Editing Masterclass - Become a PRO | Jonny Wallström | Skillshare

Editing Masterclass - Become a PRO

Jonny Wallström, Filmmaker / Director / Editor

Editing Masterclass - Become a PRO

Jonny Wallström, Filmmaker / Director / Editor

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31 Lessons (1h 10m)
    • 1. Introduction

    • 2. What is cinematic storytelling

    • 3. Discovering perspective

    • 4. The story event

    • 5. The Sequence

    • 6. The Climax

    • 7. The inciting incident

    • 8. Creating a narrative structure

    • 9. How we built a narrative structure

    • 10. Syncing audio

    • 11. Structuring your workflow

    • 12. The art of the cut

    • 13. Scene Breakdown

    • 14. Starting a scene

    • 15. Markers

    • 16. Storytelling with action

    • 17. Mapping out story

    • 18. Developing narrative

    • 19. Editing A Scene Step 1

    • 20. Why edit scenes first

    • 21. Organising Project

    • 22. How to get unstuck

    • 23. First Scene Version

    • 24. Continuity doesn t matter (that much)

    • 25. Emotions is everything

    • 26. Keep it simple

    • 27. Always build anticipation

    • 28. Manage the story

    • 29. Edit Version 2

    • 30. Scene Breakdown V2

    • 31. Summary

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About This Class

Who is this course NOT for:

You need to have some basic editing knowledge and skills. If you've never made at least a 3-5 minute story and video, this course will be too advanced for you.

This is NOT for you who believes that collages and moody cool clips tells a strong story.

Why take this course?

This course is for you who wants to become a better editor or get an insight into what it takes to edit on a professional level.

The course is all about STORY.

You will learn:

- The basics of editing

- How to build a story

- How to edit a scene

- How to structure a story.

You will also get all my best tips and tricks that I use. 

It dosen't matter if you're making / wants to make YouTube videos, fiction or documentary styled films. You need to master editing if want to tell a strong story through film. 

Who am I to teach you? 

Investing in yourself is the most important thing if you want to make a living working with a profession like this. During my 15 years as a professional Director, filmmaker and editor. I've invested in online courses, books, talks and workshops. There's been good ones, but also a lot of bad ones. But the education has really helped me get to where I am today.

I've edited several feature films, documentary features, TV series and high-end commercials. I work with big international brands and TV channels. My latest film sold to Netflix in 2016. 

Rough Studios

YouTube Channel
Creative north

Meet Your Teacher

Teacher Profile Image

Jonny Wallström

Filmmaker / Director / Editor


Jonny is an award-winning self-shooting director who has made feature documentaries for channels such as Netflix, Arte, Al Jazeera, SVT and more. In the commercial industry, he works with brands such as Spotify, Adobe, Scania, H&M and more. 

His latest film The Pearl of Africa premiered in Toronto and later sold independently to Netflix.

Jonny has a YouTube channel for filmmakers called Creative North, and a documentary platform called http://learndocumentary.com





