okay, I could tag that so I could essentially take that piece, That piece right there. And I could go. Let's see. Uh, okay. And I could type in Thai. It'll tag just that right. And if I come over, if I go into my filter, which is command K and I search for keywords type in the term, I think there's a way to actually, I don't do this very often, actually, but there's a way you'll be able to type in just the name and would bring up that clip on Lee is that we're talking about. When you favorite, do you go through Final kind, actually. Favorite the clips. Where do you actually call down the actual video file itself? Yeah, I'm asking if you would, like, cold, down or break apart a clip that maybe was 20 or 30 seconds of slider shots and you did a few different slides. Would you break those apart and then, you know, basically they're all good takes that could be possibly used. Then you might want to use them. But then you take that extra time to actually break apart, put him in your bed and keep him there. And then later, when you're doing your final edit, actually go through and make the final decision and grab the one you want, General. Because of the 10.0 point six update, I will just go through the clip like this, and I will select different ranges holding command like this. And then if I go back later, I know Well, these are my four good takes and that I could just go up to him if I could tag them like I just did. And then searching by key name barking by keyword filter. Or I could just go through and slide through them because of the skimmer. I find it's easier just to go and do that now. I probably won't take the time to cull them down by video file. I think that's just it works for you and that helps you organize. You know, one of my editors would probably do that. She's really organizational sees role, centrally ordinated, organized. She likes toe, have everything perfectly separated and knows where everything is at the same time. Personal preference. In this case, I'm just kind of going through, and I shot this less than 24 hours ago, so I know where everything is cool. So here we got a basic story going. She's been amazing times and even more so that so I probably have to find a cut away, some sort of area. Some sort of a reaction shot would be nice. So let's go. Reception camera. One final toast here. Let's go find some reaction shots. His mom, they're shot. We'll use it. It's fine. I'm just I'm really picky about that. Normally would be, ah, tripods to, so be a little bit better. But they're Yanks away. We definitely want to cover that up, obviously. So we throw in reaction shot instead and then come back. She's been with me through amazing times. All right. Can you guys see what we're trying to do here? Just kind of build a story? Let's throw in. And we had that part. We're going to get the first. Look, I want to show you guys how the first look's gonna come together. You guys did such a great job helping me out with that. Okay, Think something got moved here. I'm just gonna slide this back over to where I wanted it before, Which is right about there. Boom, P tool. Great. Let's grab the first look. I did sink it up, so we have a sequence of it here, right? And the first thing we did was let them run through it for real. So what I'm gonna do is establish that the groom is in this location. All right, so we have this top shot here. We've got this back shot, and I think we have a shot from the front, which would be this shot here. So that's a three shot secret isn't in itself of him waiting for her to come in, right? So let's go on ahead and what's grab? Let's start with top shot. Get me out of there. It's ridiculous, right? That's all right. So let's start from rate about there. He's like getting his hands in his pockets. Blade that played out weightings. Blade. That. And here I'm just taking small clips rather than taking chunks. Now I'm just taking the small clips from my sink. It's easier to go through my sing because everything's already wait where I wanted to be, rather than going up through the clips and pulling things down from there. So just gonna go way Don't need our audio. Obviously, go back into that sequence. We don't want to show her coming up yet, and I shot. Okay, what? We want to show that yet we want to come down here to down here, and we want to use a nice shot of I like the shot of her coming in behind like that. That's really cool. And if we had more light in that room, it be really nice. To not be so shallow is a perfect example of shooting to shallow because we needed the extra stops on the aperture. We I think we show this, like, 35 or four or something like that. I would have preferred to have been in, like, eight here because when she walked in behind him, you see more detail of her. She wouldn't be so, so blue out. You know, I want some more detail, but, you know, you gotta work with what you got here is where you guys rack the focus perfectly. When she was walking up behind watch the fact that raffle was here you rack right to her, which was great. I really like that. We'll definitely use that in there. So for right now, I'm just gonna use a