10:03:33 hit record now. And pass 10:03:36 the mic. >> AMY: Good morning, 10:03:39 everyone. 10:03:42 Good morning, everyone. I'm really happy to see some 10:03:45 familiar faces and some new names. I'm 10:03:48 so glad you could join us, my name's Amy Cunningham 10:03:51 , I'm the deputy director at the Vermont Arts 10:03:55 Council and I'm coordinating this digital capacity 10:03:59 initiative and have the pleasure of partnering with 10:04:02 Media Factory for the series on digital programming. The digital 10:04:05 capacity initiative is funding 10:04:08 that the state legislature allocated last year. 10:04:11 $1.15 million to assist cultural 10:04:14 organizations in building their digital capacity 10:04:17 . And this is really a response to and 10:04:21 a testament to the 10:04:24 fact that our cultural community around the state, 10:04:27 you all, did such amazing innovative work 10:04:30 in pivoting when you had to shut your doors. We saw artists, 10:04:33 arts organizations, libraries, historical 10:04:37 societies figure out ways to 10:04:40 reach their communities virtually and 10:04:44 serve communities virtually 10:04:47 . Now, we're hopefully 10:04:50 coming to the pandemic of these investments are 10:04:55 an intention to help organizations keep going. Let's not go 10:04:58 back, let's not lose what we learn, let's build 10:05:01 on it so our cultural organizations can be stronger and 10:05:04 build the most inclusive audience as possible. 10:05:08 So I am, let's see, I got ahead 10:05:11 of myself with the digital capacity explanation. But I do, we open audiotape 10:05:16 all of our public events with a language 10:05:19 acknowledgment, the land we stand on is the 10:05:22 unsurrendered territory of the Abenaki places 10:05:25 , one of five Wabenaki 10:05:29 nations. We learned that in Abenaki, 10:05:33 Waban is the flickering white light in the sky and 10:05:37 Aki is the land of the earth. So 10:05:41 Wabenaki are people of the dawn land, we acknowledge their ancestors, 10:05:44 history and presence, which continues today. 10:05:47 On the housekeeping side, I want to mention 10:05:50 that this event is being live captioned 10:05:53 by White Coat Captioning, so to view the captions, you 10:05:56 can click on the closed captions button at the 10:05:59 bottom of the Zoom screen then click on the 10:06:02 show subtitles option. And I'll also mention as 10:06:07 Gin did, this is being recorded if there's anything you want to go back and 10:06:10 rewatch, we'll have this up on the YouTube channel on the Arts 10:06:14 Council site within a week or so. So thanks again 10:06:17 , huge thanks to Gin and Ross from 10:06:20 Media Factory, they are rock stars, and I think we're going to have a 10:06:23 great morning. Back to you. 10:06:30 >> GIN: Thank you so much, Amy, we are really 10:06:33 thrilled to be doing these workshops with you. 10:06:36 I'm the community engagement 10:06:41 director at the Media Factory. So this is a workshop 10:06:44 that is not specifically about one kind of software, 10:06:47 it is about editing in the big picture. And 10:06:50 that, we're going to talk a little bit about software options, but we're going 10:06:53 to talk a lot more about how you put together a story, 10:06:57 how the choices you can make in editing can actually 10:07:00 really enhance your communication and take your video to the next 10:07:03 level. And I will be honest and say this is my favorite 10:07:06 workshop. So I'm so thrilled to be doing this here with you today. 10:07:09 And I'm going to pass the mic to my colleague 10:07:16 Ross Ransom 10:07:19 to tell you more about himself. >> ROSS: Hi, everybody, 10:07:22 my name is Ross, the education coordinator here at 10:07:25 the Media Factory and this is a great workshop. I've used a 10:07:28 number of softwares to edit over the years, and you know, 10:07:31 it really all comes down to you'll see 10:07:34 at one point, we talk about the big picture of what a timeline looks 10:07:37 like. And all of the softwares you'll use assemble your clips in the same 10:07:40 way, but really strategizing how you 10:07:43 want to present your information, what sort of editing 10:07:47 ideas you want to carry with you as they help to 10:07:50 tell your story. You know, really transcend 10:07:53 specific software and information good for whatever 10:07:56 software you're using. So it's a fun workshop, we've got a lot 10:08:00 of video examples and a lot of ideas 10:08:03 . And as Gin mentioned, this will be available, 10:08:06 this recording, also, the slide deck, it's a good resource to go 10:08:09 back to jog your memory. About some of the things we 10:08:12 talk about. So to start off, I do want 10:08:15 to share a little bit here about the Media Factory 10:08:21 . And 10:08:29 the Media Factory is a community media center 10:08:32 in Burlington, Vermont. And while folks are coming into 10:08:36 this workshop from all over the state, 10:08:39 talking about the Media Factory can help, I think, 10:08:42 contextualize what these community media centers are 10:08:46 for you where you are. Throughout the state, there are over 20 10:08:50 media organizations like us that provide free membership 10:08:53 , access to production equipment, be it, you know, 10:08:56 cameras, microphones, even computers and editing software 10:08:59 . So that uh yo can tell 10:09:02 your noncommercial stories, share them with your community 10:09:05 and create that kind of local 10:09:09 media making culture and good, it's a really cool 10:09:12 way to see what's happening around you and to be involved with your community 10:09:16 . To check out stations like us. And it also, 10:09:19 you know, makes it easier for folks to get 10:09:22 in to the process of making media 10:09:25 by providing free access to, you know, 10:09:28 equipment. But also, workshops, 10:09:32 as well. We offer workshops throughout the year on a variety 10:09:35 of different production ideas and 10:09:38 concepts. And then, once that's all said and 10:09:41 done, people create media and that can be shared on our channels 10:09:44 . And I've mentioned the state has a number of channels. 10:09:47 We're all connected through a media exchange. So when 10:09:50 folks are making things down in Bennington 10:09:54 or St. Johns 10:10:00 berry, if there's relevance or interest, 10:10:03 they get shared, they get played out on our local stations 10:10:06 , but we have a statewide station, as well, 10:10:09 that 10:10:12 folks can contribute to to share their stories with people throughout the state 10:10:15 . 10:10:22 It's an exciting opportunity for a lot of people in our community. And I 10:10:25 hope that folks reach out to their local 10:10:29 access centers and see how they can work together. 10:10:32 10:10:43 >> GIN: Now we'd like to hear a little bit about who you all are. 10:10:46 If you can, in the chat, share, introduce yourself, however you wish and 10:10:49 share if you have any big reason why 10:10:52 you came today, any questions that are really pressing 10:10:55 that you want to address. 10:10:58 We will do our best to answer your questions 10:11:01 . And also, try and point 10:11:05 you in directions of resources if we can't answer them, someone 10:11:08 else might be able to. So please, go ahead and do that right now. 10:11:11 Just say something in the chat about who you are and 10:11:14 why you're here. And I'm going to go ahead and 10:11:17 pull up the screen. I'm going to share 10:11:20 my screen and share a little bit more of the concepts that 10:11:23 we're going to be addressing. 10:11:27 So 10:11:32 we are here. Big ideas 10:11:36 . 10:11:39 So I really love this quote 10:11:42 . I read it several times from a couple of different places 10:11:47 . One of my favorite books, it's out of 10:11:50 print now, making documentary films and reality videos and 10:11:53 this comes from that book. Editing is the reality that 10:11:56 comes from the possibilities of the production. 10:12:00 So you know, you have all of this 10:12:03 content, you've recorded a 2- 10:12:06 hour event or conducted all of these interviews or you have 10:12:09 this entire, you know, series of scenes you've shot. But 10:12:12 what, at that point, is -- there's all of these different things you 10:12:15 can do, now you're going to be making choices. I 10:12:18 like this image of the sculptor because 10:12:22 I really think that, you know, in some ways you're 10:12:25 taking away stuff when you edit. You're cutting out the 10:12:28 excess. But it is also additive. So first, 10:12:31 you're subtracting the stuff you don't need but may 10:12:34 be adding extra things, like, sound effects and image 10:12:37 effects and titles and other content 10:12:40 that you're combining. So it's a really 10:12:43 exciting and interesting process. 10:12:46 I feel like in media here, we have folks who are really big on 10:12:50 the capture side of cameras, you know, the production 10:12:53 part or really into 10:12:56 the editing side. There's overlap, but there's some teams 10:12:59 . It'll be interesting to see how you all feel about this. 10:13:04 This is what I want to share, 10:13:08 as well. And Ross, if you can check out the chat and let 10:13:11 me know if there's any, in the introductions, if there's any questions 10:13:14 that are coming up that we want to address right now. 10:13:20 These are the big things we're going to be talking about 10:13:23 today. Hopefully, we'll cover this for you. Everything from getting 10:13:26 started with your post production and looking at the 10:13:29 footage. Then, we're going to go into some 10:13:32 details about different types of cuts and different ways of 10:13:35 using B roll and cut aways 10:13:40 , how you put it all together, how you add to it and 10:13:43 a little bit about color correction, which is kind 10:13:46 of becoming accessible for people for a long time, that was just really out of reach 10:13:50 . And of course, how you save it and get 10:13:53 it out there into the world. So, again, this is 10:13:56 not a specific software that we're focused on, but 10:13:59 the big picture ideas of all of it 10:14:03 . And I think all together, 10:14:06 it should be great. 10:14:17 >> AMY: Gin, may I make one other quick announcement 10:14:20 that I forgot to make? >> GIN: Absolutely, 10:14:24 this is a great time for that. Gin. >> AMY: I was 10:14:27 looking for a natural segue 10:14:30 . Our digital capacity grant program the deadline's coming 10:14:34 up April 20th. I know that many of you are applying 10:14:36 for funds for that grant program. I wanted to let you know 10:14:39 that there's some of you have experienced 10:14:42 delays with 10:14:46 the Federal Government getting your new UEI, 10:14:49 and I want top make sure that please don't 10:14:52 let that trip up or concern you in this grant application 10:14:55 . You can just enter zeros in that field. And 10:15:00 submit your grant and we'll get that number once the Federal Government 10:15:03 figures that all out. So been fielding a lot of 10:15:06 questions about that. I'm also going to put in the chat information ability 10:15:10 the other free trainings that we're offering. We're doing 10:15:13 with Media Factory, digital programming, and then, we're working with inclusive 10:15:18 Arts Vermont, they've done a great series on accessibility 10:15:21 . There's recordings on the site and a few more sessions to come. And 10:15:24 we've unrolled kind of a grab bag of trainings 10:15:28 in coordination with Vermont Small Business 10:15:31 Development 10:15:34 Center,. So I'm going 10:15:37 to put that in the chat, I think I've remembered 10:15:40 everything I was supposed to say now, thanks, Gin 10:15:43 . >> ROSS: Thanks. And also, thanks 10:15:46 to everybody introducing themselves in the chat. These are great reasons 10:15:49 to be joining us today. So hopefully, some of the concepts 10:15:52 that we talk about resonate and inspire. 10:15:57 So jumping into our next slide here, 10:16:00 post production prep. 10:16:03 Right. Editing 10:16:06 comes at the end, you know, after you've done your 10:16:09 pre-production planning and your production shoot. 10:16:12 But thinking about it all the way through can help 10:16:15 really inform, you know, 10:16:21 visualizing the end result is a good goal to have while going through the 10:16:23 rest of the process. And while you're preparing 10:16:27 for that eventual editing session 10:16:30 that you're going to be working on, cutting your footage and 10:16:33 preparing your final video, there's a couple of things that you can 10:16:37 do to make that process easier for 10:16:40 you. Couple of things 10:16:43 of advice we have. One is to work locally. 