- 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 4.6.2 Appending Clips to a Connected Storyline
In this exercise, you will create a connected storyline, and append additional B-roll clips to it. This editing method offers the speed and convenience of the batch and ripple trim techniques you previously performed on the primary storyline.
Press A to return to the Select tool; and in the Libraries sidebar, select the Preflight Keyword Collection.
In the Preflight collection, find DN_9455.
This clip shows Mitch getting into his helicopter, and is the first of a series of clips depicting the preflight and startup.
In DN_9455, mark a start point just before Mitch appears in the frame at 02:27:27:11. Set an end point after Mitch is in the helicopter at 02:27:35:20.
Next you need to define where this clip goes timing-wise within the Timeline.
In the project, cue the playhead to 00:00:15:17 after Mitch says, “has been shot on the ground.”
You’ll connect the first clip of this series of B-roll clips at this point.
Click the Connect button, or press Q to make the edit.
To quickly set up an append edit for the following B-roll clips, you will convert this one clip into a storyline.
Control-click DN_9455, and from the shortcut menu, choose Create Storyline, or press Command-G.
The clip is now contained in a storyline. To make additional edits to this storyline, you must select the storyline’s bar rather than the clip inside.
Click the storyline’s bar to select it.
When you select its gray bar, the storyline is outlined in yellow. The goal is to efficiently add the subsequent B-roll clips to the selected storyline.
In the Browser, locate DN_9446.
Mark a start point on the jib’s first take of Mitch’s feet on the pedals at 02:19:23:06. Set an end point after Mitch has reached for the instrument panel at 02:19:30:12, leaving the clip duration at approximately seven seconds.
Press E to append this clip to the end of the selected storyline.
You also can batch edit clips into this storyline.
Mark the following ranges for each listed clip:
After marking these three clips, you can select all three for the append edit into the DN_9455 and DN_9446 storyline, which we’ll call the preflight storyline.
With DN_9452 still selected, Command-click the ranges you marked for DN_9454 and DN_9453 to select the three clip ranges.
In the project, ensure the gray bar of the preflight storyline is still selected.
Make sure you select the gray bar and not DN_9455 or DN_9446.
Click the Append button, or press E, to append the three clips to the selected, preflight storyline.
The clips are added to the preflight storyline in the order you selected them.
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4.6.2-A Editing Within a Connected Storyline
Because these clips are now inside a storyline, rearranging and ripple trimming them is a breeze.
Drag DN_9452 to the end of the preflight storyline after DN_9453.
Soon, you’ll ripple trim each of these storyline clips to reduce their durations. The goal is to finish playing the first four clips in the preflight storyline by the end of the MVI_1055 sound bite. There’s a lot of content to remove!
No joke. DN_9453 should end a few moments before the end of MVI_1055. This is a common editing scenario and the reason why you batch edited the clips into the storyline. The durations you marked earlier in the Browser were set to narrow down the clips to the needed content. But the timing of these clips with the sound bite and to each other is what determines their final durations and positions.
The art of editing is the art of compromise. You need to present just enough information for the viewers to understand the actions they are seeing and tell the story. You want to present these four preflight actions while Mitch is talking about the whole new look of shooting something from the air. When he finishes that statement, the rotors start turning and the helicopter takes off. The compromise to make that edit happen is to adjust the timing of not only these preflight clips to Mitch’s sound bites, but also adjust the earlier hangar storyline clips’ timing to the sound bites. Don’t be afraid to look at previous edits when trying to make up time in a project.
Let’s first gain a few seconds by trimming clips in the project’s first storyline, the hangar storyline.
In the hangar storyline, ripple trim the start point of DN_9390 so the clip begins with just a sliver of light visible through the hangar door.
After trimming the start of DN_9390, the start of MVI_1042 is now visible. You can drag the hangar storyline to realign it with the beginning of the project.
Drag the hangar storyline to the beginning of the project.
Remember the gap clip you previously added between the two sound bites at the beginning of the primary storyline? You can gain some additional time by lengthening that gap clip. Increasing its duration allows you to shift the start of the preflight storyline earlier in relation to the sound bite MVI_1055.
In the primary storyline, drag the end point of the first gap clip to the right to a duration of about 2:15.
The hangar storyline now ends and Mitch’s interview video becomes visible as he says, “really ever seen.” Mitch needs to be on camera for a short time to accommodate a graphic that you will add in a later lesson, so you’ll leave a few seconds of him visible. The preflight storyline can now start a little earlier.
Drag the preflight storyline so that its first clip starts at the “standpoint” audio cue (00:00:14:16).
That edit gained you another two seconds, more or less. But more trimming is still needed.
DN_9455 is much too long. When you review the clip’s content, you see that the real action occurs at the end of the clip when Mitch gets in the helicopter. Cutting the clip duration to that last action will make the shot more interesting and gain you time.
