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Post Production Organization

Lesson 14 from: Wedding Cinematography

Rob Adams, Vanessa Joy

Post Production Organization

Lesson 14 from: Wedding Cinematography

Rob Adams, Vanessa Joy

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Lesson Info

14. Post Production Organization

Lesson Info

Post Production Organization

Let's talk about, um, you know, we're talking about, you know, everything that it takes to put an end it together. We've seen how it you know what it takes to acquire all that stuff. We spent all Day One planning the wedding day talking about what equipment we're gonna use. Day two is all about how we implement those tools and techniques. And now we have to talk about a successful at it, not just in edit. Anything could be in at it. We can take bad footage and edit it. We can take good footage and edited, but for you to have a successful edit there, my five keys to successful at it. The first case we have multiple. Great. The first key is to get organized. We really want to make sure that when we open the editing program, everything we want to access is at our fingertips. Because what's the one thing that will slow you down tremendously and Internet is searching for things. Have you ever had a lot of footage? And you're like, where is that shot? I know I got that shot of this and, you ...

know, just having everything in one folder you're even just in a couple different bins is usually not enough organization to really be able to be efficient in your editing. I like to know the second the thought pops into my head that I want to use something in a place or to tell a story. I know exactly where to go get it. That will keep me moving, keeps my creative juices flowing and keep my mind on track Toe what I'm trying to accomplish. Get organized. Let's take a quick second show you my organizational system. Okay, This is how I organize my job. So we're gonna go to my computer now, guys in the booth. So we can kind of see exactly what what I do in order to organize my footage. And I gotta give props to my crew. My crew actually helped me to devise this system. So right before we leave the wedding, you know what? We've been copying footage all day to the hard drive during the wedding. A lot of times we in the past, we've done a lot of same day at it. So we have everything organized that the day of the wedding. But now what? We do is when I go home to archive the footage that I can't sleep until I archive my footage. Or at least no, it's copying over we have. We've created an organizational system on the drive that organizes everything for the editor. So when it's time to edit, were ready to run. So just a quick overview on equipment here just let you know what I'm using. I'm using the brand new Mac Book Pro 15 Retina Display map book. It's got 16 gigs of RAM in it. It's got the 3.6 processes that I'm using. A one terabyte raid, zero stripes. Let's see. Little big disk, Thunderbolt drive, blazing fast stuff. Okay, this allows me to really access my footage quickly. Within final cut. I am gonna be editing with final Cut pro 10 today. I love final cut pro seven. I have to be honest, but with Apple moving in a totally different direction, it's it's not working correctly on the operating system. Now, online doesn't run it correctly. I do like final cut pro TEM. Nothing has a lot of great features, and it is fast, but it's still not as stable as final cut pro seven waas and overall as an editor, I think they are implementing some really good pro functionality back into it to appease us pro users. I'm still not 100% onboard with it. I do. I do like it. I just can't stand premiere. I'm just not a premier editor at all. I just don't I don't I don't like it's interface at all. It's a traditional nonlinear editor. Final cut Pro 10 I think, is the future of where video editing is going. And I think for people that are new coming in and they're just starting cinema businesses like Eric, learning that new system and training your brain to think the way that program works is smart, because I'm having to relearn the way I approach and add it coming from seven into 10. All right, so real quick. I want to show you my organizational system. So I talked about the hard drive that I'm using. I'm right now looking at my let's see little big disk, and I got a bunch of stuff on here that I've used throughout the workshop. This green folder here, the creative live 12 for 12 Creative life older. This is exactly how I would set up a wedding folder. You can see the two folders above it. 7 16 12 Khan and 9 22 12 Brandel Boma, These air other weddings I've done so we always put at least one of the names as the title of the folder. We always put the date first. So it you know, it's listed in chronological order on the drive and in here. And if you have you guys at home have the pre edit checklist if you bought the course pulled out open now but you're created checklist. You will see exactly this system as I'm showing it right here. I've got color coded folders and I love the max. I could do color coded labels and it's always the same way. This little rainbow here is always the same labels. Always the same number is always the same colors. Folder one is footage folder to his project three. I'll explain what they are. Footage is obviously all of our footage and the way that I organize my footage is by day part. Okay, so I've taken all the no matter who shot it. All right, I'll take all the footage from the bride's prepped