shot of him standing here and get me out of there. Okay. So right about there is good laid play out for a second when we start seeing her, which actually is. Okay, let's let's let's go with that for right now. Copy that. Back in here. Face it in. Drop the audio. Just a lot of steps when you're editing, you know, Do you guys tend to use Mork e, but keyboard shortcuts when you're editing? Because I know like final cut pro tennis Avery keyboard shortcut heavy program I'm or of like, the Mouse editor Is that what you guys tend? Tend to be more of You are your arm or of a keystroke person? I will, from speaking of the high I esos from learning which, if any, noise reduction software would you use I really? There's Onley. New blue Effects makes a noise remover in one of their video of Central's package, and I played around with it. I find that what it tends to do is take facial skin tones and make them look almost like they're painted with watercolor. So I don't really like the way it makes my footage look. Light Room four from Adobe will actually remove noise. And if I have clips that are really noisy, what I'll do is I'll wait till the pieces completely edited. Export only the parts. I want to do the noise removal on bring them so I'm not gonna do noise or move on the entire range of clips that I don't and abusing because it just takes too long to render. I'll bring in the light one for all the noise removal there and then important back in. So your only noise removing the shots that you wanted. I know this other programs out there. I just haven't really mess with them. A lot of the times I try to remove by noise by color, grading and correcting. I've been successful with being able to do that little bit. I'd love to hear suggesting that what? What people use. Okay, Definitely. Until I think this is all shot. 1600 eyes. So I think it's pretty good. I mean, happy. All right, so we got her start in a walk in. Let's go to the glide can shot. We have a glide cam shot of her coming in. We have this side shot here, the slider when she comes into. But I don't want to burn up all of my first look yet. I definitely don't want to do that. So let's see if I can find the And here I am searching. I could have taken more time to really organize the shots from the first look. So, Seo, actually, here is what I did a photo session. Gliders line. This is my photo session. So somewhere in here, let's go back to our sink sometimes. Get a search around first. Look, sink out there. Okay, so it's gotta be in here somewhere. It's probably mixed in with one of these. This is all part of editing guys. It's not always fun. It's probably mixed in somewhere else. Close? No, no. All right, so we'll skip that for now. We'll come back to it. I'll take a look there on the brakes. It will find its probably just fixing with one of these other folders. All right, so we're starting to build that first look into things now, which is nice. And I wanted to kind of establish that early, going back to that as a as an exerting through until and I do want to hit the the beat here because it's kind of that big moment on the one. And there we start seeing her come in. So I'm gonna shorten that up. Letter actually comes to the come to the point where she's on the other side of the shoulder again. Not all the shots of the same length to on pacing this out. You could even go a little bit longer there. All right, let's see what else we got. We have the top shot, which you've already used. We have this shot from behind, which we have a news has got some nice broke on it. You just grab that, drop it down, and I will use the same angle twice. I'm not afraid to go back and use it again. Is it will be different action happening in the shot. But the angles find it's cool to establish multiple angles and use them again. You, your friends and family can I know I'm gonna do a J edit here, so I need to get to this point on the timelines I wanna marked at that point right there. This is Mark that So we know where we want to pay. And you asked about other people's solution? Yeah. And jam media says I use red giants magic, bullet noise after effects. Yeah, you could do it after. Good. It's a good idea. Yeah, I generally in pretty good about noise control and not letting it get too out of hand. I'll never shoot something at 6400 eso mark three shooters. Um, how how much do you crime to when you're when you're shooting 3200 and 6400 if absolutely needed. But you know, 2500 great 1600. Great. 3200. Especially if you just want to get more depth field on a Steadicam or whatnot. Then you can shoot it at 56 and go to 60. 