When you trimmed the start of DN_9390, you did so using the Select tool and moving the entire storyline to the beginning of the project after the trim. This time, you’ll save a step by performing a ripple trim using the Trim tool.
From the Tools pop-up menu, choose the Trim tool, or press T.
Drag the start of DN_9455 to the right, but don’t release the mouse button yet.
As you drag with the Trim tool, the two-up display appears in the Viewer. The area on the right shows the new start point you are setting for DN_9455 with the Trim tool.
While watching the right frame of the Viewer’s two-up, drag the start point until you see Mitch stepping on the skid to get in the helicopter. The delta or change length for the trim should be about +5:10. Release the mouse button.
Now you’ll trim the end point of DN_9455 to further tighten the shot.
Drag the end point of DN_9455 to the left until the two-up display shows that Mitch just got into the helicopter and lowered his right arm.
The end result is a clip just over two seconds long. That’s quite a bit of tightening for that clip. Let’s shorten DN_9446, too.
Using the Trim tool, drag the start point of DN_9446 to the right until the two-up display in the Viewer shows the bottom tip of the door at the bottom of the frame.
Now trim the end point of DN_9446 to realize an overall clip duration of two seconds.
The next clip should be DN_9453 followed by DN_9454. Because these two clips are inside a storyline, this involves only a simple rearrangement of the two clips.
Switch to the Select tool, and then drag DN_9453 left to insert the clip before DN_9454.
Staying on DN_9453, trim the start point to where Mitch is centered in the image and starts to reach forward.
Trim the end point to a clip duration of around 1:18, the point at which Mitch’s fingers have landed on a switch.
To create the pacing and the feel that Mitch is starting the engine, you will cut from this movement to a closer “throwing the switch” shot.
In DN_9454, trim the start point to where Mitch’s hand is still open before pointing and throwing the switch.
Trim the end point to realize about a 1:10 clip duration ending while Mitch is holding the switch.
Finally, you’ll trim the clip of the helicopter rotors starting to move.
Trim DN_9452’s start point so the rotors have already started to turn. Trim the end point to a clip duration of about two seconds. Review the edit.
You’ve completed your assembly of the preflight storyline. Now, you'll make an edit pass to check for mistimed clips and to ensure that the storyline fits the timing of the sound bite. Here are just a few items to check:
DN_9454 should end align to the end of MVI_1055. Some additional frames may be added to the end of this clip to emphasize the switch activation.
A continuity issue exists in the edit between DN_9446 and DN_9453. Mitch reaches for the instrument panel with his right arm and then his left arm. You can remove frames from the end of DN_9446 to avoid seeing his arm or add frames to show Mitch lowering his right arm.
Continue to adjust your edits as necessary to achieve this alignment while tweaking the other edits.
You have just one more B-roll storyline to go!
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4.6.2-B Creating and Editing the Third Connected Storyline
Use the following table to select and trim clips for the third storyline, takeoff. You will use the rating system to gather the clips.
Mark each clip as detailed in the following table, and apply the favorite rating (F) to each:
Now that you’ve marked the clips, you’ll batch connect them to the project. However, when you are in the Primary Media event, the GoPro event clips are not visible. Selecting the Lifted library reveals all the clips from all events in the library.
In the Libraries sidebar, select the Lifted library.
Now you see all of the clip, but you still need to cull down that display a little bit, which you already did somewhat by favoriting the clips you marked. The library has a prebuilt Smart Collection to help cull the library.
Inside the Lifted library’s Smart Collections folder, click the Favorites Smart Collection.
The sound bites you previously marked as favorites are displayed along with the B-roll clips you need. Only the favorited range of each clip is displayed, which includes GOPR1857 that appears with a rather long favorite and a small marked range. The marked range shown is what you favorited just moments ago. That range lives inside a pre-existing favorite range for the clip. Ratings do not overlap. The favorite you marked for this storyline edit will be absorbed into the existing favorite if you click outside that range.
With the favorites visible, you’ll batch edit these to the Lifted Vignette project.
Click to select DN_9463, the first clip in the previous table.
Command-click the additional B-roll clips in the order that they are listed in the table.
In the project, press the Up Arrow and Down Arrow keys to cue the playhead immediately after DN_9452, if necessary.
You will perform a connect edit first to place these clips in the project, and then group these clips into a connected storyline.
Click the Connect button, or press Q, to connect edit the selected clips into the project. Press Shift-Z to fit the project within the Timeline.
Now that the clips are part of the project, you can group them into a connected storyline.
In the project, select the connected clips you just added. Control-click any one of the selected clips, and from the shortcut menu, choose Create Storyline, or press Command-G.
The clips are grouped into a connected storyline, the third such storyline in your project, which we’ll refer to as the Takeoff storyline.
You have two more B-roll clips to add. You also have some very loud nats on a couple of B-roll clips, but let’s take a break from B-roll to add a music clip, and align some edits to it.
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