dressing. Put it in a folder, break it down into makeup. The maid of honor giving her speech does. This is everything we did yesterday. Okay, Ceremony, camera, one camera to camera three. Okay, on. I might use the name of the camera person. I'm just, you know, because we were in teams. I didn't do that. I just kind of kept his camera units ceremony. Establish er's face time. First look, camera 12 and three. So everything is organized for me in these folders. And what's beautiful about Final Cut 10 is I can tell Final Cut 10. Bring this in his keyword collections, which means it will organize it in this exact format in final cut 10. So if I need something from the first look, Cam, I can just go right to the first Look him one keyword collection and boom, There's all my shots from that, OK, we'll get until I'm not gonna get too much into naming and re tagging footage in final cut pro 10 because that takes a lot of time to go through a tackle of your footage. Anybody working in 10 that goes through and tags all their footage. It is great. It's fantastic to be able to name your Sometimes I'll rename my actual video clips, so I just do a quick keyword search and find it something quickly. But generally I find that just for doing my type of edits. Having just the keyword collections in folders like this is more than enough organization for May project. My project folder is where I keep all my plural eyes save project. So if I have multiple legs like, I had to sync up our footage yesterday from the first look because we have three cameras. The ceremony. We have three cameras and reception because we have three cameras, so each of those is a plural ized project, and we'll get in the plural eyes in a minute. But those that's where I store my projects. If you're working in final Cut seven and what's yet, what's nice about this organizational system, it's It's not its editing system ambiguous, so it doesn't matter if you're working with 10 7 or premiere, this will work for you gets just save your premiere project file to Project Folder and down here the bottom is the final cut files. Pro Project folder. That's for my scratch disks. OK, but final cut doesn't work like that, right? We all know if we work in 10 the scratch disks are kept in different folders. Azi could see here. These aren't folders. Final could've been symbolical projects. That's a whole different thing. Three is audio. So I break down my audio into folders according to the device. All right, so we have that task and 07 mark to the rolling or a five and then the role in our 44 on And what I've done is I've gone through my audio files from yesterday, and I've called I've trimmed the fat off of the audio files. I've opened them up as way files in Adobe Audition, taking all the stuff we don't need and just chopped it off, keeping on Lee the dialogue that we really wanted. So I renamed it officiant. So if I play this dear, friends and family were guys every day and witnesses celebration the union of and during computer. Anyway, these these files are all named, you know, for what they are, so that that's helpful. And that's very key for When I start getting into the edit and especially plural eyes, I could just grab the ones I needed in sync them up. We'll show you that the second graphics instills if I've done any work in after effects or if I've done any work in photo shop J pegs or I've got photos I'm going to use or something like that. They go in the graphics and Stills folder complete. This folder is for When I'm All Done and I want to export my high res quick times for use in the Adobe Encore or DVD Studio Pro or whatever offering program I'm using. I store them in here this way. Everything's in the same place so I can move this folder from Dr the Driver, take out the drive and put it on another system, and everything's in one spot. There's none of this missing media crap. I don't deal with missing media. I can't step. That drives me insane. DVD Blue Ray. Obviously we know what this is. We keep our DVD image file in here when it's all done for archiving purposes. If the client comes back and wants more copies of their DVD or blue right, I will charge them for it. And I know exactly where to go to get the I. So and then we talked about the scratch this folder. So this is a great organizational system. All of our jobs organized like this. And no matter who's editing, they all know the same system. Organization 101 All right, So that's how I organize. We're gonna go back to the keynote. And now that we're organized as far as having our footage together, we have to take the next steps in getting ready before we start building the story. So the next thing on my five keys to a successful at it is you gotta learn to be patient and budget your time. All right. Like we said on day one, this cinema is not easy. It's not easy. Editing is not easy, and it's not going to be fast, especially if you're not organized. So you have to budget your time. So my key two and three sort of go hand in hand. There be patient budget time and don't expect it to be easier Fast. You have to give yourself a time frame and try to stick to it literally say, I'm giving myself 10 days to do this at it. And editing is not is not the time for procrastination at all, because it's not the type of thing that you can give yourself that 10 day time period. And then day eat comes along and you're scrambling and putting everything all together. When that happens, whenever that happens, one of you know that it's it looks horrible. You get rushed stakes