400. So that's what that allows you. More leeway there. Nice. I would love to be able to push that much. Here's a nice shot the glide can track. Just grab that. We throw that in here, see what happens. This And right here, we'll go to the slider. Do you think would have been there? It is. All right, so we built a little sequence around her first look here. So it's to see how the ties together and went to make some tweaks. You, your friends and family. What you guys think time together nicely, you know, and again, I'm just sort of whipping this together, right? Yeah. Do you ever get less noise and high eso in video than you would in a still on screen and even less than a still print? Yeah, it's what is the term we use, baby? Sort of like new ways and photography can be artistic, but in video looks like bad TV reception. So we, uh yeah, If you pause something, you'll see noise Mawr And I think a good example of that. If we go back to our ceremony here, if I just pause on Let's see. I know there was a clip here that the noise was pretty prevalent. It might be shift. See will come back out. It's probably on up. I think I see it there. Just let's go here, here, in here, OK? I don't know if they'll be able to see that at home, but let me go full screen with this. You should be able to see there. Okay, look in the wood, the redwood behind them in the background. If you look closely, you can see color noise in there. There's watching I play it. It's sort of smoothed out a little bit on the screen to made my eyes. It just sort of it wasn't as bad. Um, in motion there. You kind of see it when I'm playing it back slow. But at full 24 frames, it's not as a parent, but yet when you still it, it's way more apparent. So yeah, the answer. The question Yes. And John Deaf. I know you said you don't do a lot of slow Mo. But as the bride approaches and the first look with that, potentially be sure Yeah, absolutely. I mean, however, you can make it work dramatically. It's fine. The one mistake I made yesterday is I didn't shoot that glide cam footage of 30 frames per second. I just kept it a 24. I was thinking about so much when we're teaching that I didn't think that put it back on 30. If I had done that, that glide camp shot would have been slowed down to about 82% and it would have a little bit more dramatic motion to it. But it's OK. I'm just illustrating some editing here, so it's fine. Um, can you explain that just a little bit about the 30 feet, 30 frames? Yeah, you What is the best to use when you're gonna take it to slo mo? Just drop it on the 24 frames per second sequence like this, and it will actually make it will actually do the pull down for you conform into 24 right on the timeline, which is great and the method the algorithm uses to do that. I think it just pulls out a couple of extra frames, and it just brings it down to match the frame rate. That's the beauty of working and final cut pro tennis weaken mix frame rates right on the timeline without having deal too much of rendering and and following the earlier versions of. I wanted to give you a lot of headaches. If you tried to do that, it's not that bad. You. I mean, I could still slow this down if I wanted to. You know I could easily, I'm just not a big fan of slo mo and the way it looks from a non linear editing program. It's just not something I tend to like to do. Um, in fact, it's like something. It's something I don't even hardly ever use. I don't know where to find it. I know you can do it, and they moved it around since the since the new version. But it's not something I ever really use, but it's under the re time option. I know that so and look for where it's his re time if somebody knows where it is. What? That? Yeah, I thought you could to let's say every time. No, that's his real name anyway. Yeah, I don't generally use it. It's under re time, and you could just slow it down. I don't It wouldn't look is good. Here. You take when you slow down 24 frames per second footage. It's 23.9. It doesn't look right. Just jagged under if you guys following find that. But it's just your friends and family were gathered here today to witness a celebration. And now here I would just start multi camping this and this is how I multi came. I don't go in tow. Multi cam. Yngve, You guys use multi cam where you actually switch live. Do you do that when you're doing creative editors more for just, like, clean up at it. So you're doing your long for love for long form? Yeah, I would, too, if I was doing it for long form for a situation like this, that probably wouldn't I would just caught up like this. I feel like I have a little more control. I can see the thumbnails on the images and move celebration union of Rebecca Enduring. And if I wanted to, I could even move. Weight is and B roll here, too. I'm just gonna kind of stick on it for a few seconds and let it kind of ring out, do their time together. They have come to realize that, and I'm just what's just grabbing and trimming, pulling and just making things look clean, come to realize that their personal dreams, hopes and goals. And remember why we talk about wide screen yesterday and shooting for the wide screen. When you see me widescreen this later, we'll we'll recompose some of these shots. And this one. If you look at the horizon, it's a little tilted we can fix that doesn't think much to fix that. I have a question that was asked a lot earlier, but not sure if it's relevant right now from Come 86 is, do you ever use the multi cam editing slash angle viewer abilities within final? We were just talking about that. Yeah, well, if I'm doing a long time thinking a whole ceremony and I want a multi cam, it right