- Reference 4.1 Understanding a Project
- Exercise 4.1.1 Creating a Project
- Reference 4.2 Defining the Primary Storyline
- Exercise 4.2.1 Appending the Primary Storyline
- Exercise 4.2.2 Rearranging Clips in the Primary Storyline
- Reference 4.3 Modifying Clips in the Primary Storyline
- Exercise 4.3.1 Performing Insert Edits
- Exercise 4.3.2 Rippling the Primary Storyline
- Reference 4.4 Timing the Primary Storyline
- Exercise 4.4.1 Inserting a Gap Clip
- Exercise 4.4.2 Blading and Deleting
- Exercise 4.4.3 Joining a Through Edit
- Exercise 4.4.4 Refining Some Sound Bite Edits
- Reference 4.5 Editing Above the Primary Storyline
- Exercise 4.5.1 Adding and Trimming Connected B-roll
- Exercise 4.5.2 Understanding Connected Clip Sync and Trimming Behaviors
- Reference 4.6 Creating a Connected Storyline
- Exercise 4.6.1 Converting Connected Clips into a Connected Storyline
- Exercise 4.6.2 Appending Clips to a Connected Storyline
- Reference 4.7 Editing Below the Primary Storyline
- Exercise 4.7.1 Connecting a Music Clip
- Reference 4.8 Finessing the Rough Cut
- Exercise 4.8.1 Adjusting the Edits
- Exercise 4.8.2 Adjusting Clip Volume Levels
- Exercise 4.8.3 Connecting Two Additional B-Roll Clips
- Exercise 4.8.4 Refining Edits Using Cross Dissolves and Fade Handles
- Reference 4.9 Sharing Your Progress
- Exercise 4.9.1 Sharing an iOS-Compatible File
- Lesson Review
This chapter is from the book
This chapter is from the book
This chapter is from the book
Exercise 4.4.1 Inserting a Gap Clip
Currently, your project sound bites are sequenced very tightly. This breathless stream of consciousness does not lend itself to clear storytelling. Let’s separate some of these clips so the storytelling relaxes a bit.
Press the Up Arrow or Down Arrow keys to park the playhead between MVI_1042 and MVI_1055.
Placing a gap clip here allows Mitch to take a breath. Don’t worry about the visual break. The B-roll clips you will add later can fill in those pauses.
To insert a gap clip, choose Edit > Insert Generator > Gap, or press Option-W.
A three-second clip is inserted between the two clips at the playhead location. Those three seconds may be a little too long for this edit. As with any other clip, you may ripple trim a gap clip to adjust its duration.
Place the mouse pointer over the end point of the gap clip. Ensure that the ripple trim’s filmstrip is pointing left, and then drag the end point to the left.
As you drag, the clip’s new duration and the delta (the amount you have changed the clip’s duration while dragging) appears above the edit.
Trim the gap clip to a new duration of one second, thereby removing two seconds from its length.
Skim to just before the gap clip, and play back to review the edit.
That’s not bad. It allows just a moment for your audience to understand the who, what, and where of Mitch’s comments. Let’s repeat that for the next edit.
Advance the playhead to the next edit by pressing the Down Arrow key.
The playhead jumps to the edit between MVI_1055 and MVI_1043.
Mitch is offering more details in MVI_1043, so placing a longer gap before this clip may help transition the audience into this sound bite.
With the playhead cued, press Option-W to insert a three-second gap clip.
Review the edit.
Now that you have silence between the two sound bites, you may discover the breaths that Mitch takes at the start and end of MVI_1055. Did you remove those already?
If necessary, adjust the end or start points surrounding the gap clips to tidy up the trimmed clips.
You are listening for extra syllables or breaths to remove. You are also listening for places where you may have trimmed too much. Does Mitch get a chance to enunciate the “k” in “look” before you cut him off? You may need to add back a frame or two to avoid an upcut.
These gap clips won’t necessarily remain at the durations you just set. They may flex as you continue to build the story...or tear out parts of it.
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