that you're gonna have to take time to go back and fix anyway later. So you're spending even more time. Um, and it's sloppy, and I like to look at my editor, me proud to be happy with what I see and not go man. So you may not even be something that e mean it start a lot of things, you know, I always like to preface with things that we recognize in an edit or even in a photograph. The client may or may not, but you know when you're handing out good work and when you're not and you always want to be proud of what's going out the door, right, So give yourself a time deadline and stick to it. You know, discipline yourself. It's it's really important if you have editors and your training editors train them to be disciplined, you know, set hours, you know? So I expect this to be done. We work. We pay our editors on a on a motivational scale. Basically where you know there's there's bonuses for early good work and there's deductions for late work. You know there's incentive for them to get it done, and that's that's really important. So you want Teoh be realistic with timeframe to don't don't try to rush yourself, but you also have to be efficient to be a master. So if you really want to be a master editor and you want to get jobs done and make money, you know you're doing them in a reasonable amount of time, you gotta learn to be efficient. And we're gonna talk about that when you see me at it. You're going to see my efficiency workflow on how I'm editing quickly moving along by rough outlining my edit. First I'm just slapping down the story and then I'm gonna go back and be a perfectionist. All right, so for you could say four and five star to go hand in hand to, So I'm going to be efficient. At first, I want to get the story laid out. So I'm not bogged down in details thinking about, You know, I really want to tweak this shop, but I haven't even thought about what's gonna happen next in the story like you. Definitely. I want to be a perfectionist, but I'm not gonna be a perfectionist until I go back later on and be a perfectionist. I'm gonna flush my story out first. Ready for our announcement? Actually, we do have an announcement. We've been We've been taunting you this for three days, and I don't know if any of you have caught our clues, but, um, we have been calling the edit the dreaded at it. So if you guys go to the dreaded edit dot com right now, Robin, I have actually decided to start a post production company for video. Um, it is something that is severely lacking in the industry because one quality of editors are hard to find. And two, if you find them, they're wickedly expensive. So what we did is we have taken all the editors that Rob has trained personally and created a group of editors and that are working under the dreaded at it. So if you go there the dreaded edit dot com, you can go see sample films. You can see how much everything is you're going to notice, like, Wow, that's not expensive at all. So we're trying to provide a service for all of you guys who are bogged down with edits. You know, you're clients aren't happy because it's taking you a year to get to those edits. So we're trying to remedy that situation and the websites in a rough stage right now, we're still under construction. We're still building up way. Want to get the information out there so people can start putting in their orders? And at least you know, sending us way would work on an evaluation basis. First, we will look at the footage first to give you a realistic estimate. Yeah, but we want to take on some limited working first until, you know, we we can grow. But we want to be able to provide for cinematographers a nice, nicely edited piece at a reasonable cost. Yeah, you guys can either catch up on your work just get your lives back. I want to give you a quick Theo. That's awesome. Toc that need and be able to provide solutions for people. Thank you on behalf of the community. So we're gonna get organized and get prepared. So we've already started our organizational system. We are going to talk about a backup system real quick. I really want to know. How do you guys have you guys back up your footage? You guys shoot a lot of footage way. First, the card goes straight to one harder that we don't touch. And then the second when we start organizing. So just in case something happens to the ones that were organizing renaming, we've renamed it wrong. Then we could go back to the master and get the original. That's a great idea on how big is your average job? Would you say Lawrence to file size wise? I don't think I ever looked at come because I do a lot of Indian wedding. So is, like many days with right work on one terabyte drives. So I put one terabyte drive for each, but Okay, Okay. Yeah, That's a good way to separate drives. Great. Anybody else way have three drives in our Mac pro that aerated together raid zero with an external burly raid that's, Ah, via East Satya that's rated zero for backup. We use super Duper to copy it over and then an external drive that the editor will get, which is our work drive that he'll edit off of. And it's also the offsite version. So right now the way we do it is we work off of bear internal hard drives with Dr Docks. Newer tech. Avoid your cue, Dr Docks. So I have just repeat that. I know 700 people just like it's called. It's a skin toaster. It's called the newer Tech Voyager Q. And it's just a little Dr Docking. Do you buy like, you know, the internal drives that go into a desktop PC? You just drop those in like they're interchangeable on