also there ago. Camera one camera to camera three camera on camera, too. It's really cool not gonna get into it here. It's pretty simple. You just I actually created the XML for the ceremony to make me a multi came Clinton so I could actually go file import XML and go into my ceremony sink. And there's my multi clamp multi clip XML and give it a second hero imported and make a multi cam clip for me, of which I could use the multi Clint, the multi cam angle viewer to do that. So I think his main question was, Is there an advantage not using? Oh that? Not really. It's just personal preference. A lot about editing really is person. People do things differently. Shane is more of a keystroke person on more of a mouse person. We're doing effectively the same thing, but her workflow works faster for her when she uses keyboard shortcuts. It's not faster for me because I have a hard time remembering all that stuff. I'm more like click drag drag and the thing to remember with this program, Final cut Pro X is designed to click something and do something to it, all right, and that sort of everything in the program is Click and Do Click and do Click and do so I'm always mousing everything through their time together they have come to realize that their personal dreams hopes and I'm moving around the camera shots a lot. I don't like the late lay on something too long, definitely attainable and more meaningful. Cute combined effort. They were so cute. Effort, mutual support provided in. And I would even maybe consider going back these shots with the looking at the officiant maybe rather go back and find some shots of them looking at each other and put those in its place in. The beautiful thing is, we don't see him talking except on the wide shot. So we don't have to worry about loose lips. Is mutual support provided in cool? All right, so we had about 10 minutes left in the segment. I'm gonna take this during segment three and added it mawr into a story. You guys, you guys feel like you have the idea of what I do. Did you feel like you learned a little bit about how to put it together? I know some of you arm or experience that interests. You really kind of understand this a little bit more. It's just this story building and how I go about telling the story. Using multiple parts of the day is what I was trying to convey. And I just like to I mean, if your incur, I like to encourage editors. If you're doing more music videos and you want to incorporate more dialogue, that would be a good place to start. This is my style. You may not like it. It might be. You might want to do something completely different. That's great. This is an easy way to start time shifting pieces of a wedding day together. And I hope that for those people out there just getting in a video editing Eric, what do you think you were? You Are you finding that this is inspiring to you as far as knowing how you're gonna build your red, it's when you start. Yeah, because the few productions that I've made so far I've done basically start to finish picked up my song and they start building all the way through where this is making more sense where I'm putting the bulk pieces in there and then going back and fine tuning like this just seems so much more smooth than me sitting like What am I gonna do next? So very helpful. Yeah. What do I do next? The fresh, that daunting question. I hate backing you. Almost paint yourself into a corner sometimes. And you've used all your good stuff. Then you go. I really don't have anything good else to use. And that's gonna hurt the peace. So I mean, if I feel like something's not strong enough, I just won't use it and then focus on something else. Here. We've got solid pieces of you. Get a nice little ceremony. First look. Maid of honor, toast and her doing in the morning. So we're fortunate disrespect plan the wedding day and you will walk away with good stuff to use in the edit. You see how it all comes together, right? If we had really bought yesterday, we wouldn't have much to work with. If we really did lose the audio from the officiant and didn't make him go back and redo it yesterday, we'd be in some do do because we wouldn't have that toe work with. Right? So be asserted. Be vigilant and be, you know, be a presence on the wedding that make sure you get what you need. What I really am learning from you is when I watch your video. Yesterday I found that my eyes were tearing up and how you're doing that is your building it up with the music. And even though we've seen a bunch of getting ready in the prep and she's approaching and we still haven't done the official first look and it's just building and building, and I think that's what makes a huge difference on what you're teaching this is supposed to be doing. What we've done before is from beginning to end and chronological order. Thank you. That's the story telling aspect, right? I am thinking about building up to those moments. I want there to be a point where this song, this song, will go to its climax on the third chorus, and I know that just because I know the progression of this song, because I know the song that well. But it's the type