- 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 4.4.4 Refining Some Sound Bite Edits
Before progressing to the next layers of B-roll and music, let’s polish the “technically flying in awe” section of the project by adjusting the sound bites’ contents and pacing.
Currently, the second instance of MVI_1043 ends with the word “shooting,” which does not flow smoothly into the next clip. This occurs at roughly the 40-second mark in the Timeline.
Earlier, you trimmed off Mitch saying, “so.” You could use that here to blend into the next sound bite.
Place the skimmer so that the ripple trim appears with the filmstrip pointing left at the end of the second instance of MVI_1043.
Ripple trim the end point of the second instance of MVI_1043 to the right to insert roughly 11 frames of content.
Review the edit.
That created a nice story flow.
The end of the third instance of MVI_1043 will be a little tougher to get a clean ending—that is, a natural-sounding ending—because you are actually cutting off the sound bite in mid-sentence. The clip’s current end point is at “experiencing.” Let’s trim that end point to a little earlier in the sentence to try a different ending.
Ripple trim the end point of the third instance of MVI_1043 to the left roughly one second.
The clip should now end after Mitch says “filming,” and most likely has an extra syllable or two that need to be removed.
With the end point still selected, press the comma (,) and period (.) keys to nudge trim frame by frame, refining the edit point.
This trim edit may take you a few moments to locate the right frame for the end point. That frame is going to be on the “g” of “filming.” The repetition you must perform in fine-tuning the edit point is common in the art of editing: making frame-by-frame adjustments to remove only a few words or syllables.
NOTE
Review your edit by pressing Shift-?. Then press , (comma) or
(period) to nudge the edit earlier or later.As for MVI_1044 and MVI_1045, these two get the axe. For timing purposes, let’s leave these out of the story for now.
Select both clips, and press Shift-Delete to replace both clips with a gap clip.
Trim the gap clip to a duration of three seconds.
Trimming creates room for a natural sound break and music swell before Mitch segues into the next sound bite.
With these edits in place, you have built the sound bite foundation for your project. Take a moment to review your story.
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Checkpoint 4.4.4
Refer to Appendix C for details on reviewing a Checkpoint.