all, and it's all my editors have one or two of them weaken daisy, chain them. They're all FireWire 800. I have a FireWire to thunderbolt adapter, which allows me to go into my Mac book reading if I want to, and I have on my Mac that you my primary system, I find that the I Max air fast enough to push 10 80 editing four k yet So you know when that time comes with the Mac pro time. But the system is fast enough, and I have over, like, 30 terabytes worth of storage in total. And the way it works is among my editors. As we have, the job is replicated on two different drives, all right, and they're stored in hugs, the cases. So the drives of serving these plastic hud see cases h u d z e. If you go huggy dot com, in order them online, they're pretty cheap. And those go on fire separate fireproof saves. All right, so we have fireproof safe, that air housing all those. And then when an editor wants the work of a job, they copy it to their work drive so they have another bear. Internal is usually a one terabyte that they copy the project to it gets edited on that drive, and then we archive. We have a Siris of jobs, archives hard drives that once the job is done, we copy to the archive. We move it into ah, fireproof safe and then at the end, when the job has been delivered to the client and we have approval on and they're really happy we wipe it from the original drives. We do not hold onto raw footage for any length of time. We'll hold on to the original the edited project for us, a six month period. I always say the D A DVD. I s O. So if they want to come back and get copies of their blue Ray or DVD, we could just take the I. So burn it. Give him a new copy. But I tried. You know, we have to every every the beginning of every season, we kind of go through our system. Go. Okay, Well, we don't need all these jobs anymore. They're done like and then we recycle the drives. We do A low level format on the drive takes about 30 hours to do it, but it's worth it to wipe the drive completely clean to make sure there's no bad sectors or anything like that. Put the drive back into circulation in them, you know, just continue that way. So it's a good system. Works for me. You know, I thought about getting a big drove, Oh, System, but I'm afraid of putting all my eggs in one basket. That just worries me. Hard drives go down and I've had my drives fail on me before, but we've always had double backups. Backup your footage. It's really important about your footage. I know guys have lost entire jobs and it's not good, not fun. So in a sense, that's what I do. Um, if you're working in final cut pro seven. Anybody working if I woke up from seven? Okay, you guys at the Transcoder footage to Progres, Right? Whose age to 60 fours. We know it's not a it's not a viable format for editing. So, yes, you're gonna want to use that pig Street. How do you guys do? And picturing, clip and picturing clip. Great way to do it. Batch list trends code everything over for two to light. If you don't know if your viewer and you don't know what we're talking about, it's far transferring. Transporting the 42 light Apple Final Cut Pro uses a native format called Apple Perez for two to light tends to be the good quality versus size. Kodak, Kodak, meaning the file format so Basically, there's a free program called MPEG Stream Clip, and if you go to squared five dot com, you download this free utility that transport all of your foot. It takes a long time, takes like 9 to 10 hours. T transport everything, all your DSLR files, but it'll make it edit herbal. You'll get better color space. You'll get better use out of the fouls. They will move faster. I like final cut pro 10 because I can edit my files directly out of my DSLR natively just by dropping him in the final cut. However, I always do allow final cut like I'll edit the first day and I go to sleep that night. I let it trance code everything to Final two off for two to light overnight. Let it Transcoder, and I'll also create proxy media. You might as well if it's gonna take three hours to translate everything you know. 4 to 2. I've called down when I know I'm not gonna need. I'll let a proxy media to proxy Media is just a really low quality version that lets you edit faster, so it's really easy to push all the stuff around in color grade and then when you're ready to export, you just go back online with the optimized media. So again, these are all things will go into more in the final couple workshop. This is just that overview of what I do. So another thing I do is clean up and call my audio. We already talked about this. I opened up all my audio files in Adobe Audition and I will actually show you I didn't do the toast, so I'll show you how I do that right now. So we're gonna go to this computer and I'm gonna open up. They'll be audition. Hopefully, I'll be able to hear my audio so I can see what I'm doing here. So I'm in Adobe audition. I do like Adobe Audition as an audio editing program. I don't like Premier. I do like after effects, so I'm sort of like all over the map by aftereffects, not motion, you know, So I like final cut and after effects Adobe and Apple sort of. So I'm basically gonna go into our Lucy drive and into a creative life older. Remember? We went to our audio. We have our audio all separated into a folder. So I'm going to go into the r 44 which is our maid of honor toast. And I also remember we miked up the maid of honor as well. Okay, so I've already called. This one is made of honor one. Never seen her smile like that dark I can't take. I