10:16:46 Meaning, that you know, if you're using 10:16:49 a lot of hard drives to store files, a lot of that's 10:16:52 really good for archiving, for keeping footage available 10:16:56 and on hand. But when working with software, most softwares 10:16:59 work better if it can access your files 10:17:02 directly from the device you're editing on. 10:17:05 Using an internal hard drive is good. But also, keeping your 10:17:08 files together in one place 10:17:12 . Media management is a really big. 10:17:15 It's easy to overlook the 10:17:18 it. But the larger the project you're working on, the more you're 10:17:21 going to want to make sure that everything is 10:17:24 really organized. And also, backed up. 10:17:29 Sometimes, I mean, it's -- it's frustrating when, 10:17:32 you know, you lose some of the edit that you've been working on. But sometimes 10:17:35 , it's almost impossible to recreate some of the footage 10:17:38 that you've captured. So while you do want to 10:17:42 work locally, you also want to back up your files. So 10:17:45 if anything happens, you still have those files. I've lost, 10:17:48 I've had drives fail that I've had footage on 10:17:51 them. And, you know, they weren't 10:17:54 backed up. I have not had an experience where they've been backed up, 10:17:57 but I've had experiences where they weren't. So now I always 10:18:00 make sure to do that. While you're going through 10:18:03 your footage and reviewing it, you know, oftentimes 10:18:07 , a recording has some sort of generic string of numbers 10:18:10 as the file name. And it's hard to differentiate, you know, 10:18:13 what the files are at a glance. So you can use a 10:18:17 tool to log your footage. Here's an example that we've 10:18:20 created at the Media Factory. This is video editing log sheet 10:18:23 . You know, some basic project information at the top, 10:18:26 just to give you an idea of what these scenes are. But 10:18:29 then, going through your footage, 10:18:33 renaming your files and your softwares and 10:18:36 your drives if you can. But also, putting any 10:18:39 notes in there. If there was anything interesting that happened 10:18:42 . If you've recorded a long segment of footage and you 10:18:45 really only need a certain part of it. Noting what times within 10:18:48 , you know, what time to start. And this is set up in the, you know, 10:18:52 hours, minutes, seconds and frames. 10:18:54 To really dive into, you know, what the best section of 10:18:58 your overall clip that you've created is. And 10:19:01 just having this, you know, 10:19:05 scene name, having that correlate with the file itself, 10:19:08 just a really good way, especially, if you're working 10:19:11 with a team to be able to hand off all of the information 10:19:14 you know about some of your, some of your clips 10:19:17 . So you know, this is, 10:19:20 it's a pretty simple sheet. And you can make one 10:19:23 of these and add fields as 10:19:26 you see fit that might be helpful. 10:19:30 But it's a useful tool. And 10:19:33 then, as you're organizing all of this media, 10:19:36 I like to recommend using a 10:19:39 file naming convention that makes sense. You know, if you've shot footage over 10:19:43 multiple days, perhaps the best way to do 10:19:46 it, the best way to share that would be 10:19:50 , oops. To name 10:19:53 your folders by 10:19:57 day, day one, day two, by speaker, 10:20:00 if it's B roll, for instance, maybe 10:20:03 the location. And then, use that same 10:20:06 convention for the folders. Consistency is a really big 10:20:10 thing there. I often like to put, you know, 10:20:13 year, date, location, 10:20:16 person or subject of interest. 10:20:20 In some of those names. Another thing that 10:20:23 you can do is create a paper edit. 10:20:27 Now, paper edit is a 10:20:30 way to, you know, it'll look like a story 10:20:33 board here. Where, you know, 10:20:39 you may have done this during your pre-production 10:20:42 planning session. However, when you get to this point, sometimes, you have recorded things 10:20:45 you didn't really expect. And going back to this initial 10:20:48 stage of using what looks like a story board, 10:20:51 you know, quick mock-up of your 10:20:54 general shots and the scenes that you've collected, 10:20:57 putting them out on paper like this and the ability to rearrange them, you know, maybe 10:21:00 once you get to this point, you realize that your 10:21:03 story might be better told in a different sequence. And so, 10:21:06 this is another tool to help, you know, it's trickier when you're 10:21:10 just looking at a list of file names 10:21:13 to understand our to think about how you might want to rearrange 10:21:17 them. But doing a paper edit like this, 10:21:19 you know, every time I move one of these squares 10:21:23 , we're telling a different story. 10:21:27 And those of you following along with the screen 10:21:32 share have now seen the story change in a couple of different ways. 10:21:36 So you always want to keep your end result in mind, but it is true 10:21:39 that sometimes you get to the end and say, hey, we might have something 10:21:42 else than we originally predicted. So it's another 10:21:46 good way to help prepare you 10:21:49 for your edit 10:21:52 . 10:21:58 Moving forward, you know, once you've got this all. Right. This is all about 10:22:01 organizing your footage, getting your files all set up. Once you've 10:22:04 done that, time to choose your software. 10:22:08 As we mentioned earlier, 10:22:12 here's popular ones on the left you can use. 10:22:16 I wouldn't ever really necessarily recommend 10:22:20 one over the other. They all kind of do 10:22:23 different things. It's important to think about what the software 10:22:26 does and what you need it to do. Some of these 10:22:29 , especially when you get down to some of the ones that are available 10:22:33 on mobile operating systems, like 10:22:36 imovie, 10:22:40 WeVideo, just due to to the nature of 10:22:41 ones on the left you can use. I wouldn't ever really necessarily recommend one over the other. They all 10:22:42 kind of do different things. It's important to think about what the software does and what you need it to do. Some of these, especially when you get down to some of the ones that are available on mobile operating 10:22:43 systems, like imovie, WeVideo, just due to to the nature of the tool you're editing on, the phone, perhaps, less 10:22:47 screen real estate, the user interface has less options. Or 10:22:50 might be lighter in the software. 10:22:54 Do you need some of those more advanced 10:22:57 titling features that you might find in a software like 10:23:00 a 10:23:04 Adobe 10:23:08 Premier? But some good questions to ask yourself throughout is, 10:23:11 you know, do I need to 10:23:14 edit green screen? Do I need to use color correction and 10:23:19 key effects to tell my story? Have I recorded multiple tracks 10:23:22 of audio along with my video? If you're recording 10:23:25 live music and you have every member of, 10:23:28 you know, the performing group 10:23:32 micced separately and you're recording the inputs 10:23:35 separately, some of the softwares won't be able to handle those 10:23:38 multiple audio tracks. Some of them will. 10:23:41 Are you looking to compose vertical video? A lot of social 10:23:45 media uses a vertical video format. And 10:23:49 some of these older softwares, for instance, function 10:23:52 in a more traditional way where they have, you know, more of a landscape 10:23:56 setup to how they edit video. If you're 10:23:59 looking to edit for social, some of these will be better 10:24:02 suited for that. 10:24:06 Certain file types, this is one going away as most cameras 10:24:09 are recording a consistent file type across, you know, 10:24:12 the camera types. But, you know, 10:24:15 can you import older types of files just, 10:24:18 you know, can you work with all of the materials you have 10:24:21 ? Big question. And some of them depending on the size of 10:24:25 your project, iMovie doesn't 10:24:29 let you rename your files, you only get thumbnail 10:24:32 images. 10:24:40 Allows you to create bins or folders or name your files 10:24:43 so you can parse through your materials 10:24:46 more efficiently. Always 10:24:49 a good consideration. However, 10:24:52 once you start editing, all of these can do 10:24:56 the basic edit, right? They can all 10:24:59 assemble footage in sequence, add in supplementary 10:25:02 footage like B roll on top to further enhance your story 10:25:05 telling, add audio, sound effects, transitions, some of the 10:25:09 things we'll talk about throughout this workshop. So -- 10:25:12 I'm going to pass it back over to you, Gin. 10:25:18 >> GIN: OK. Awesome. Thank you. Someone just asked 10:25:22 a question in the chat about which editors are best for 10:25:25 social media. And, you know, partially, we're 10:25:28 not going to specifically recommend one for you here 10:25:31 . This is a different kind of workshop. 10:25:35 But most of them will do a 10:25:38 social video. And as Ross was saying, 10:25:41 you just sort of need to know what your considerations are. Do you want 10:25:44 to do vertical video? Well, then, just check as you're 10:25:47 looking at the editors you have 10:25:51 access to. I can say off the top of my head that you 10:25:54 can do vertical video for sure with 10:25:59 WeVideo, 10:26:02 Adobe 10:26:06 Premier, with Da Vinci Resolve 10:26:09 . iMovie is not great for that. But I would 10:26:12 check, things keep changing. So it's going to be, it's an 10:26:15 ongoing evolution. And 10:26:18 that's part of this. If we haven't looked on at the most recent 10:26:22 update, there might be a brand new thing that happened this week. Which 10:26:25 happens every time we try and teach 10:26:28 WeVideo, they always update right before we do our 10:26:31 workshop or right during the workshop. 10:26:34 I think that's a good question. Knowing what you're going into is 10:26:38 really, really important. 10:26:41 It is going to determine which software 10:26:44 you wish to use. I also will just say, 10:26:49 Canva is surprisingly good 10:26:52 at vertical video. They have nice little templates 10:26:55 for that if you're doing a very short video. 10:26:58 OK. I'm going to move 10:27:01 along to share this screen 10:27:04 , again. And we're talking 10:27:08 now. We're jumping down here to the big 10:27:12 picture of the 10:27:15 editing work flow. So no matter 10:27:18 what software you're using, some of this stuff is going to 10:27:22 be the same. So the editing work flow, 10:27:25 you know, this is a suggested order of things. 10:27:28 And this is how we're going to kind of talk about it. 10:27:31 You set up your project, you know, saving your files, 10:27:35 as Ross already said, about organizing your files and 10:27:38 then, when you make a new edit, you're 10:27:41 going to save that and know the location you've saved 10:27:44 it. And then, 10:27:47 you dig into editing with all of the stuff you've put together 10:27:50 . You have A roll, which is your 10:27:54 main spine of your story. It's the, if it were 10:27:57 a documentary, it might be your -- if you're doing 10:28:00 an interview with one person, 10:28:04 that interview would be the spine of the story. If you're filming an event and you have 10:28:07 multiple camera angles, then probably 10:28:10 one wide screen is going to be your A roll. It's going to be 10:28:13 the main footage that covers 10:28:16 things. You don't always have one long 10:28:19 piece of footage. But there's generally going to be something 10:28:23 that's your sort of main idea. And then, you add your B roll, 10:28:26 which is also called cutaways. They're 10:28:29 called interchangeably those two things. And that is the footage 10:28:33 that shows more information. More detail 10:28:36 . Might be a different camera angle. Or if someone's speaking, 10:28:39 it might be the photos or video that 10:28:43 help describe and illustrate what they're talking about. 10:28:46 Then, we get into audio editing. So that is 10:28:50 both the audio levels and 10:28:54 the sounds that you've recorded, you know, 10:28:58 removing sounds that are maybe incidental sounds you didn't want 10:29:02 . Or just cutting, you know, cutting for 10:29:04 content. But then, you're also adding things like maybe 10:29:08 some sound effects and additional 10:29:12 audio that conveys more of the story. 10:29:17 Photos, you can add them as B roll, you can also add them later 10:29:20 on. So there's sort of 10:29:23 depending on the types of software, you can 10:29:26 look at them differently. And transitions, that is the way that 10:29:29 two shots come together. And we'll talk more in detail about 10:29:32 that. Titles. That's your 10:29:35 informational titles and also, your story connecter 10:29:39 titles and your end credits. Music, if you have 10:29:42 some kind of music that you want that, you know, 10:29:45 underneath the entire piece. If it's a short piece, that's 10:29:48 what you put as one of the last things you do. Color correcting, 10:29:51 again, that's something that we always had access to, but now you 10:29:55 can really tweak the color to hit a mood and 10:29:58 some kind of effect that convey something specific. 10:30:01 And then, you save it. Now, that's an 10:30:05 order, right? However, it's common you're going to 10:30:09 go forwards and backwards in that order really 10:30:12 quickly. You may realize you need to add more footage or there's 10:30:15 a shot you didn't like after all and you got rid of it. 10:30:18 So this is kind of an order that you're thinking about it. 10:30:21 But it's, it's not set in stone, it's 10:30:24 really just a way to kind of get your head around all 10:30:27 of the elements you are going to be thinking about in your video. 