- 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 4.8.1 Adjusting the Edits
In DN_9420, the sunset shines dramatically through the helicopter’s windows; and during the clip, the music swells to a climax. But you can do better. In this exercise, you will align those audiovisual moments for maximum effect.
In the project, select DN_9420, and skim to the first frame of the sun coming through the helicopter windows.
You’ll set a marker to identify the visual cue of the sunlight through the windows that you want to align to the music swell.
Press M to set a marker at that dramatic visual moment.
A marker appears along the clip's upper edge.
Now you need to set a marker on the music swell. Unfortunately, it’s a little hard to hear while the sound bite is playing.
Select the music clip, and then click the Solo button, or press Option-S.
Only the selected audio clip is audible and in full color, while the nonselected clips’ audio is muted and desaturated in the interface.
Now that you can hear the music clearly, you'll place a marker on the music swell.
Using the Select tool, click the music clip, skim to the music swell at 00:00:54:21, and press M to set a marker.
With the marker set, click the Solo button again, or press Option-S, to disable the Solo function.
Now the task is to align those two markers. You’ll perform two edits with the ripple trim: shortening the B-roll and extending the last gap clip to align the music swell with the sunset.
Ripple trim to remove a few frames from each clip of the takeoff storyline. Your goal is to move the sunset marker closer to the music swell.
Here are some trim points to consider:
Start of DN_9463: Could the helicopter be farther along the ramp? Use the Trim tool or you’ll need to reposition the storyline after any adjustment to this point.
DN_9415: Don’t trim too much here. This is a “landscape” shot that needs time for the viewer to gain perspective, but you could tighten the shot a bit.
Start of GOPR1857: Trim to just before Mitch turns his head and stretches his arm out.
These edits should get you very close to aligning the markers.
Also using the ripple trim, push the last sound bite farther out by lengthening the gap clip. Insert enough frames so that the last sound bite starts at 00:00:59:00, after the music restarts.
You can finish aligning the two markers using one or both of the following methods: ripple trim more of the earlier B-roll clips, or slip edit the content of DN_9420.
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4.8.1-A Using the Slip Edit
The slip edit is a safe edit for setting the B-roll clips to their best content without disturbing other edits.
From the Tools pop-up menu, choose the Trim tool, or press T.
Move the Trim tool over the middle of DN_9420.
The Slip tool appears.
With snapping (N) enabled, drag inside DN_9420 until the marker aligns to the music marker.
While dragging with the slip trim, a two-up display of DN_9420 appears in the Viewer.
The image on the left shows the start point of the clip, while the right image shows the end point. The start and end points are updating in real time as you drag the slip trim. Although not particularly needed for this edit, the two-up display is great for ensuring that the best content is included between the displayed start and end points.
With the two markers aligned, play the entire project, slip trim at the ready, evaluating whether the B-roll clips are displaying their best content within their current durations. You may want to do so with your speaker/headphone volume lowered.
While you review the project, ask questions about the effectiveness of your results. Can you avoid the lens flare in the instrument/GPS panel shot? Should there be more lens flare content? Should the project show less of Mitch leaning back and pointing out the side window, or should you slip the clip to include Mitch pointing out the front?
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Checkpoint 4.8.1
Refer to Appendix C for details on reviewing a Checkpoint.