can't thank you enough for being the most wonderful man. So that's the money that was on her body. Sounds pretty good. I'm happy with that Now, this is member. Yesterday we had a problem tapping into the deejay. The signal did not sound good at first. Turns out that the guys here creativelive were able to work with him to get a clean signal by the time we started the toast. So, yeah, they're all, like who goes there is always celebration when good audio is there to be had who my best friend is. I say it's Rebecca, but I don't call her my best friend. I call her my sister. I was worried about Rebecca has always been there for me in the way it pictures sister to be, So we have really good audio there. So what I'm gonna do is I haven't called this one yet, so I'm gonna go ahead and open it up. It's just the way files a 16 bit 48 K way file, and I'm just gonna find the part that I know I want to use Rebecca. But I don't call her my best friend right here. And I'm just going to trim everything else I don't need Maid of honor. This is what it sounds like in the beginning. No volume. There we go. Ladies and gentlemen, the maid of honor. Really bad. So I know I'm not gonna get any day. So basically what I need starts right about here Way don't need may. So I'm just gonna select everything from that point over. Delete select everything from this point over. And so now I have just trim this down. So now when I go to sink this later on, plural eyes will have an easier time of sinking everything up. And if I wanted to go back and just use a piece of this, I could find it very easily. And even more so during the sad times. I'm thrilled with that audio that makes me so happy. All right, so file. I'm just gonna overwrite the original file. I do have I would have a double backup of this. So God forbid I messed something up. I could always go back and retrieve the original file, but for just times taken, that's gonna overwrite. Boom. Done. OK, so that's how I call my audio. All right, I'm gonna do that for all of my different audio files. I'm also gonna rename them what they are. So I know exactly what they are in the editing system. I'm gonna order not organize everything. Now, the footage and the audio in the final cut Pro 10. So I've already kind of pre baked some of the stuff. We kind of did the cooking show format here. So what I've done is now I'm not gonna get into how final cut events and projects work, but I will say this if you're new to final cut pro 10 um, find Look up. Her attempt works in two different stages. You have events which is basically all your media, your audio and video, all the stuff that you bring in. And then you have a project, which is your timeline. Okay, So the timeline down here. Which is what we're going to be building our story and is your project. So event project. We're gonna leave it of that. I'm not going to get that much more into it. All right, But what I've done here is up in the top. We have these different events, Okay? The ones that are number 12 and three or the ones from our footage and audio from yesterday. These three down here where it says audio cleanup, Brandel, ceremony and compression. These air. Just other tutorials that I have on here. But we're not going to use these for our editing purposes today, So you can just kind of ignore those. I didn't want to delete them, but at the same time, just ignore them. The ones that are numbered. And I do number everything. I number all of my events and projects if you look down here in the projects Tab, I had these numbers, and the names of the project I did are identical to the event. It just makes it easy from for me to remember what correlates toe what? And also, when you sink something up, implore allies which I'm gonna show you in a second and then you bring in the XML. It'll create its own project in its own event. So I want to label those what they are in this case first looks a sink and ceremony saying so I at a glance I could go, OK, I need something. I need a piece of the ceremony. I could jump right to my ceremony ST project and I can go in here and start pulling out chunks for my story just organizing everything in here. So in the main event cl creativelive wedding day, there's a little arrow here next to it. And if I, you know, if I expand this remember the folder structure we made for our footage? All I did pretend they're not there. I went to file import media and I went to my Lucy drive footage, selected all these folders that I had organized all my footage in and selected Import selected. Alright, what created the file structure here in final cut pro 10 was I selected the option for import folders as keyword collections. Okay, and final cut pro seven Used to be able to take all of your footage and make what they called bins. They were folders. Put all of my bride's part folder in footage in this been a name it brides. Final cut Pretend doesn't really let you do that. You can to a point, but it's a little more complicated. They work in what they call keyword collections. Sochi. We're collections are beings of footage. So by checking this option, it brought everything in, and I've already done it, so I'm not gonna do it again. It brought everything into nice organized folders. And now, as you see here as I go down the list, it's showing me on Lee the footage in each of those key word collection. So, for example, ceremony Camera one hears all the footage from the camera one of the ceremony. Okay, so pretty simple. That's my organizational system. I just want things