of song that does verse, chorus, verse, chorus, bridge, chorus, chorus end. It's gonna repeat the chorus twice. That's right here. That's that listen to the breakdown. Real soft. Everything cause guess what shot? I'm putting their first. And I actually got goose bumps as you doing that cause I could feel it coming, right? Anything. That's what makes a big difference. And it's how we pace are shots. As we add it up to that, that's really gonna make you feel it. And I'm hoping in the third segment, while Vanessa's teaching you guys I'll be able to get to that point is moving along. You look at the timeline. We're like more than 1/3 of the way through. You know the song and the song is I think it's somewhere around three minutes we actually extended the intro to were almost four minutes. So we were on track to build a four minute film in just a couple of hours here today, which is essentially what I do, what I do. Same edits, except that wouldn't be talking to you like this. If somebody comes up to me, Rob probably t just go away. I mean, Vanessa will tell you like when I'm doing the same to editor wedding, she's like, I'm not even going near you. I don't want to see you until this money is over, because, I mean, I just have to give it 100% of my attention. Anybody here ever done the same day at it? Have you done, um, full out? How long did it take you from start to finish? I mean, I think I was aloud like a 4 to 5 hour gap in between. And we were a pro raising cause I was on seven. You know that the pre is done. I'm pro raising, but it's like giving yourself Really, is it so hard to do, man? And I get so stressed out. It's a great feeling that when you screen it, people are just like, Wow, that's cool. I'll stand behind. I'll look at the bride and groom, but I'll stand behind like random guests in the crowd and they don't know me from Adam, you know, understand. And I'm listening to the reaction and I just here Are you freaking kidding me? Like, That's so cool. I go home with a big head like that. We have one this weekend with about a two hour gap and end of the ceremony toe showing it so and How much will you put in? We put it. How long will you make it? How long will the final piece try to do? Like 3 to 5? Really, That's ambitious. So you'll and what will you focus on what you do? A similar format where you're just taking one storyline in going back to re just trying to make it more of a music video from start to finish, we'll do them writing their vows in the morning, right? And then have them read it. So we have some audio is the story. Otherwise it will just be a music video, and then my ideas to maybe have them do a first look. We'll do like five cameras for the first look and then maybe actually have them continuing saying their vows to each other, like in person during the first look. Yep, something like that. And then show to the ceremonies due to different ceremonies and then Indian one right and yeah, and then maybe even try to show the grand entrance, if possible. That will be like, if you could squeeze it. If we can use it in, that's that's ambitious. I'd love to see if you feel like posting it. I'd love love to take a look at it. The thing with the with the same it is. I always have what I call the fall back method. I will be very ambitious in my semen, has got a lot of dialogue in there. That's my style. I like a lot of dialogue and I'll have big moments in there. But I had this method where if I find myself really running in the time crunch problems, and my or my computer is giving me a lot of trouble, which had happened in the past, final cut keeps crashing. For some reason, I'll just you know, I'll use dialogue up to a certain point and then this music video out the rest of the way. You know, you gotta have that fallback plan or to save a piece of dialogue from the beginning. Slapping into the end in case I run out of ideas are so cool. All right, well, I think that's pretty much it for this segment. I hope you guys got to see how I build the edit a little bit. I am gonna work on this some more today than when we come back, We'll talk about color grading, correction and whatever else you guys want to learn. I'll be able to take suggestions. We've had a request to see what we've done so far before going to break possible Schurick in full screen would be cool to sure. Absolutely and again, we haven't find to 90 audio yet. We haven't mixed audio. Wow, I promised myself I wouldn't cry, but this is gonna be much harder than I thought it would be When people asked me who my best friend is. I say it's Rebecca, but I don't call her my best friend. I hurt my sister. Bring them. Breathe out. Tell me all of your doubt everybody leads this way. Just has always been a She's been amazing times and even more so through sad times. She's been with me through amazing times and even more so during sad times way so far. You see that one little dialogue peace loop. It was a duplicate. We would just go out and swap that, but basically you start to see it coming together and I'll be able to whip something together on. Then, when we have a finished piece, we'll talk about finalizing