- 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
Reference 4.4 Timing the Primary Storyline
Every edit in a project is based upon the primary storyline. Up to this point, the concern has been to place the select sound bites into the project and organize them to reflect the story structure. Now that the structure has been established, the task switches to adjusting the timing and pacing. The sound bites should not be a hailstorm of thoughts spewed at the viewer, but should flow like everyday conversation.
The first technique to pacing the sound bites involves a gap clip, which is an empty clip container in the Timeline. Gap clips may be applied as placeholders until additional material arrives, such as more B-roll content, clips from a hard-to-schedule interview, or a late shipment of second unit content. Gap clips are also used as the spaces, pauses, and breaths that enhance your story flow.
The second technique to pacing the sound bites involves removing segments of a clip or entire clips. The Blade tool segments a clip to remove one or more clip ranges from the project. Each time you blade a clip, you create a through edit.
A through edit marks the clip into segments without breaking the clip into two physical clips. If you blade that clip a second time, you mark it into three segments with two through edits. You can rejoin these segments if you inadvertently blade the wrong frame. The repair is called a join through edit.
When you are ready to delete a segment, you can do so in one of two ways. Simply pressing the Delete key performs a ripple delete. The selected clip segment is removed, and the subsequent clips slide left to occupy the Timeline position of the deleted segment.
Blade to segment unwanted content.
Select segment for removal.
Press Delete to ripple delete.
The second delete method applies a replace with gap edit. This deletion, performed by pressing Shift-Delete, removes the selected segment and leaves a gap that occupies its former position in the Timeline. As a result, the following clips do not ripple, but remain in place. This edit is often referred to as a lift edit.
Blade to segment unwanted content.
Select segment for removal.
Press Shift-Delete to replace segment with a gap clip.