organized, and now we didn't shoot a whole lot yesterday on a real wedding. I've got probably 40 of these keyword collections, and what I would do is go through my footage in the beginning and say Okay, well, this is the bride zipping up her dress, and I would tag this. All right, so I would dio filter. Sorry, I would. Apple K. It already says Bride, Prep dress, because that's what we need. The key word collection. But I'd say zipping and it would tag that shot as the zipping up of the dress. And I'm not gonna do that now for all of the footage. But then, later on, I can go in and search zipping, and it would bring it up. I would have to do it as a keyword collection. I do that. But essentially, that's the idea. Would bring up that shot, and I know exactly where to grab zipping shot from. So it takes a little time. I will spend about 2 to 3 hours going through all my footage and just tagging everything, because when I get into the edit later on, it's gonna make me so much faster. Okay, I'm into the story. I'm really happy with the way it's coming out, and I've got the maid of honor is given her speech, and she mentioned something about you know, the bride looks so beautiful this morning and I want it. I want to go jump back to a shot of her getting the dress on zipping Pao. There's the shot bring it down. So it really helps me to be fast instead of having to go. Okay. Folder. Let's go. Brides prep dress. Okay, Which one of these shots? As you see, I'm saying it definitely speed you up. You'll also notice that when I created that keyword, it also created a Been for that So I can add other clips to this as well. If there was another shot of her. Is it being the dress from another angle? I could say zipping, and it'll put it in that same folder. All right, so really cool kind of stuff. All right. That's as far as I'm gonna get into tagging and filtering at this point. I want to move on. I want to get to the story. We want to start identifying our story. All right, What was our story yesterday? Okay, well, we know there was a wedding. What was the real story of the wedding? Well, we didn't really get into It wasn't really that elaborate of a set up. We just sort of had brought and we did a first look. They said their vows. And then we have a maid of honor giving. She wrote down her speech in the morning that she gave her speech to me, that's sort of the most dynamic part because I could make a cool inter integration between those two. So I'm gonna make that the main part of my story, OK, is her writing that speech and then giving it during the reception? In between that, we had the first look, we've got the vows. We got homily. I thought the pastor did a great job of saying something's words we're gonna use all that. We're start fleshing out the story, but before we can do that, we need to sync up everything all right, because right now we've just got video clips and audio clips and nothing is together. All right. So again, I've done the pre baked method, but I am going to show you how I plural eyes. But let me show you this real quick in my projects list down here and final cut pro 10. I've got two projects. One is labeled first Look ST ST and ceremony, sink, sink. Okay, these are the properties of the plural eyes sinks, and I brought these in via XML. XML is basically a nice way of saying, Hey, final cut. Take these clips and do this with it. That's the thing. The most elementary way I can describe XML. It's a data file that plural eyes will create. Telling final cut what? Clinks, clips, audio and video to sick. I'm gonna leave it at that for right now. We'll get into that in a second. But I have already done these. And if I were to click on first, look ST. Okay, shift Z will bring me out so I could see the whole picture. We have memory miked up the groom for the first look. Well, this audio file down on the bottom. It's the audio of what they were saying to each other. Unfortunately, didn't really saying is already married Mary people nothing. So they were just sort of like, Hey, how you doing? We're going tonight Way. Have to go see Twilight. Something else he bought that way. All right. So, like, looking at you like some retiree. All right, So, basically, So what we have here is we have this audio file of him, and he does say a couple little tidbits. I don't know if we're gonna use it, but anyway, here is the audio file, and then you have these shots here, remember, we set up. Remember the day I showed you guys have it set up cameras for when she walked in and we did the rial reveal here. Right? And then I talked to, like, 20 minutes. Way did a reenactment. Okay, That's why there's this big gap. Normally, that would be there. Okay, I can actually trim that up and bring it together easily by this kind of blade tool, blade, tool, blade, toe lentil. And there are quicker ways to do that. I'm just sort of just illustrating. I'm just gonna lift this from the storyline like that and left this with this. You know this I believe again, this is like, this is unnecessary. So we have your getting thinking way. Part one and part two. So how did I get this sync up? Let me show you how I use paralyzed and people. I had a great question earlier today. Somebody said, Why don't you use the same tools in final cut pro 10? I just think it's more tedious than final cut pro tempore allies. Three, I think you'll see that second I don't hear you have to set markers on these clips, then sync them up, and I think it's a lot easier to do it this way. So I'm just gonna minimize final cut