10:30:36 Once you've got all of that put together, you are going to actually 10:30:39 see what it looks like. And I'm going to pass the mic 10:30:42 back, I think, to Ross for that. 10:30:49 >> ROSS: Thanks, Gin. So big picture 10:30:52 . You know, once you consider the 10:30:56 editing work flow, you start assembling it, this is what it's 10:30:59 going to look like. Sew if you can see my mouse on the screen 10:31:04 here, I'm going to hover over certain elements. 10:31:07 Your A roll is often connected to your A- 10:31:10 roll audio. Quick definition of A-roll is usually 10:31:13 your spine, it's the primary, you know, part of your 10:31:17 video as mentioned earlier. And it's 10:31:21 really often as seen before, you know, what you lay out first. Because it tells 10:31:24 your story. Typically, they're connected because they're recorded at the same time, 10:31:27 although, sometimes recorders 10:31:31 will be recording audio, you know, separate from video, 10:31:34 depending on the type of camera you're using. But syncing those up, 10:31:38 getting your foundational story telling in place is a great place to 10:31:41 start. Then, you know, along the way, you're going to make 10:31:44 some cuts, that's where you'll put in a transition. 10:31:48 That could be a fade, dissolve, 10:31:52 and sometimes, without a transition, you might 10:31:55 overlay B-roll video, the supplemental 10:31:58 video you've recorded to, you know, provide additional 10:32:01 clarity to what is happening in the A- 10:32:04 roll video, break up monotony, 10:32:07 providing different perspective, there's more interest 10:32:13 -- 10:32:21 this will repeat across a time line throughout 10:32:24 your whole video. These elements in different places 10:32:28 depending on what you want your story to look like. 10:32:34 When you look at the big picture for this, this is just two scenes 10:32:38 with some B-roll music and sound effects. But it's 10:32:41 -- when you boil it down like this, these are 10:32:45 the elements that go into simple, quick, 10:32:48 social media videos and also, you know, 10:32:51 long feature films. This is the, this is what 10:32:55 it looks like for really anything, which is 10:32:57 kind of cool, to boil it down to just looking at it like this. 10:33:02 Some further examples to see it extrapolated across that 10:33:06 timeline, you know, we can see some of these examples, for instance, 10:33:09 this first one is collection of photos with voiceover 10:33:12 music and titles. So a little bit more 10:33:15 advanced than the previous one each of these are. But as we can 10:33:18 see here, we have a photo slide show. Of 10:33:22 varying lengths. We can visually see the size of these 10:33:27 cells are larger. 10:33:35 To enhance the video, we put some music in. 10:33:43 Maybe add some description to the photos that we're seeing. And then, 10:33:46 as the voiceover goes away, we bring the music back up, we have 10:33:49 some titles in and out from the clip, 10:33:52 you know, to book 10:33:58 end it like that. You've placed them throughout 10:34:01 the edit as needed. 10:34:05 You can also combine video and 10:34:09 audio. While we have 10:34:12 music coming up in the beginning once the video's audio comes 10:34:15 in as to not interfere with it, we bring the music 10:34:19 down. But we don't get rid of the music entirely in this 10:34:22 edit, for instance, it's a music bed, 10:34:25 comes up when the photo is here. We cut 10:34:28 away to some video or sorry, some photos here 10:34:31 on top of this video. One interesting thing about 10:34:35 this is when you look at a timeline, you want to think of it 10:34:38 as like a bird's eye view and every 10:34:42 row is overlaid on top 10:34:45 of what's beneath it. So 10:34:48 in this case, we have the photo here. And the photo's 10:34:51 opaque. It's not transparent. We can't see through it. 10:34:54 So while there is a video track underneath 10:34:57 , we don't see that. However, audio 10:35:00 can be layered. So any multiple 10:35:04 rows of layers of audio that you have, 10:35:06 you know, depending on what their balance is and 10:35:09 how much volume they've given each track, that's how much 10:35:14 they'll show through or you'll be able to hear them. So in this case, 10:35:17 we'd only see the video, sorry, 10:35:20 we'd only see the photo, we hear the video, we 10:35:23 hear the music a little bit. But we wouldn't see the video. And then, 10:35:26 after these three photos go away, we'd 10:35:29 go right back to seeing the video. And it's pretty common 10:35:32 to layer the visual 10:35:36 track even with things on top that you wouldn't see as 10:35:39 just a way to either keep the audio going 10:35:42 underneath, so that 10:35:45 way you're still getting the whatever the audio is on this video. 10:35:49 But also, just to, you know, 10:35:52 make it a little easier to edit, you know, if you're 10:35:55 throwing something on top as a cutaway, you're only going 10:35:58 to see that. And then, in this final example here, 10:36:01 it's all video, but you can see that the cutaways 10:36:04 here, you know, same thing. We've removed the audio, 10:36:08 though, from these videos. You can see these blue 10:36:11 audio sections are empty. The audio's been taken away because they didn't 10:36:14 , the editor didn't want that audio to 10:36:17 overlap the audio from the A-roll, which is 10:36:20 this, you know, this main line of video here. 10:36:26 In this case, this cutaway is used to 10:36:29 overlay some of these transitions here. That way, we don't 10:36:32 necessarily see them, we just get the benefit of the audio from those 10:36:37 tracks. This might be somebody talking about something that's taking place 10:36:40 elsewhere and while we still want, you know, maybe their 10:36:43 interview while they're talking about the house they grew up in, some of the 10:36:46 video that we've taken outside of that house, for instance, doesn't 10:36:49 need audio and can just lay on top like this 10:36:53 to, you know, provide more clarity to what we're 10:36:56 hearing from the A-roll track. It's 10:36:59 fun to get creative like this. Often, 10:37:04 times, I like to try to find video I like and 10:37:07 deconstruct it. Figure out what the layers would look like, am 10:37:10 I hearing the video I was hearing earlier while seeing something 10:37:13 different? Perhaps, that is utilizing a B-roll 10:37:17 cutaway. Do I still hear music? When is the music 10:37:20 getting louder? Best way to learn about this, the 10:37:23 combinations could be endless is find something you really like and see if you 10:37:26 can deconstruct it using some of the vocabulary 10:37:29 we're talking about here. 10:37:48 >> GIN: Awesome. So, yikes 10:37:52 . B-roll, I mentioned it briefly already, and 10:37:55 we're going to talk about it a little bit more here. We called it 10:37:59 B-roll, cutaways. Cutaways is 10:38:02 a nice way of thinking about it when you think the idea is to cut 10:38:05 away from that spine, that main video. 10:38:11 B-roll is a way of thinking of interchanging and this is an 10:38:14 old school film reel. Where you had 10:38:17 2 rolls of film, you had your A roll and B- 10:38:20 roll, and cut between them. You 10:38:23 can use it for, as we talked about earlier, sort of adding interest 10:38:26 and more information to 10:38:30 your story. You can also use it to cover 10:38:33 up a rough patch, like maybe you have an interview where you've 10:38:36 cut out a chunk of what someone says and 10:38:40 it doesn't look good together anymore because you have what's called a 10:38:43 jump cut where it goes from one moment in time to another, but in the same 10:38:47 location. And so, you can cover it. It's 10:38:50 a great way to sort of put a band-aid over your video. 10:38:53 It's also can be just very interesting, right 10:38:57 ? To see things and to have a 10:39:01 second, second stream of information that you are 10:39:04 , that you're using. 10:39:10 And then, you know, B-roll is really 10:39:18 just, you can never have enough of it. That's the thing. 10:39:22 I always wish I had a little more. I always wish I 10:39:25 filmed that one thing. So, you know, this is tough because we're talking about 10:39:28 editing and so the assumption when you're learning about editing is you've already 10:39:32 filmed. But if you haven't filmed yet. And actually, this is something I 10:39:35 like to say a lot. If you learn how to think like an 10:39:38 editor, you are a better 10:39:41 producer, as well. So if you get all of this stuff 10:39:44 filed away, you really can film things with better 10:39:47 ideas. Because now you know so much about B-roll, 10:39:50 now when you are out filming and you say, oh, I think we're good, let's 10:39:53 call it a day, wait, wait, maybe I can get a couple 10:39:57 more detail shots. Maybe I can get one more angle. Because 10:40:00 you probably will end up using it. 10:40:04 If you've already finished filming and you are in your 10:40:07 final crunch for editing and you really need 10:40:10 B-roll, there's a few things you might be able to do with the content you already 10:40:13 have. One thing is to just 10:40:17 take a 10:40:20 shot from your A-roll and maybe just zoom 10:40:24 it in at a different angle. So if you are 10:40:27 filming, you know, at a high resolution, there's a bit of 10:40:30 forgivable wiggle room in there from what your camera's put out 10:40:33 and what you're going to output, too, especially if you're doing 10:40:37 web video. And that's where you might want to zoom 10:40:40 in. And change the perspective 10:40:43 a little bit. Like this video of me, you might be able 10:40:46 to, you know, come in a little closer 10:40:51 . The other thing that's really cool, and I feel like I see this all the 10:40:54 time these days, I think people start recording earlier 10:40:57 in interviews and such. And you can see sort of the setup. 10:41:00 The behind the scenes 10:41:03 footage, which is test footage or the stuff you're doing to get 10:41:06 ready. Maybe you can use that as a little intro or get things 10:41:09 rolling. And some of that's going to be 10:41:12 there because you just kept recording after you finished your 10:41:15 shot. There's stock footage 10:41:18 . So there's things like 10:41:22 WeVideo, comes with stock footage, Adobe 10:41:25 stock, there's tons of companies out there that you can 10:41:28 purchase footage from, 10:41:32 Canva is another one if you have the pro plan, and that can 10:41:35 be a really nice filler when you need an image of 10:41:39 an airplane, for example, it doesn't matter which airplane, 10:41:43 you need an airplane shot, that is a great way to do it. 10:41:46 Also, in that same vein 10:41:49 archival imagery is 10:41:52 amazing. There's really cool things out there. I got great 10:41:55 footage from the New York Public Library, they've 10:41:59 released a ton of stuff into the public domain that you can 10:42:02 use with their permission. And 10:42:05 I've made some cool projects using old photographs and 10:42:09 sometimes you can get old film, as well. 10:42:12 Digitized, of course. And all of that can 10:42:15 add richness and more 10:42:18 information to your video. 10:42:22 And then, of course, once you've 10:42:25 done that, you have to figure out how are you going to use it 10:42:28 ? So how do you put together all of this 10:42:32 stuff? And cuts are 10:42:35 really important. Cutting is really 10:42:38 just the end of one shot, the beginning of the next 10:42:41 shot. But it's actually a lot more complicated than that. 10:42:44 It can be. And it's cool. 10:42:47 Cuts are something that are really just 10:42:50 fun ways to continue to tell a story. It's amazing. You have the 10:42:54 footage, your sound, your image, and the way you put 10:42:58 it together is yet another way of telling your story 10:43:00 . You can tell that I'm team editor, 10:43:04 right? So I'm going to share this video. This is sometimes 10:43:07 a little video sums it all 10:43:10 up way quicker and more essentially than we can. So we're going to 10:43:13 share this video, 9 10:43:16 Essential Cuts Every Editor 10:43:21 Should Know. And we'll go through these examples we have for you, as well. 10:43:28 We've got an ad 10:43:31 I forgot about. Let's get through this ad really quick 10:43:35 . Bear with me for half a sec. Skip the ad. 10:43:38 >> Editing is taking all that you went through in production from 10:43:41 perfectly lit shots to the awful takes you never want to look at and 10:43:44 turns it into a story worth watching. Which program you 10:43:47 decide to edit on doesn't matter. It's about finding 10:43:50 your voice. And that's what I want to talk about today. 