Pro. I am in a sink. Our toast. That's the only thing I haven't seen yet. Okay from From the reception. So Floor allies. Three. It's made by red Giant software. It's actually sold by rejoining software made by a company called Singular Software. It's about $149 it's really worth it. It really is worth it. It's a standalone program previous versions worked with in the editing program. This one is a standalone version. I think I like this one better. So we know we how many cameras do we have for the toasts? So we had two audio sources, so I'm gonna take this and add add media. Been for audio recorder to So now we're not. The audio that accompanied with the video on the camera will just be part of your camera. One to camera two. That doesn't separate those. It actually uses those for the sick. So selecting the camera one been, I move over to this window next to it. I click the little plus sign here, and I navigate to where that footage is. So I'm gonna go toe, see? And it's in my footage. File it under reception. One camera one was the camera. I might have even broken this down. Let me see that I break it down into its own, and I think they did. Okay, so I'm just going to see what this file is. Okay, so this is actually the bridegroom's reaction. That's fine. Let's grab Dax. We know that was one camera unit that had the running. Okay, so I'm gonna click to see was a one file or two. It was just one file, so I'm gonna click, add. Okay, then I'm gonna come Camera two, do the same thing and find the shot of the maid of honor giving the speech. It was probably under the sea, and again, I could have taken more time and really organized it down into those. And that was it again if I had taken more time to organize. But I'm just sort of whipping for this year. Oh, this one here. That's filing. Okay, thanks. There it is. Okay, So I'm saying click add boom. Good job. So now I'm going to do the same thing for my audio. So I'm gonna select the audio recorder been and everything has to go in. It's a prophet. You could put multiple shots in the camera bins. That's fun. You could if you had three shots of people. You have seven speeches. As long as there was all the same camera, you can drop those all in the same into the same. Been. So again, we're gonna go to our audio folder this time, and I'm gonna use the Roland R 05 maid of honor. This is that my body might we had on her Drop that in there and under audio recorder to I'm gonna come in here and grab the art 44 maid of honor toast that this is the one we just call down and click. Add. So you'll see down here that it's just that we just got a bunch of clips. Okay, we got a camera to camera one, or in this case, it's reversed and there are two audio sources. Watch this. Synchronize. Well done. Who's gonna go out and buy four life story right now. You could do the same thing in final Cut pro 10. And if it's more efficient for you and it works for you, fine. That's great. I just find it's a lot easier to do this. And you know, I'm happy with this. You could even raise the volume lower the volume here really get intricate. You know, I'm not going to do any of that. I just usually do that in the program. So how do we get it from plural eyes into final cup for a 10? We're gonna use XML. Very simple. Appear in the top of the interface. There's a button labelled Export timeline click Export timeline Navigate down to gives me options for final couple of seven. Final cup for 10. Premier Another I'm gonna click for final Cut Pro 10. I don't need a multi clip. We're not gonna get in the multi cam editing. It's a little bit more advanced. It will save that for the final workshop. In this case, I'm just gonna uncheck that just straight out Final cut pro 10 xml. I wanted to tell except tell Final cut pro 10 hate. Take these video files and audio files that I have here and sing them up exactly like I have. That's what I want you to do. So export, it seemed. Now, this is a think. This is something that can't be changed. Final Port allies three will always save the XML to your documents folder. Okay, not a big deal with just 18 stores that you can copy it to another place if you want to. If you want to keep it all your project file, that's fine. Once it's in final cut pro 10 you're not gonna need to go back to it. So if you can get a race doesn't even need to be with Once it's in, it's in, so it's fun. So that's it. I do like to save my my paralyzed project files. In case I realize that something didn't sink right. I could just go back, and instead of having to go through all those steps again, open the project so I will save the plural eyes. Three project to my Lucy Drive Going to Creativelive. This is where Project Project folder comes in handy. Plural eyes. You'll see. I've already done my ceremony and my first look I'm gonna name this toasts sick. Okay? What? It doesn't matter what you need that this is how I do it safe. All right, so now it saves. Now I can close out of your allies. Three. I know. I could go back to it if I need to. Real quick. And then we go back in the final cut. And in my CL wedding day event file Import XML. I have my documents folder, and it's gonna be in the Plural Eyes folder. And if I look here, there should be a folder. Well, if I entitled it before I saved it before I exported, it would have said toasts, but this is fine import. I'm gonna rename it anyway in here. All right, so now it's brought in. You can see that our footage is also picked up, all right? And I like to try to find the sink markers or anything. It