10:43:53 There are a few cuts you can try out that 10:43:56 add a whole lot more weight and meaning to your video. Let's call 10:44:00 it 9 essential cuts every editor should know 10:44:03 . First things first, let's 10:44:06 kick it off with the basics, your standard shot. This is 10:44:09 exactly what it sounds like, it's going to be the end of one scene and the 10:44:12 start of another. It's putting two clips 10:44:15 together, no flair, no 10:44:19 fuss. Number two, my favorite, the jump cut 10:44:22 . It's going to be just that. To jump around a scene with 10:44:25 the intent of speeding up time. Now, this can be done 10:44:29 for comedic effect but also 10:44:32 as a way to demonstrate the passing of time. Usually taking 10:44:35 one long take, cutting it up throughout the middle and putting it together 10:44:39 into one piece. Cut number 10:44:42 3, the J cut. So you've 10:44:45 actually seen the J-cut way more than you realize. It's 10:44:48 simply leading into the next scene with the audio, like 10:44:51 this. 10:45:01 See what I mean? So this cut is 10:45:04 as simple as it sounds. Drag the audio clip from 10:45:07 the next clip over on top of your current clip. It's a good way to 10:45:10 kind of segue into the next scene, change locations and let the audience 10:45:13 know what's about to happen. So this brings us to the L 10:45:16 -cut. The L-cut is 10:45:19 exactly what the J-cut is but flipped. 10:45:22 My audio right now will take us into the next shot. 10:45:25 The L-cut is absolutely essential for conversational 10:45:29 scenes because you're going to have two characters, one of them's going 10:45:32 to be saying something and you're going to cut to the other character adds 10:45:36 as that first character's talking. That's an L- 10:45:39 cut. Perhaps, the most common cut in film school and 10:45:42 now that you know it, you'll see it everywhere, is cutting on 10:45:45 action. So it's basically 10:45:49 exactly as it sounds. You're going to cut when one character moves a 10:45:52 certain way. It did you want have to be a punch or kick, but it can 10:45:55 be a head turning. Someone moving, looking 10:45:58 ha certain way, getting up or walking. So this allows the audience 10:46:02 's eyes to stay on the action as it plays 10:46:05 out throughout the scene. Cross-cutting 10:46:08 . Also known 10:46:11 as parallel editing. This is a way to build 10:46:15 suspense having two narratives play out at the same time. You'll 10:46:18 see this 10:46:18 moving, looking ha certain way, getting up or walking. So this allows the audience's eyes to stay on the action as it plays out throughout the scene. Cross-cutting. Also known as parallel editing. 10:46:18 This is a way to build suspense having two narratives play out at the same time. You'll see this a lot in 10:46:21 heist/thriller movies where people are on the phone. Two characters in different locations and they have to 10:46:24 come together. Or one character's being chased by another character. 10:46:27 So what this does is allow you to tell two stories 10:46:30 at once. Taking the viewer back and forth from perspective of the 10:46:33 varying characters in your movie. 10:46:37 A little bit like cross-cutting, cut aways are 10:46:41 meant to serve the purpose of informing 10:46:44 the viewer where you are in the scene. Where I am right now, as you 10:46:47 can see, this is my environment and I'm going to cut to it 10:46:50 to show you exactly where I am in the world. A good way 10:46:53 to do this is get B-roll, the more you're cutting to other shots, the more 10:46:57 engaged your audience is, and the more likely they are to have 10:47:00 a better understanding of what's going on in the scene. 10:47:05 So the montage is more for the sequences rather than 10:47:08 the scene. It's like jump cuts but consider it to 10:47:12 be over an extended period of time in different locations 10:47:15 . You'll see this a lot with sports movies, training, any type 10:47:18 of scene where the character needs to get ready for something, whether it 10:47:21 be a fight, a battle, going on a date, 10:47:24 cooking, any type of goal that your character has and 10:47:27 they're trying to work towards it, throw in a montage, 10:47:30 it's a perfect way to demonstrate change in your characters. 10:47:48 And last but not least, match 10:47:51 cuts. Some of 10:47:54 the most iconic and impressive cuts in 10:47:58 film making is the match cut. And what it is is 10:48:01 , is matching a character's actions into the next scene. 10:48:04 So it kind of follows into the next 10:48:07 frame, creating a fluid motion, the melding of two 10:48:10 environments to create a seamless cut that takes the audience from 10:48:13 here to there before they even realize what happened. 10:48:16 My personal favorite, Laurence of Arabia whenever 10:48:20 he strikes the match and then -- 10:48:27 I hope that was helpful, you guys. Try to storyboard and plan out 10:48:30 the shots and the cuts you're going to make 10:48:34 next time you're getting ready for your film. And don't be afraid 10:48:37 to try new things, come up with a new cut, make 10:48:40 your work as weird and original as possible. All right. 10:48:43 I'll see you in the next one. 10:48:56 (Speaker muted) 10:49:00 . >> ROSS: Gin, I think you're muted at the moment 10:49:03 . >> GIN: Oh, super. Hi, thanks. 10:49:06 Well, that is a great video. 10:49:11 Some of those examples we can go into a little more in-depth. 10:49:14 So first of all, we're not going to show examples of the standard 10:49:17 cut and jump cut just go quickly over them, again. So 10:49:20 the cut is just one video ends 10:49:23 , video and audio end, new 10:49:26 video and audio begin. That is totally a fine way to 10:49:30 cut if you have a longer piece and you do that a lot, it 10:49:33 starts to feel very abrupt. One thing ends, 10:49:36 the next thing, and it's just, that straight cut is 10:49:41 kind of keeps all of the ideas feeling a little 10:49:44 bit separate. Sometimes, you do it on purpose. That's the jump cut 10:49:47 . So when you do the jump cut, you're actually 10:49:50 cutting out those moments in time, it's a great way to 10:49:53 speed things up. If you're doing something where you're 10:49:56 not using high speed camera 10:49:59 work, like showing people setting something up, jump cuts are 10:50:02 a nice way to do that, too. You can just have a little, 10:50:06 but you really, I would suggest if you 10:50:09 do something like a jump cut, think about a visual 10:50:12 rhythm. So you're sort of timing those sections 10:50:15 . So maybe every section is, you know, 10:50:19 like a half a second. You know, half a 10:50:22 second, half a second, half a second. Half a second. 10:50:25 That's a good way to think about it. 10:50:31 J-cuts, though. J-cuts and L-cuts, once 10:50:35 you see them, you realize you're seeing them all the time. They're very 10:50:38 standard cuts in a narrative video. So something you see 10:50:41 on TV or a film. So we're going to look 10:50:44 at a couple of examples of that. Because they're really worth taking another 10:50:48 look at. So my J-cut here is 10:50:51 actually something that, excuse me, 10:50:54 is one of our own productions. And 10:50:57 this was when I was looking 10:51:00 for examples, 10:51:03 excuse me. When I was looking for examples, our 10:51:07 municipal services manager and one of our producers 10:51:10 Ken French, he said I use them all the time 10:51:13 . That's, you know, a necessity for the filming that he does 10:51:16 . And so, this is actually something he produced. We 10:51:19 produced here also with Marcy Webster, 10:51:23 this is 10:51:28 Shelburne 10:51:31 Fire and Rescue. We're going to watch 10:51:34 J cuts right now. >> I grew up 10:51:37 in Shelburne and our town is filled with 10:51:40 small kids and families to the elderly and they're our neighbors 10:51:44 . So we want to make sure with rescue and 10:51:47 fire we protect our neighbors. >> Our job -- 10:51:51 >> GIN: OK, right there, that is the perfect example of a J- 10:51:54 cut. You're seeing the footage of the community, you're hearing someone 10:51:57 talk about the community, and then you're seeing 10:52:01 the person while they're talking. That's it right there. It's a great 10:52:04 way to set up an interview. You know 10:52:08 or expect you're probably going to see that person in the next couple of 10:52:11 frames. And it's a 10:52:14 really nice rhythm. 10:52:18 Then, we have 10:52:21 for another example is the L-cut 10:52:24 . L-cut is the opposite 10:52:27 , right? So that's where you're going to see 10:52:30 the person and see and 10:52:33 hear them and then you're going to just hear them as you see something 10:52:37 else. And the example that we have is from 10:52:40 a feature film, and I think it's a really good 10:52:43 example of sort of how 10:52:50 we -- how you can use an L-cut 10:52:53 to sort of show reaction. So let's see if I have that 10:52:56 here. 10:53:00 OK. We're starting right into it. I'm going to pull it 10:53:03 up really quick. So this is our L-cut examples, we have 10:53:07 a few. I'm going to play this a little bit. You might see a 10:53:10 J/L relationship going on here. 10:53:13 >> You did? 10:53:16 >> Bigger, scarier, cooler, I believe is the 10:53:19 word that you used in your memo 10:53:23 . You cannot have an animal with exaggerated 10:53:26 predator features without the corresponding behavioral traits 10:53:29 . >> What you're doing here, 10:53:32 what you have done, the board will 10:53:35 shut down this path, 10:53:39 seize your work, everything you've built. 10:53:42 >> GIN: OK. There were a few L-cuts there. And what's 10:53:45 nice about the cuts is that well, Dr. 10:53:48 Wu is talking, he's saying, I did what I did, I made 10:53:51 these giant dinosaurs because of you. And so you're 10:53:55 seeing the reaction in that L-cut. You get to 10:53:59 see he's still talking and explaining the situation, you get to see 10:54:02 the reaction of the shareholder who is realizing, oh, 10:54:07 OK. Well, this is a problem 10:54:10 that we've created, you know. It's a nice way 10:54:14 to lead into someone else speaking but also to see how they're 10:54:17 reacting to what the first person is saying. 10:54:23 And then, 10:54:26 there is the idea of cutting on action. And 10:54:30 we're going to talk about that a little bit more. I have some examples 10:54:33 of that coming up in another slide. Cutting on action is, again, 10:54:37 a way that you can sort 10:54:40 of keep momentum happening while there's 10:54:44 movement. It makes things a little punch 10:54:48 ier. So sometimes what you're doing, I said this a couple times 10:54:51 . Keep the sort of visual rhythm. There's a way you create 10:54:55 a rhythm with the images that keeps people watching 10:54:58 and feels upbeat or, you know, 10:55:01 sort of the tempo you wish to have. 10:55:04 And then, I think Ross, you're going to share the next couple, right 10:55:07 ? I'm going to pass it back to you. 10:55:10 >> ROSS: Absolutely. Thanks, Gin. And as I 10:55:14 mentioned in the chat, for some folks that were checking it out there, probably saw 10:55:17 this comment. But there are so many good resources 10:55:20 on, you know, for instance, YouTube for some of these cut 10:55:23 examples and it's really cool because you get to 10:55:27 see, you know, you get to see what the editor's doing. 10:55:30 You get to see the result right there. 10:55:37 Just some further explanation. The audios 10:55:44 that tailor hook underneath. Some additional cuts here. Sorry, 10:55:47 bringing this back up. We got more video examples here. Our next one 10:55:50 the cross cut. 10:55:54 The cross cut as was mentioned early 10:55:57 ier, the cut that takes place that shows, you know, two things happening 10:56:00 simultaneously in 10:56:03 different spaces. So little bit of background on 10:56:07 this, this movie from '98 is 10:56:10 about what would, you know, 10:56:13 we all hit those forks in the road in our life 10:56:16 . And you asked the question, what would happen if I made that decision? 10:56:19 So this movie explores, at this point in the 10:56:23 film what the two eventual outcomes would be. 10:56:27 You know, across parallel universes, I guess. 10:56:31 So it uses the cross cut to further or showcase, 10:56:34 you know, 10:56:37 what is happening in each timeline. 10:56:53 >> I love you. Wait, please 10:56:56 . >> Helen 10:56:59 ! >> Helen! 10:57:06 >> ROSS: So, we saw in both of the different timelines 10:57:09 , you know, it's the same character, Helen there 10:57:12 . I guess in the same, you know, 10:57:15 at the same time in the timelines, this is what would have been 10:57:18 happening in each of those scenes. 10:57:22 And it looks like our next clip 10:57:25 here is 10:57:29 cutaway. We've got some interesting cutaway examples here in what we have 10:57:33 which was the result of 10:57:36 or one of the films made in the 10:57:39 Media Factory film club, the youth media making program that 10:57:44 the Media Factory's been putting on for a number of seasons 10:57:48 now where area high school students create 10:57:51 some video. This one's pretty humorous 10:57:58 documentary, 10:58:00 mocumentary on the folks who tell weather. And you'll notice there's some 10:58:04 cutaways here to, you know, 10:58:08 add some comedic value. 10:58:19 I'm just going to make sure I've got a note 10:58:23 here my audio is not being heard. 10:58:30 So let's try that one, again. Oh 10:58:33 . OK. Thanks for confirming you could 10:58:36 hear the audio. We 10:58:39 can give this one a go, too. 10:58:56 >> They don't understand the craft. They don't understand me. 10:59:04 I'm Gurf 10:59:09 Pilthly and I'm a real feeler, I calculate 10:59:12 the real feel temperature. I take my job very seriously 10:59:15 . Every day, I wake up, put on 10:59:18 the real feelers' uniform and get outside with my instruments and 10:59:21 my knowledge and do the work that no one else in society can 10:59:24 . Weather 10:59:27 work requires a high degree of precision, one misstep and I could 10:59:31 disrupt between 3 and 7 picnics. 10:59:36 >> ROSS: So that video there is pretty rapid-fire 10:59:40 humor with some of the cutaway examples. If we 10:59:43 picture what we saw. Right? We 10:59:46 had Gurf was 10:59:49 there in the tree house in the 10:59:52 beginning there. We're sitting down, we're doing an interview, 10:59:55 right? So we're having that explanation, you know, he's talking 10:59:58 to us there 11:00:06 . And they use those cutaways while he's 11:00:09 still talking. We can 11:00:13 still think that in the edit, that's just an overlaid 11:00:16 shot over the A-roll, which is just that interview. 11:00:25 We could've listened to his explanation in his job and 11:00:28 what he does, but adding those additional flips there further enhance and tell 11:00:31 the story, add some more humor, 11:00:34 lowering of bucket and disrupting so he doesn't 11:00:38 disrupt picnics. Well done to the filmmaking team there. 11:00:44 So our next video example we've 11:00:47 got is going to be montage. 11:00:50 Well, I don't have an example for that, necessarily, but 11:00:53 just to talk about montage a little bit. 11:00:56 Just to recap that video earlier 11:01:00 it's a way to show the passage of time. In the video, the 11:01:03 person, the 9 essential cuts, they 11:01:06 say it's a good way to show somebody getting ready for something, but it's a good 11:01:09 way to show the passage of time really quickly 11:01:12 . We're starting to see stories being told over 10 hours, right, 11:01:15 in terms of streaming shows 11:01:19 streaming services, but in a film or a short film, 11:01:22 you don't have a lot of time. Do you need to show everything? 11:01:25 Or could you show just, you know, 11:01:28 pretty substantial steps or moments in somebody's transition 11:01:31 through time quickly probably with some 11:01:34 music, got to have good montage 11:01:37 music. And then, you know, that's a way to move through weeks, 11:01:41 months, you know, whatever 11:01:44 in just a minute or so. So quick cuts, not 11:01:48 necessarily, you know, in chronological order, 11:01:50 typically, but not like 11:01:54 immediately sequential order. Yeah. Montages show the 11:01:57 passage of time. So our next clip 11:02:00 here, this is going to be also from the Media Factory 11:02:05 Film Club, this showcases 11:02:08 a match cut. So at the end of that 9 11:02:12 essential cuts 11:02:15 video, they talk about Laurence of Arabia 11:02:19 , strikes a match, P 11:02:22 and then, I think it cuts directly to a sunrise 11:02:25 . That's very cool. Here is an 11:02:28 example of a match cut from 11:02:31 O 11:02:34 J Daring and the film Brothers. 11:02:43 (Heavy breathing) 11:02:48 (Beeping) 11:03:07 . >> ROSS: Some brief technical difficulties as we buffer. 11:03:16 (Beeping) 11:03:21 . (Music playing) 11:03:44 . >> ROSS: So I like this video because it shows one of the two ways 11:03:47 you might use a match cut 11:03:50 . Oftentimes, a match cut is to move 11:03:54 people through space or time really quickly. 11:03:57 And in a way, that's like really seamless for the audience 11:04:00 and kind of cool. In this, 11:04:03 we're doing the same thing but it's 11:04:06 looking back, it's a reflection. It's using memory, which is a 11:04:10 really interesting way to use a match cut. Because we're in the same physical 11:04:13 space but clearly, we're at a different time. And OJ makes this apparent 11:04:16 in the video through the edit by use of changing the 11:04:21 color palatte that we'll look at. We'll get into 11:04:24 that a little bit later. Changing 11:04:27 the color palatte and introducing a 11:04:30 new character. We're clearly see 11:04:33 ing something we haven't before, definitely in a different 11:04:36 place in time. Match cuts are a cool way to move through time 11:04:39 , to move through space. And 11:04:42 it's always pretty exciting and in the video there, 11:04:45 they showed people jumping. I think they were 11:04:49 jumping on to a bed and then, it falling into some water. 11:04:52 So it's a really cool way to just move through 11:04:56 time. You don't see a lot of match cuts, but when you 11:04:59 do and if you can recognize them in the moment, usually, they're really 11:05:02 creative. It's a really cool cut to recognize when you're seeing it in 11:05:05 a video. Because it does take, you know, that kind of cut 11:05:08 has to be planned beforehand. That has to be something that was 11:05:12 thought about in the pre-production planning. You don't just, you know, 11:05:15 come up with these 2 shots that move through space on the same action and say, 11:05:18 hey, look at that, this will work together as a match cut 11:05:21 . It's very deliberate. And therefore, 11:05:24 recognizing those is always really fun in film. 11:05:29 So that wraps up that slide there with some of our 11:05:32 video examples. Those of you who will 11:05:36 have access to, you'll have access to 11:05:39 this slide show afterwards 11:05:43 . You'll be able to click on those links and watch any 11:05:46 of these videos in full or revisit them. 11:05:49 Cool. Gin, I'm going to pass 11:05:52 it back over to you for our next bit. >> GIN: 11:05:55 Thanks, Ross. Yeah. Seriously, this is some of the 11:05:58 most fun stuff we get to talk about. 11:06:02 We've looked at a lot of different kinds of 11:06:05 cuts. But now, we're going to do 11:06:08 a kind of just a little bit of a specific dive 11:06:11 here into multicamera editing. So 11:06:14 some of those cuts that we already talked about could have been 11:06:17 done with one camera set up 11:06:20 lots of different ways. And even could be done with some of 11:06:24 the additional footage you're bringing in, source footage. Multicamera 11:06:27 editing is its own special thing because you're 11:06:30 usually in that case recording something from 11:06:34 several perspectives at the same time. 11:06:37 This is great for folks who have performance venues 11:06:40 , who are recording some kind of events, doing 11:06:44 theater, who are doing music, doing talks where 11:06:47 you have multiple cameras set up 11:06:50 . Story telling, anything where you've captured maybe 11:06:53 an entire event from more than one angle and 11:06:56 trying to figure out how to put it together to make 11:06:59 the most of it. And so, there, 11:07:02 again, that's the uses, those are many of the uses of 11:07:05 multicamera editing. We talked a bit about 11:07:08 the match cuts idea. 11:07:11 Trying 11:07:16 to have two shots. Really cutting from the same location 11:07:20 . But then, there's 11:07:23 as you're doing this, you're thinking about 11:07:29 , I guess we're using the word match, match cuts 11:07:32 a little different here. We're talking about how you're really 11:07:35 cutting from one position to another in a way 11:07:38 that might feel seamless. Might be going for a feeling like, 11:07:41 like if someone's singing a song and you want to show multiple 11:07:45 angles, you wouldn't want to lose part of this song. 11:07:51 You would want to see all three minutes but maybe cutting back and 11:07:54 forth between two cameras. 11:08:00 Maybe the person's playing guitar and you want to see more close 11:08:03 up on their hands or, you know, just an angle you can see them 11:08:06 performing and then a wider short where you're seeing the whole space. 11:08:12 This is where we're going to talk about the 180 degree 11:08:16 role. It starts to be useful here. 11:08:21 You can have this slide show to watch later and we recommend you check 11:08:24 it out because it sort of expands on the idea. It's 11:08:28 a little hard to wrap your head around the first time you hear it. 11:08:31 But basically, you should just be imagining your 11:08:36 filming space as a plane or that there is a plane 11:08:39 sort of running through it. This works great if you 11:08:42 imagine a theater stage. And 11:08:48 the use of any folks from theater can correct me 11:08:51 on this. A 11:08:54 stage where basically you have a front, not a wrap around. 11:08:57 And you are audience and there's performers 11:09:01 on the stage. And if you have your camera in 11:09:04 front filming, you kind of have this 11:09:08 whole entire area to work with within the audience to film from 11:09:13 all the way around, you have 180 degrees. If you go to the 11:09:17 other side of that plane, you disorient 11:09:20 the viewer. It's, and now you're suddenly backstage 11:09:23 , but maybe you're actually in a different location. 11:09:26 We have a really great video here. People can overcome 11:09:29 this, but I think it shows a little bit of this example. 11:09:32 This is a great 11:09:37 film this is a project we did a while back. Hi, Jim, 11:09:40 I think you're here. 11:09:43 This is from rocket shop and it's showing how cameras all the way around 11:09:46 can be just something worth thinking about as you're 11:09:50 setting up your shots. 11:09:53 So this was a project that we did 11:09:58 that RETN did a few years ago. And 11:10:01 I'll cut to a moment and we'll find ourselves a nice place 11:10:04 to -- (Music 11:10:07 playing) 11:10:12 >> GIN: That's one camera. 11:10:18 Oh, buffering 11:10:23 Vimeo's running slowly today. I'll set this up better 11:10:26 . Count the number of cameras and if you can see where they are 11:10:29 in relationship to the stage. And you can answer in the chat. 11:10:33 All right. I think we're going to have enough to go with 11:10:36 here. This is a perfect example, 11:10:40 here you are working with music and seeing multiple angles 11:10:43 because you want to see this is a band. You want to see 11:10:46 all of the performers. But you also want to hear the whole song. 11:10:51 Let's see if we got this. 11:10:58 Interesting we're seeing a sort of slow down with 11:11:03 Vinmeo 11:11:07 . (Music playing) 11:11:17 . >> GIN: Great. 11:11:29 Perfect. OK. So, 11:11:32 I counted four cameras. And what we 11:11:35 see, we got a close up of the piano 11:11:38 player. A closer up camera on this side over here. 11:11:43 Of the guitarists. We had a 11:11:46 wide shot, which was sort of the 11:11:49 full band view here. Where you, this is 11:11:52 what maybe is your A- 11:11:55 roll in this case. You're seeing the entire performance space 11:11:59 . What's good about this is this is probably 11:12:02 , you know, you're going to be able to see every single thing here and 11:12:05 then, you can make your choices about what you're cutting back and forth 11:12:08 between. I would say in this 11:12:12 particular situation, it's pretty forgiving but they are using 11:12:15 a back camera, which it's kind of cool because 11:12:18 it shows you this right here shows 11:12:22 you a different angle. But it's also a little 11:12:25 disorienting because you've crossed. This is where you've crossed the 11:12:29 axis, you're on the other side of the plane. And you have to decide, 11:12:32 you know, am I seeing a new band 11:12:35 ? The lighting looks really different. You know, what's happening here? 11:12:39 It just takes you a little bit out of your head. One way people 11:12:42 do it, they kind of keep moving the plane. But that's in that 11:12:46 video. So go ahead and watch that later and you'll see a little bit 11:12:49 more about it. It's definitely a consideration if you're 11:12:52 doing events, think about where you're setting up your 11:12:55 cameras to begin with. But as you saw, every shot was 11:12:58 cut to keep the song's 11:13:01 continuity. The other piece about that is that there's audio, right? And 11:13:04 we didn't hear lots of different audio from each camera, those weren't 11:13:07 hard cuts of audio and video. There was 11:13:10 probably one single audio track that was recorded most 11:13:13 likely right from the board, the sound board. 11:13:17 They probably had one camera that was recording that 11:13:20 audio as a line in. So 11:13:24 that everything 11:13:27 else was smooth. And if you have continuous 11:13:30 audio as you're cutting the video, it seems seamless anyway 11:13:34 . You know your eye is quick to learn that you're seeing 11:13:37 different angles. But it's also keeping things interesting because you get to see 11:13:39 all of these different angles. 11:13:43 I feel like I'm saying a lot here. But I think this is a consideration 11:13:46 some of you really will be having, especially if you're trying to do 11:13:50 this yourself. You can set up a multicamera thing. And 11:13:53 if you're doing, like Da Vinci 11:13:56 Resolve or Adobe Premier the software 11:13:59 editors are robust enough to help align those videos as you go 11:14:02 to edit. That's kind of 11:14:05 advanced concept but it's definitely something you can 11:14:08 do. And that will make this cutting back and 11:14:11 forth between the different shots, between the different cameras 11:14:15 much easier to do. And another thing 11:14:18 to think about is cutting on action. If you're 11:14:22 not worrying about the -- 11:14:26 well, whether you're worrying about the continuity 11:14:29 of the audio, or not, cutting on the action's a great 11:14:32 move. This is where you're cutting when something 11:14:35 happens, when somebody's moving in a direction. And 11:14:38 we saw a few examples in the video. Here's one more little one 11:14:41 that is from a video project 11:14:45 we filmed, actually, Ross filmed. 