just did it for me. Okay, so that's that's really and this is key to building the story because I wanna have everything sync up so I could just go pull chunks, and it's already multi can for me. So let's say I find a nice piece of the toasts. I want the real reaction from the writing room at that moment to cut with the person giving the speech, and it's all right there. I just Blade all lifted up, dropping in the mind in my film and keep moving on flushing out my story. We'll get to that in a minute. Actually, it could cause flushing any store I think want to actually try again to a little bit. Starting edit this segment. I bet there's a ton of questions out there. We're going to be continually could take a couple questions first. That's great. Let's start in the studio Anyone? I think the way just seems to be a clarification. Question. Sami Cinema 28. Uh, at what point does Rob edit? The audio is prior to using four eyes or after everything is edited and seeing. Oh, well, that's that we're gonna get to basically right before I start editing the story. If my audio needs clean up to noise removal or something like that, I will do that first. I'll explain the reason why in a few minutes, but basically it's because I don't want to go back and do that all the world clips that I've cut up, I want to do it to the master clip This way when I cut that up, it's done for me on all those little clips. So, yes, I will do my audio correction before I start building the story. We just haven't gotten there yet that that's a good question. Question about organization? Do you have any advice on integrating your video organization with still image and graphic design organization? Yeah, that's sort of do that. That's why you if we look back here on the C drive in this file structure footage would be for your video. Obviously, audio would be for your audio and then graphic stills. If I have any graphic design elements, something like this that I know I'm going to use, you know, that's something that would go with that folder that matches the film in the same thing for branding, packaging. DVD art way have here, and we have a DVD cases and stuff like that. That's where he would do all of that. But the still files in and then also finished graphic designed of you know, the cases, and that's just for the DVDs. We also give branded flash drives and things like that which are not on our computer but part of the package. But, yeah, and the artwork just. That's why the system is there so you can keep it all together. Hope that answers the question. Um, see, would would using Sony Vegas Pro to edit video be a good choice for Windows PC users? I've never used Sony Vegas. I have to be totally honest. I never was a premier user for a long time. I was an avid user for a while. I've never been into Sony. Here is a decent program, I think, and Eli's in the traditional sense, before Final Couple attend were pretty much There's minor differences in interface and what formats they were better with. But I think in terms of edit ability, they all had seen basic features. Program preview window program. Window timeline affects tabs, you know. So whatever works for you, it's dealer's choice, man, personal preference. Whatever works for you. Use it. Okay, question from TV films in California, and I'm not sure if you answer this. What is the difference between Apple Pro rez for 22 versus pro rez for h Q. And which is better? H two is going to give you a little bit. MAWR data information. It's gonna make it a larger file size. That's the main difference is the larger file size H 2 64 footage coming out of a DSLR is already so highly compressed that you're not benefiting at all by using a more detailed Kodak like 42 or 42 h. Q. 4444 It's pointing this because you're so limited and bound by the high compression of each 264 So it doesn't really make any sense. If I was shooting raw, red, red, raw, if I want to take footage from a red epic camera and I shot it raw at four. K resolution is beautiful un compressed 10 footage. If I want to take that and then make it edit. Herbal on a system is slow. Is this because in relative terms for four K footage, just a slow system, I would convert it to Apple progress for four for four

Class Materials

bonus material with purchase

Client Communication and Business Pack.zip
Movie Poster Template.zip
Discount Code.jpg
cL Wedding Cinematography - DAY 1.pdf
cL Wedding Cinematography - DAY 2.pdf
cL Wedding Cinematography - DAY 3.pdf
Short-Form Edit Format.pdf
Vendor Resource Guide.pdf
Full Editing Video (computer audio only, no narration) SD quality
Full Editing Video (computer audio only, no narration) HD quality

Ratings and Reviews

a Creativelive Student
 

Fantastic course. I'm still on day 1, but for me it's gonna be very useful not only for weddings, but for everything filming. Lots of great hints, just amazing. Thanks creativeLIVE!

a Creativelive Student
 

best iv heaver seen, i shoot wedding for about 15 years in israel ,and i saw all the best wedding and production ,but u bring something but diffrent and i will be happy come work with u in state,and happy that u work with me in wedding one day. thanks

NBeezzy
 

I want to get into shooting video to tell quick stories. This creative live course was an awesome intensive session to get me started with the right equipment and mindset. I don't usually pay for too many things like this but this course was priced right and well worth it!! Thanks Rob!

Student Work

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