11:14:50 This is a setup of when the cool logo that's on the wall behind 11:14:53 Ross in the video was initially done. 11:14:56 So this is two cameras and 11:15:02 this is a and you could just see through the back and forth cutting is happening 11:15:05 . There was one 11:15:09 particular cut we'll take a nice look at. 11:15:14 (Music playing) 11:15:27 OK, other thing about this, this is a time lapse, it has 11:15:30 the rhythmic jump forward, which is nice 11:15:33 . You wouldn't want to necessarily watch the spray 11:15:37 painting completely done in realtime. 11:15:40 This one little shot here is a nice shot. 11:15:46 He's about to rip the stencil off the wall. 11:16:05 Because it was done as the peeling was happening, you 11:16:08 roll with it. This is happening on a micro 11:16:11 -level, constantly in films you're watching. And 11:16:15 it's what it is. Subtle but really 11:16:18 cool tricks. I'm going to go back to 11:16:21 the slide show. We had the 180 11:16:24 degree rule. And I'm going to stop my share 11:16:31 now. We're going to transition to transitions after this. And I thought 11:16:34 before we do that, I'm going to pause the 11:16:37 recording for a sec. Let's see how 11:16:40 we're doing on time. We have enough time to do that. So we're going to take 11:16:43 like five minutes or so to try and 11:16:46 answer -- and if anyone wants to ask a question, I 11:16:50 will pause so you can just ask your 11:16:53 question with audio. But you're also welcome to type any questions 11:20:13 >> GIN: I will start saying stuff and wish we recorded 11:20:16 it. I'm going to hit record, again, and we're going to pick up. 11:20:21 So we're picking up, again, now. We 11:20:24 just talked about multicameraed editing and now we're going to be talking 11:20:27 about transitions and I will pass 11:20:30 the mic to you, Ross, for that. 11:20:33 >> ROSS: Thanks, Gin. Tran SIGSs 11:20:36 . Transitions 11:20:40 . OK. 11:20:47 Transitions. OK. By this time we've seen a lot of the examples in some of the 11:20:50 clips that we've been watching. But as we mentioned 11:20:53 earlier, transitions are a way to move the story along 11:20:56 . Essentially, when we were looking at the types of cuts 11:21:00 , the first cut, as you see here 11:21:03 number 6 is cuts. But the first cut that was mentioned in 11:21:06 that video is just the standard cut. Technically, a transition. It's 11:21:09 just a cut transition, right? It's one clip to the 11:21:12 other. 11:21:15 There are ways you can put in effects to, you know, enhance 11:21:18 your story. On the base level, if you assembled 11:21:21 A-roll audio and video 11:21:25 with no titles, no B-roll, no music, no sound 11:21:28 effects and 11:21:31 no special transitions, you can tell a story that way. Everything 11:21:34 else just goes to further enhance and enrich the way you 11:21:38 can assemble it and the way it's viewed. So transitions are another 11:21:41 way to do that. And there's really no rule of 11:21:45 thumb for when you would necessarily use a transition. You see 11:21:48 them used in a lot of different ways. But 11:21:51 if I were to offer any advice overall, it would be to stay consistent. So 11:21:54 if you're like essentially breaking your story 11:21:57 up into chapters and fading out and then back in between 11:22:00 chapters, you know, your audience might start to pick up on 11:22:03 that subconsciously, recognize that and feel like if you were 11:22:07 to do that mid scene they're now trying to 11:22:10 witness another place, another time. Staying consistent's really good 11:22:13 . Not overdoing it is really good, too. We'll get 11:22:16 to number 3 with wipes in a second. 11:22:20 But some of these are really subtle. A dissolve 11:22:23 is just, you know, cross-dissolve, one fades 11:22:26 out of opacity, next fades up. At 11:22:29 some point you see them briefly at the same time. Fade in and out, 11:22:32 fade to black, fade to white. And 11:22:35 back up and, again, 11:22:40 chapter things. Iris, I guess it's a circle 11:22:43 wipe coming from the center. Special effects can work, too. 11:22:48 You know, if you look at any editor, they're going 11:22:51 to have a lot of transitions in there. And the further down you scroll 11:22:55 in their transition options, the more kind 11:23:00 of interesting they become. Sometimes, a little cheesy. 11:23:03 A favorite of mine is always the box. Your clip becomes 11:23:06 a cube and then it rotates in frame and 11:23:09 your next clip is on the other side of the box like a one 11:23:12 -sided rue 11:23:16 d Rubik's cube. 11:23:19 Thinking about why they're being used is a good way to think about 11:23:22 how you might use them. Oftentimes, you don't see some of the 11:23:25 really different ones except for wipes in a film 11:23:29 like, for instance, Star Wars 11:23:32 . Star Wars uses so many 11:23:36 wipes in their films. We're going to start off 11:23:39 at 138 because I believe this is the first transition they 11:23:42 showcase from the fourth episode 11:23:46 A New Hope. If anybody is a fan of 11:23:49 Star Wars a New Hope, go 11:23:53 to crowdsourcevt 11:23:56 .com. We're doing a statewide community made 11:24:01 film recreation of the Star Wars 11:24:05 A New 11:24:09 Hope. Sign up, we'll select however many 11:24:14 scenes we cut the film into, and you get to recreate that. It's totally 11:24:17 cool. We've done other films in the past. Anyways, 11:24:20 lots of wipes in Star Wars, hopefully 11:24:23 , we can put them back in there when we put the scenes together in the 11:24:26 end. 11:24:30 But in this clip, check out how they're used. They're not 11:24:34 thoughtless, 11:24:45 less. (Music playing) 11:25:01 . >> ROSS: And there are a lot of them. In fact, I think at the end, they 11:25:04 do a breakdown without, 11:25:07 without episode 9 in 11:25:10 the mix, one off videos 11:25:13 , movies 11:25:16 173, definitely get used a lot and pretty fun, for sure. 11:25:19 So thinking about what clips you might 11:25:22 use or what transitions you might 11:25:26 use, you know, something that if you remember the editing work flow is kind 11:25:29 of towards the end, you know, of course, because you have to have footage 11:25:32 assembled and things like that. But one other thing to keep in mind 11:25:35 while you're working with titles, sorry, transitions 11:25:39 is if you 11:25:42 put in a transition that involves 11:25:45 two clips merging together, perhaps, in dissolve, for instance, 11:25:50 then you might just pay attention to what that 11:25:53 does to your timings of other things connected with that music, 11:25:56 sound effects, just because the time 11:25:59 that it takes to dissolve might 11:26:02 change the duration that your clips are actually present since 11:26:05 they need to be, you know, brought over 11:26:09 on to your other clips in order to dissolve into them. 11:26:14 Something to do at the end, but it's a little bit of micro 11:26:17 -editing there. That's when 11:26:20 editing, at some point, you've got to call it. Totally 11:26:23 cool. So I'll check the chat while 11:26:26 I pass it over to Gin to see if there's 11:26:30 questions on transitions. But, Gin, 11:26:34 I'm passing over to you to our 11:26:37 next slide titles. >> GIN: I've decided my favorite 11:26:40 of the Star Wars wipes 11:26:43 is the one where they're lifting a broken C 11:26:48 3PO up and it wipes to a new scene. That 11:26:51 one is just very, very nice. 11:26:55 So now, we're going to talk about another one of my favorite things, which 11:26:58 is titles. Pretty much 11:27:01 every video editor has some 11:27:04 built-in titles. And that is fine 11:27:07 . You can totally use the built-in titles. 11:27:10 But sometimes, you'll find that they're just really 11:27:13 limiting to what you're doing. We're all creatives here. We want 11:27:16 to tell stories and we want to do them in 11:27:19 an interesting way. So I want to share a few 11:27:22 other ways to think about it. So, first of all, 11:27:25 it is good to know the main idea is sort 11:27:28 of vocabulary of titles. So there's 11:27:31 text on the screen that is just sort of the most basic idea 11:27:34 of a title, which is kind of any text you're putting on 11:27:37 the screen. But then, there's things called 11:27:40 lower thirds. A lower third, you've seen a million times 11:27:43 . It's what's on a music video, it's what's on the news 11:27:47 . It's often in documentaries. It's the way you introduce 11:27:50 people. There's a standard about it being 11:27:53 down low that kind of comes from TV 11:27:58 that, excuse me, you can mess with. 11:28:01 But in 11:28:06 general. In general, the 11:28:09 lower third works great. I'm so sorry 11:28:12 . And then, also, when you get to -- 11:28:16 editing you'll 11:28:20 -- when you get to editing, 11:28:23 there's something called a title safe area that a 11:28:26 lot of editors will show you that lets 11:28:29 you see where to fit your titles so it doesn't 11:28:33 get cut off. I'm going to pause, Ross, 11:28:36 I'm sorry, can you take this while I have a quick cough. I apologize 11:28:39 . >> ROSS: Yeah, if you leave that up on the screen, I can talk about it, too. 11:28:45 So titles. Text on the screen, lower thirds. Title 11:28:48 cards 11:28:51 . I want just jump down to number 6. Less 11:28:54 is more. I really only put titles into my 11:28:57 videos when I need something to be apparent that isn't. Somebody 11:29:00 's name, a call to action, 11:29:03 a website to visit, a phone number to call. 11:29:06 Anything that's not specifically said or something that needs to stay up longer so people 11:29:10 can really take note of it, recognize it, 11:29:14 the same thing works for any sort of captioning, too. 11:29:19 If 11:29:22 you are doing any sort of title, one other good rule of 11:29:25 thumb is if you're a quick reader, read it twice, 11:29:28 you want to make sure it's up there long enough for people to see and actually 11:29:31 , you know, ingest. 11:29:34 Oftentimes, your reaction is oh, there's something 11:29:37 to read. OK, I can read it. What does it mean? There's a little 11:29:41 bit of time that it takes. I wouldn't 11:29:45 ever go too quick on titles. And 11:29:48 but, you know, also, don't go too long. A good 11:29:51 rule of thumb is if you can read it twice, it's typically up on screen 11:29:54 for most people to work with. 11:29:59 Yeah 11:30:06 . Couple other things you can do here. Lower thirds, that's 11:30:09 one way to put, you know, somebody's name and 11:30:12 title, a phone number, title cards, 11:30:15 that's usually like a full screen thing where 11:30:19 the title, you know, it's 11:30:24 the only thing you see there, like, let's go 11:30:27 back to Star Wars, technically, the title scroll 11:30:30 , that's going to be a title card. It's got movement 11:30:34 . But it is the only focus of the shot is 11:30:37 the title. Is the text on the screen. 11:30:41 So, yeah. Less is more. But there's some cool ways 11:30:44 to integrate it too, Gin. You've got a clip here 11:30:48 making it part of the story. >> GIN: Yeah, I can share a 11:30:51 little more. Thank you. Yeah, so we're not going to talk a 11:30:54 lot about captioning right now. Either except to 11:30:57 say, thank you so much, Diane, for captioning today. 11:31:01 Captions are becoming really 11:31:05 common tool inside social media, for example, 11:31:08 they can auto-generate captions. And 11:31:12 we're continuing to try to figure out how to do that best 11:31:15 here the a the Media Factory, whether we're doing stuff 11:31:18 on YouTube or we're -- we have auto- 11:31:21 generated captions, you know, when you have cable television. 11:31:25 It's definitely part of accessibility. And I really 11:31:28 recommend folks who are doing a lot with video to look into different 11:31:31 ways you can caption. And 11:31:34 to -- that workshop that Amy suggested around accessibility and 11:31:37 web accessibility's going to be addressing this, I'm sure. 11:31:41 So that's all I wanted to say about it, it's important. And 11:31:45 it's definitely come a long way and it's 11:31:48 becoming more, there's a lot of different ways to do it. Which 11:31:51 is great. And then, 11:31:54 pardon me. Then, 11:31:58 this last idea of making your titles part of the 11:32:01 story. There's so many ways you can do this 11:32:05 . And this is an example I'm going to show that from a 11:32:09 video where they've really planned out their film with the titles as part of 11:32:12 it. And I think this is a 11:32:15 creative cool way of doing it. 11:32:35 (Music in the background) 11:32:55 (Speaker muted) 11:33:02 . >> ROSS: Gin, I think you're muted right now. 11:33:06 >> GIN: Hi, back, again. So I'm 11:33:08 a big fan of School of Rock, and 11:33:11 I really love how the story is 11:33:15 sort of revealed. This 11:33:18 character, the main character's passion 11:33:21 for rocking out is shown from the very beginning 11:33:24 by going into some underground music 11:33:27 venue and all of the titles are, you know, 11:33:32 different kind of like concert 11:33:35 promo posters and the title of the 11:33:38 film is on the sign. He's got a bit of a 11:33:41 budget. But the part with the photo copies, 11:33:44 you could totally do that. There's tons of stuff where people, you know, 11:33:47 there's a thing where people hold up signs and 11:33:50 there's things like magnetic letters 11:33:55 . Making shapes out of objects that are all kind 11:33:58 of fun ways to play with the idea of title 11:34:01 ing. And if you do that in conjunction with captions, 11:34:04 you can make sure that all of the information is clear, 11:34:07 but also, you have these sort of visual layers that you can build 11:34:10 . And start telling more of your story from the get go 11:34:13 . And then, I'm going 11:34:16 to pass it back to you, Ross, to 11:34:19 talk a little bit more about audio. >> ROSS: Yeah, 11:34:22 absolutely. You know, I was just thinking, one 11:34:25 creative way I've seen really useful, honestly, way I've 11:34:28 seen titles use 11:34:32 d recently was I was looking 11:34:35 at tutorial for some software. And they said that 11:34:38 if you're looking to access any of these videos in another 11:34:41 language other than what was spoken in the videos being 11:34:45 English, here's the link to YouTube, YouTube 11:34:49 has a number of languages in their captioning system. Enable 11:34:53 the captioning, choose the language you prefer from their options and I thought that was 11:34:56 a really cool way to make things more accessible. 11:35:02 And I don't know how good YouTube's captioning automation is 11:35:05 . Probably decent enough. I don't know . 11:35:08 But I thought that was a really cool, great step, you know, 11:35:12 trying to open up access to some of the videos. 11:35:15 So -- happy to see that. And was 11:35:19 also thinking, the movie theaters recently, 11:35:22 and I just wish I had some augmented glasses that would 11:35:26 put captioning. I can't watch anything without 11:35:29 subtitles. So 11:35:32 hopefully, we get that for the movie theaters soon. 11:35:36 Sourcing audio, of course, you know, 11:35:39 audio is so important for video. We've talked about this, and 11:35:42 some of the other workshops in the series. But sometimes, 11:35:46 in addition to some of the audio that you've captured, you know, 11:35:49 the person speaking for your interview or, you know, audio 11:35:52 for the sounds of the B-roll, you know, sometimes 11:35:55 you need more audio. So, you know, 11:35:59 oftentimes there are so many film libraries out 11:36:03 there, videomaking libraries you have to 11:36:06 pay for. Maybe buy use per 11:36:09 file fee. With really high quality sounds 11:36:13 and great music beds and whatever like that. 11:36:16 Oftentimes, those are marketed towards, you know, big production 11:36:19 house or whatever size production houses that are making a lot 11:36:22 of material, need a lot of this. But also, 11:36:26 surprisingly, you'll find the same quality if not exactly the same quality 11:36:29 of stuff from resources, too 11:36:32 . There's websites I like. One that I 11:36:35 like often for music is 11:36:39 In 11:36:43 competech, I forget the individual's name that runs the site 11:36:46 . It's a cool site for music and 11:36:49 graph paper. It's the two things they offer. But the music's 11:36:52 high quality and all they need is 11:36:55 an at 11:36:59 tribution for the artist. Other sites, 11:37:04 Tremendo, they do have a fee service. But for sound effects, 11:37:08 I like some freesound.org. That's a really 11:37:11 good one. That's a user uploaded site 11:37:14 . But a lot of the sounds that are really creative. A lot of 11:37:17 them are Foley, which is how I want to talk about number 11:37:20 two. But without skipping over 11:37:23 number 1b here, musician 11:37:26 pals. If you create your own music, if you have friends that 11:37:29 create their own music, that's awesome. It's 11:37:32 a great way to, you know, incorporate other people in 11:37:36 your projects. 11:37:39 And, you know, 11:37:44 even, yeah. Recording audio. So some of those 11:37:47 sites like freesound.org, 11:37:50 they lights keep going out on me in 11:37:53 this room. But freesound.org, 11:37:56 a lot of those are recorded by people they're uploaded. That's 11:37:59 called Foley sound. Which is taking a sound effect to represent another 11:38:02 one. We don't necessarily see what is 11:38:05 generating the sound. But if it sounds close enough to what it is, you can use 11:38:08 it for that. For instance, you can either, 11:38:11 you know, get a bunch of horses and have them 11:38:17 gallop, or you can have a coconut and take the 11:38:20 two halves and go to the beach and CLOMP 11:38:23 clomp them in the 11:38:26 sand and might sound like horses running. People might upload 11:38:29 that to a site like freesound.org and 11:38:32 you can access that and use it in the footage. It's 11:38:36 cool thinking about how the sounds are created. Often times in a 11:38:39 video, you know, you don't see Frodo 11:38:43 you can have a coconut and take the two halves and go to the beach and clomp them in the sand and might sound like 11:38:43 horses running. People might upload that to a site like freesound.org and you can access that and use it in the footage. It's cool thinking about how the sounds are created. Often times in a video, you know, 11:38:46 you don't see Frodo Baggens running around with a microphone in hand, so a lot of them are brought in afterwards, 11:38:49 and they're things that sound enough like what they 11:38:52 need to represent that they were. So that can work for 11:38:55 you on a budget, it can work for you for access 11:38:58 for materials and it's pretty cool. 11:39:02 Balancing audio's a really important thing. You don't want to 11:39:06 over, you know, you don't want to have too much of a 11:39:09 good thing. So if you're going to have music and 11:39:12 sound effects and dialog, you want to think about how that's all going to work together 11:39:15 . And if some of them should be omitted or 11:39:19 lower in the mix and so forth 11:39:22 . Room tones also really important. When 11:39:25 you are working 11:39:30 in a space that has a very particular tone 11:39:33 or you anticipate that you're going to 11:39:36 be cutting up some footage a lot, 11:39:40 oftentimes, when you create those jumps, those jump cuts, 11:39:43 the audio doesn't 11:39:46 seamlessly carry through. And without having additional room tone of 11:39:49 just a blank recording of just that native 11:39:53 room -- the room's tone. Open the 11:39:56 mic, everybody's quiet. If you don't have that to put into those 11:39:59 cut areas, it becomes 11:40:02 really noticeable to the viewer that something's missing, something's 11:40:05 a little off. You can 11:40:09 cover cut A-roll with B-roll, 11:40:12 people don't see the transition cut. But if the audio 11:40:15 's inconsistent throughout, people start to pick up on that. 11:40:18 And then, speaking about consistent audio all the 11:40:21 way through, music's a good way to carry people through a 11:40:24 story. It's a good thing, obviously, for things like montage, 11:40:27 but also good for interviews, spoken word, you know, you want to 11:40:30 be conscious of what type of music, what type of tone it 11:40:34 sets. What type of emotional response you get. But 11:40:37 music's a really good 11:40:40 way to have something that rhythmically moves your video 11:40:43 along. And even if it's just a 11:40:46 music bed that's really low in the mix, having it 11:40:49 in there sometimes, if you deem that's the right thing 11:40:53 for your project, it can be really valuable. 11:40:59 And, yeah. While I pass back over to, 11:41:02 Gin, thank you so much, Gin, for throwing -- if anybody is 11:41:05 able to see the chat, freesound.org, and 11:41:08 those audio resources there in the chat. 11:41:17 And yeah, pass over to you for color correction. 11:41:21 >> GIN: Thank you. So what we are kind of getting down to 11:41:24 the end now. We've talked about audio editing, we've talked about 11:41:28 transitions. Talked about cuts. And once 11:41:31 you have it all together, you might want to 11:41:34 be thinking about some kind of color effects 11:41:37 . And so, I have 11:41:42 -- oh, let's see, I'm going to share my screen in just a 11:41:45 sec. Let me get that. Up for you. 11:41:52 We are going to take 11:41:55 a look 11:41:59 at color 11:42:02 as a story telling 11:42:06 device. Which that's kind of a lot to think about. But it's actually 11:42:10 really amazing. Color correcting has come a 11:42:13 long way. It used to be that and it's still true 11:42:16 . You need to start with a nice, strong video image 11:42:19 . But color correcting 11:42:22 now is something that can be added 11:42:25 to your work flow 11:42:29 to create a tone, a specific tone in your story 11:42:32 . But let's just go over through the 11:42:35 basics. First of all, the main color correction concepts 11:42:38 , we talked about some of this in our production 11:42:41 elements workshop. When you're on the production side of it, you're 11:42:44 talking about how hot or cold your lights are. And 11:42:48 how warm or cool they are, and worrying about getting your 11:42:51 white balance set. Once you've gotten to 11:42:55 the editing side, you can sometimes correct for white balance 11:42:59 , you also are just calling it your color 11:43:03 temperature, whether it's warm or cool and that's the place you might be adjusting something 11:43:07 . You're also thinking about your saturation, 11:43:09 how bright and vibrant the colors are 11:43:13 , how much color you have in your image or maybe you're doing a 11:43:16 black and white film and take all of the color 11:43:19 away. Contrast is going to be 11:43:22 how dark and light and 11:43:26 how extreme that is. Rule of 11:43:29 thumb when you're adjusting some of that, you want to see a little bit 11:43:32 of detail in your 11:43:35 lightest and darkest 11:43:39 colors. You want to see stitching a little bit and if you have 11:43:42 a white shirt, you want to see the folds of the shirt. You're 11:43:46 adjusting some of those things. And hue, which is complicated, but is 11:43:49 really going to be changing is the colors 11:43:52 in kind of concert with each other 11:43:56 through 11:43:59 cyan, magenta, the sort of different color spectrum 11:44:02 . And that was a horrible way to describe that. I think you 11:44:05 get the gist of it. And 11:44:08 then, there's this thing called 11:44:11 ed LUTs 11:44:14 . They are basically a filter for video. So 11:44:17 if you've ever used Instagram, 11:44:20 you know that there's all of these like 11:44:25 preset ways you can adjust your image and it does all 11:44:28 of that basic color correction as well as a few other things where it boosts 11:44:31 certain colors and it takes down other colors. Let's 11:44:35 do the same thing but for video and you 11:44:38 can purchase them. And this 11:44:41 website, we're showing this website not saying oh, 11:44:44 go buy some from this company, but they just have a 11:44:47 really great way to demonstrate what a 11:44:50 LUT, what LUTs can do for you. 11:44:53 So some of these examples, I really love. They have sort of 11:44:56 a sliding scale. You can see the before is on 11:44:59 the left in each of these. And the after. So the 11:45:02 image quality starts off good. That's important to know 11:45:05 . These are good quality images. But look at 11:45:08 how what they do. They've gotten rid of the greens. It's 11:45:12 really a blue and sort of tan 11:45:18 tone a really different feel. Maybe a little bit 11:45:21 fancier. Maybe a little bit out of time. 11:45:25 You're looking at something from the past, something from somewhere else. 11:45:29 Has a little luxury to it. This is an example I really 11:45:32 like. Because this is what we all see 11:45:35 as snow, but this is what we want to see as snow. 11:45:38 They've really boosted the blues here and 11:45:41 the whites are much cooler tone. And 11:45:45 see how the white here is much grayer? It's a much 11:45:49 more vibrant, crisp view 11:45:52 of snow than maybe reality. 11:45:55 But gives you this effect of what you're going for. 11:45:59 Some of them it's really, it's subjective and 11:46:02 it's about the mood. So here, this is a very nice 11:46:05 ly balanced image, I think, in terms of the lights and the darks and 11:46:08 I love that green. But that's 11:46:11 then affected and taken way down. So it's 11:46:14 much darker image. There's much less 11:46:18 detail you can see here. But if you're 11:46:21 trying for this effect of this extreme 11:46:24 ly moody. And then, 11:46:27 we'll look at one more of these. 11:46:33 This is one where they've gotten rid of the sort of green colors 11:46:36 and really changed the 11:46:39 tone, picking up on sort of the pinks that the person 11:46:42 's wearing and making 11:46:46 this almost monochromatic feeling like it's 11:46:49 sort of a pink toned image 11:46:52 . So LUTs are great. They're super fun, 11:46:55 you can use them with things like 11:46:59 Premier and Da Vinci Resolve. They're 11:47:02 creating a very different 11:47:05 story. I've used color correcting at times 11:47:09 to do things like maybe to show 11:47:11 two different scenes a past and a present, right? 11:47:16 You might have all, you know, if you're looking at a story, there's so many 11:47:19 things like this, you know, I was thinking about recently I 11:47:23 saw Station Eleven and 11:47:26 I think they did stuff with LUTs to show the different time periods 11:47:29 . They jump a lot in time. And they're doing things with their color 11:47:32 effects to give you that feeling of a time or place 11:47:35 that's different than another one. You 11:47:38 can also just do it overall to give a general 11:47:41 feel to something that you're doing. It's 11:47:45 important to 11:47:48 understand, you know, you can also do these, some of these corrections manual 11:47:52 ly and more advanced editors. Like 11:47:55 Da Vinci Resolve is very well considered for 11:47:58 color correction, that's what people use for their go-to of 11:48:01 color correction software. And, it's really important to 11:48:05 understand the difference of the color relationships and 11:48:08 the color wheel and this is a video that's 11:48:12 really nice that addresses a lot of this. And so, 11:48:15 I'm going to show you a little bit about 11:48:18 Hue. I said Hue's a little harder to describe, 11:48:21 but they do a nice job. This is a great 11:48:24 video series to watch. 11:49:09 >> GIN: So you can see that is a really effective and 11:49:12 brief video that's going to sum up a lot of the big concepts 11:49:15 of color correction. The last thing I want 11:49:18 to say about it is -- well, two things, being 11:49:22 consistent, the palatte that you choose, you want 11:49:25 to stick with and make sure that you're create 11:49:28 ing every one of these things is a communication tool and 11:49:31 color is also a communication tool. If you are going to tweak 11:49:35 the contrast in some of your shots, you need to 11:49:38 understand why you wouldn't be using it in all 11:49:41 of your shots. Decide how you're telling that story. Is it 11:49:44 across the board or to show a certain time? A certain place? A 11:49:47 certain way of thinking? A certain character's voice 11:49:51 ? Be consistent about that. And then, the other 11:49:54 thing is that fix it and 11:49:58 in post idea is 11:50:01 not great. You have to start with a well of had 11:50:04 - 11:50:07 exposed image. A lot of this 11:50:10 the things we discussed about well-exposed image from 11:50:14 using lighting, making sure your exposure's good, 11:50:17 your focus is good, you need to walk into the editing 11:50:20 process with a good visual before 11:50:23 you can do all of these cool effects to it and have it 11:50:26 really do what you want it to do. 11:50:31 So that is my talk about 11:50:37 LUTs and color correction. There's a lot 11:50:40 more to it, of course. If you are 11:50:43 a Media Factory member, we have edit suite that 11:50:46 you can use that has a lot of color correction tools, 11:50:49 including a special monitor that's really giving you the 11:50:53 full spectrum of colors that are coming up in your 11:50:56 video. If you're in another area, you 11:50:59 should see if your community media center also offers 11:51:02 that. It's 11:51:05 really does take your work up to the next level. And if you're doing 11:51:08 stuff online, and it's social media, maybe 11:51:11 you don't need as much of this. But 11:51:14 if you're creating a longer form piece that's going 11:51:18 to be on display somewhere in a gallery, something you're going 11:51:21 to be using for a long time, it's really worth thinking about 11:51:24 what you want to do to make it look 11:51:28 as -- look and sound as good as possible 11:51:31 . So Ross, what do we do now? Now that we've 11:51:34 put it all together? >> ROSS: Well, 11:51:39 we've got to watch it. And we have to see what it looks 11:51:42 like. See if we like it. And there's some guiding questions that we've 11:51:45 arranged just to help with that, you know, 11:51:50 that time of, you know, reviewing your work 11:51:53 . Which is our slide. Reviewing your work. 11:51:57 And these are all questions you can ask yourself, 11:52:00 but honestly, as I mentioned here, these are 11:52:03 also great questions to ask another person. 11:52:06 And, of course, you know, some things that look good 11:52:09 to you might not look good to somebody else. 11:52:15 Getting an alternative opinions and additional feedback just 11:52:18 can really help you either get past the point where you're 11:52:22 troubled in the video see something 11:52:25 you didn't see. It's easy to get tunnel visioned in your edit and 11:52:28 you overlook certain things that become really obvious for somebody on a 11:52:31 fresh view. So some questions that we have that you 11:52:34 can ask yourself or somebody else, how does it look? 11:52:37 Do the visuals flow smoothly and match the story? 11:52:40 Do they add more information? You know, we often talked about in 11:52:44 this, less is more, and so, you know, somebody 11:52:48 might be able to tell you that or tell you you need to add more or maybe 11:52:52 these visuals aren't quite exactly helping them 11:52:55 understand what's going on. How does it sound? That's a 11:53:04 really good one to ask, too. I know I get 11:53:07 really caught up in the mix. Did I get that subtle noise in the background 11:53:10 right?. Some people won't hear 11:53:13 it and that's fine, you know, or maybe they do hear it and 11:53:17 you're like, hmm, that should have been a 11:53:20 little more. Reviewing your work in this way just helps you identify those 11:53:23 areas to go back to. Is there anything 11:53:26 else you noticed? Distractions in there? 11:53:30 Can some things be adjusted? Again, getting feedback from 11:53:33 somebody else with some fresh eyes is a good way to 11:53:38 push you to the end of the story, to the end of the 11:53:42 editing process. At some point, you've got to call it quits 11:53:45 . I don't think I've finished an edit where I'm like, I don't want 11:53:49 to do anything more than this. I will go back in and 11:53:54 tweak things here and there. But sometimes, sharing it with somebody 11:53:57 and asking them about some of those points where you're 11:54:00 stuck and they're just like, no, that's totally cool. 11:54:05 It helps you move on, which you've got to get 11:54:08 the videos out there. I've definitely 11:54:11 spent too much time editing videos. 11:54:15 A lot of these questions are really helpful for me and, hopefully, for 11:54:18 you, too. 11:54:24 One additional thing I do want to say for reviewing your work, on the less is 11:54:27 more thing, we've covered a lot in this workshop 11:54:30 . I'm looking at this list I have here to the side of all of the slides 11:54:33 that we've gone through. And there's a lot here. And 11:54:36 honestly, if you are just starting out 11:54:39 making video, don't try to tackle these things at once. Don't try 11:54:42 to employ all of these tips and tricks. Start 11:54:45 basic, get the handle on what you're doing. And every time you go 11:54:49 back to edit a new video, you'll want to include some more 11:54:52 . And you'll feel more comfortable with the stuff you've already done. It's totally 11:54:55 cool to start 11:54:59 small and get into some of these more in-depth tactics 11:55:03 of editing later on. But there's been some great questions 11:55:06 in the chat. And I look forward to seeing what people 11:55:09 make. Going forward. Let's 11:55:12 see, next we've got oh, yeah, after you've 11:55:15 reviewed your work, what do we do next here, 11:55:19 Gin? >> GIN: Yeah. 11:55:23 So we are in the home stretch. We've 11:55:26 reviewed our work and now, we are sharing it. 11:55:30 We didn't go into detail a lot about formats here, 11:55:34 but there's going -- I'm going to be assuming in this case that 11:55:37 you already have chosen the format that you've been 11:55:40 editing in the format that you wish to export 11:55:44 . But you do need to know that, right? And you should be thinking about 11:55:48 that even at the beginning. Is this going to be a vertical video or 11:55:51 horizontal video? We've already established you need to know that stuff. 11:55:55 But where is it going? Is it going to be something you're 11:55:58 sharing on social? Is 11:56:01 it going to be something that you are posting to your website 11:56:05 ? Is it something you're sending an email 11:56:08 attachment? It really matters. 11:56:11 Depending on the out 11:56:14 put your going to be making different choices as you 11:56:17 save it. 11:56:22 The final copy 11:56:26 labeling is super important just as you labor your files and organize 11:56:29 them going into it. You need to do the same thing going out. You 11:56:32 can actually go, you know, 11:56:35 time stamp where you save it at 11:56:40 the year, month, day, hour, minute, second. 11:56:43 You might find that's not a bad way to work if you are 11:56:46 continuing to make edits. You might have a few finals 11:56:50 . If you do, the final, final, final, final, final, 11:56:53 final, that's a really hard way to label things 11:56:56 . So considering the 11:56:59 date and timestamp is a good way to output and then, 11:57:03 if you decide to make a tweak after you watch your final, 11:57:07 final version, you can do that. Definitely, 11:57:11 make sure that you save it at the 11:57:14 highest quality you are able to. And when I say you 11:57:17 can, if you're editing on an iPad and you have 11:57:20 limited storage, you may have considerations like that where you can't 11:57:23 save it at the largest file size. But if you have 11:57:26 the ability to, you should be 11:57:29 saving this at the best quality. You want it to be a full screen image, 11:57:32 not a tiny little thumbnail. Sometimes, settings, 11:57:36 you know, stay from a previous edit. It's really 11:57:39 worth checking as you export all of the options 11:57:42 in your editor. And then, you want 11:57:45 an archive of this. You -- if 11:57:48 you think you're going to edit this project ever again, 11:57:51 odds are you probably won't, to be honest. If you 11:57:54 decided you were going to go back and use the project files, 11:57:57 you want to have all of that zip ed 11:58:02 ped up and saved. This is a huge amount of 11:58:05 footage you'd be holding on to. And I would 11:58:08 think carefully if you need all of that. But at the very least, you know you need to 11:58:11 take that large file of your finished, beautiful 11:58:14 piece and put it somewhere safe. So you may 11:58:17 have a version on Facebook, but you 11:58:20 also know you've got it saved on a drive. You have 11:58:23 it saved to the cloud, you have it backed up 11:58:26 . You've done so much work. You want to make sure that you don't lose 11:58:31 that along the way. 11:58:36 At this point, you're done with 11:58:39 your first edit. And as Ross was saying, I think it was a great point, 11:58:42 Ross, that you just don't worry about all of these things at once 11:58:45 . This is about thinking like an editor. Having these considerations 11:58:48 in mind while you're filming. Thinking about what 11:58:52 choices you want to make when you do a project. Trust me, 11:58:55 when I'm putting something on social media at the beginning of the 11:58:58 week to promote a single workshop, 11:59:01 I am doing much less of these things. I 11:59:04 am thinking about what I can get out in 10 11:59:07 seconds worth of video content is a very 11:59:11 small project. And many of these considerations aren't 11:59:14 that significant. But, if you're working on 11:59:17 a long piece, if you have a lot of contributors, if it's a big 11:59:20 collaboration, this is going to be really, 11:59:23 really valuable for you. And 11:59:26 everything in between, right? I just want 11:59:29 to share, we're wrapping up here, we have a couple 11:59:32 , like about 30 seconds for some 11:59:35 questions. And I'm just showing you we have some stuff coming 11:59:38 up. We have a tech session, that's going to be a great one 11:59:42 for those of you who have very specific questions 11:59:45 . We are going to send out a little -- we're going to 11:59:48 have a little survey available for that one. It 11:59:51 might be when you register. Just asking you to tell us 11:59:54 what you want to address. We will try to make sure to 11:59:58 have some ideas ready 12:00:02 to go that day. Whatever you want to talk about regarding media production and 12:00:06 editing, we are there for you. And then, 12:00:09 you know, follow us on social. If you want 12:00:12 to see the workshops we have, they're all free 12:00:15 or the suggested donation and then, we have just, 12:00:18 you know, our website, so please check all of that out. 12:00:21 We have an editing vocabulary 12:00:24 here for you. And that's just, 12:00:27 you know, a lot of things we discussed today. We have some more 12:00:30 resources at the end that include the 12:00:33 story log sheets. The story 12:00:37 board sheets and some more information about the community 12:00:40 media centers throughout the state. 12:00:43 So thank you all for being here. It was 12:00:46 really -- >> ROSS: Thanks, everybody. >> GIN: It was 12:00:49 really wonderful working with you all. This was a great workshop. Thank you for 12:00:52 joining us for editing essentials. This is recorded. And 12:00:56 will be online at the Vermont Arts Council