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1. Introduction: this course will teach you how, Ted, At the documentary film, I will give you my best tips that I used to make an award winning dark that Sultan actually first headed I made. The thing that we saw was to simplify things. What is this story about? In essence, from my name is Jonathan Walsh on. I'm gonna be your teacher in editing Pretty loud, HC, you can just put him off. What do you need to start doing? Do you want to learn how to tell a strong story? Take through my way of working my inspiration in terms of storytelling and also editing. Or you could be the old town fight to build the tailings. Everything these partiers is just me trying to establish character trying to establish Yukon Place, which is where this takes place. It all ends with the dog digging through the dirt, which is basically the toxic waste. The course will teach you how to build a strong narrative structure that gets the audience emotionally engaged. If you want to take your documentary to the next level, this course is for you. Hey, what's up? So my name is Jonathan Wallstrom and I'm gonna be your teacher in editing. So I started everything probably about 15 years ago. I used to work as an editor, both for TV and commercials. Today, I'm mainly direct films on. I also edit those, but I'm used to working with anything from reality to documentary to fiction on. I've been doing this for a long time, so hopefully my learnings can help you become a better editor. But I'm gonna take you through my way of working my inspiration in terms of storytelling and also editing. So I have to like important people that I pretty much look up to when it comes to structuring a story which this editing courses mainly gonna be about. So it's not so much the practical types of editing and programs and all that it's more about, like, how can you make a better story through editing 2. What is cinematic storytelling: So Robert McKee says this about story, one thing off money. But this is quite essential, I think, in terms of storytelling, the quest, for better or worse, an event throws a character's life out of balance, arousing him the conscious or unconscious desire for that which he feels a will to restore balance. Launching him on a quest for his object of desire, which is what he wants to change against forces of antagonism. And those can be interpersonal or extra personal on, and he may or may not achieve it. But this is story in a much and as another. This is crucial to understand that that is what you're trying to achieve. This is what, like dramaturgy is in the natural where you go like up and down, up and down. You do something, you try to overcome something in, you fail, and then you have to take a little bit step backwards to get like, two steps forward. That's what it's all about, trying to to bring about change by conquering something and the way that you structure a story in terms of where you put things that you've shot that's essential to capture an audience attention and to bring them into the story and make them understand the story. And for me, I think editing usually what is the essence of, like documentary editing is pretty much like filtering stuff out, making it easier to understand, making it more cinematic in the way the U approach real life. So you need to pretty much like find the story structure that works and captures the audience in order for them to really understand the story. Because it's not like the most effective way is not to just show stuff that is real life, too, just like go about it and showing stuff that is actually how it happens. That's not making its cinematic. If you want to make something cinematic, you need to apply the whole cinematic language to things on. That means that working with the audio and the video and all that, obviously, but it's also about the action and how you tell the story through action. The more you can work around, like just showing things and not telling people and explaining to people what the story is , the more engagement you're going to get from the audience, so you actually need to think much more about, like, how do you edit something to show it in a real way where people are just doing things, going about real life rather than like driving it through interviews and that sort of thing That is not storytelling in an effective, like, emotional way. Even though you can tell a story that way, it's much more impactful. If you can actually bring about, like the essence of the cinematic language. Can you bring that into it into the mix? Can you filter that out as an editor, you're gonna have a much stronger story once you succeed with that, rather than just like making a pretty predictable type of documentary at it. 3. Discovering perspective: you need to find a perspective in the material as an editor. It's usually something that the director and the DLP already has. They put their filter onto the story already, but us and editor as well need to like go into something within an intent to find the perspective of this story to bring the audience into this story world. Where do you? As an editor, you become the filter between you know, the artist and all that and the audience, and you need to filter the stuff out that that the director doesn't really see. Clearly, you need to try to simplify things and make it more effective storytelling to make the audience see and feel the story in the same way. Asked artists director in this case wants you to feel it about two feet. You didn't have to be pretty several, so I guess spirit to reach a rich listen vigil like, for instance, when people say something in real life, they repeat themselves a bunch of times before they actually like get to their sense, and you probably need to think about dialogue in a different way. If you want to be affected with your narratives. So the way they I usually work is I just lay everything out and I cut things in the first version. And then a lot of the versions after that is all about, like filtering stuff out and getting to the core, or what the scene or the film is about, which comes down to bringing stuff out rather than putting stuff in. So you take stuff out to make it more clear. What is the story actually about? You essentially want us little dialogue as you can't leave if you have the opportunity to not have. Dialogue, should always go for not having it over having it, because the dialogue creates, like a layer between you an audience or the story in the audience. 4. The story event: you also have something that's called the story event, which is something meaningful that create about a change in the character's life on to achieve that change, he or she needs to go through something that changes them with is challenging them so that they come out on the other end, having got some inciting and changed somehow and like the greater the risk, the bigger the change will be. So the film is often it's structured around these story events. For instance, you have to challenge the big fighter that won all the awards, and you need to challenge that one to become the best. That's an event in itself. But you also have, like, smaller, real life events. So if you think about story telling in that, like challenging story event type away, it becomes a little bit easier to break down scenes and how to structure them. Usually you wanna have all the scenes to be a story event that's not always possible, but that's the ideal situation 5. The Sequence: a sequence. Then in a story, that's how you put the scenes together. So how do you how many scenes are there in a sequence? Well, 2 to 5? Maybe that's how you create a sequence to build up a narrative on. And what you are essentially doing is building up act and an act. For instance, in the three act structure, you have the first actor middle act in the last act, and all those act have their climax. And the last climax can't be weaker or less impactful in terms of the characters daily life or or how it changes from that, the biggest impact must be in the end. You can't have, like a big climax in the first act, and then all of a sudden, like the rest becomes pretty stale and boring. You need to, like structure these in the right order to create the most impactful story 6. The Climax: the climax of the film story climax. It is something that brings about the irreversible change in somebody's life. So, for instance, if we take the Pearl of Africa, which was my last film, the conflict in the Pearl of Africa is pretty much focused around her, trying to save herself in her love. So it is a love story, and you can look at it us like okay, that operation or surgery that is the the irreversible changes not the same after that. But it's more so, like, how does she as a character go through her life from being like, hated in Uganda to like fleeing the country to then having the surgery? What is her hopes for the future? Off course It's to be accepted and all those things and to be able to have her love, and that's what the story really is about. But in essence, like the irreversible change on a physical scale is that whole surgery in itself, and that's the biggest obstacle that she has to overcome. First in like the first act of the Pearl of Africa, it's being hated trying to, like go about daily life in Uganda and then having to flee is the first ah, time Maxim in the first act. Second act is about trying to bring about the change that she needs in order for her to have her life back, which is the surgery, and to save herself to become the woman that you want to be. That whole act is about that to deepening or going on the quest to conquer that. But the last act is where she actually does it. And then the resolution. After what happens, How does the filmer go? Watch it. Okay. I love you. That's how did you know that? 7. The inciting incident: and then the last thing that I want to talk about about story is the inciting incident, because that's one of the most crucial things that you need to kind of care about when you create a story structure. So the inciting incident is when the audience understand together with the character that this is the question he or she needs to go on. So in the Pearl of Africa, it is when she's outed in the media and she has to go out and fight for her right to be herself and to love her partner. So you need to find, like, the perfect timing in the story for the inciting incident, you wanna show straight ahead. I think when it comes to conflict, you want to bring about, like the story conflict as early as you can, but people has to be ready for it. But the inciting incident, it can be off course, like in Doc's. I know that I often when I pitched things like in the beginning, I didn't care so much about bringing in the conflict and the threat early on. But I always got that when I went up to TV and I pitched the stuff that all we wanted earlier. We need to see what's the threat? What what is that? And then now I have learned or come to understand that this crucial for people and story narratives to actually work. You need to bring about conflict into the story as earlier as possible so that people understand what's at stake. But the inciting incident in a dock I feel is more about like when he or she understands what the questions, what does she have to do or he or she have to do to overcome this obstacle in life? But you should really think about what is the threat in a film early on. Like, how do you show that? How do you make people care about this threat on this individual that is threatened? So the conflict to words like the obstacle. If you can bring about that as early as you can, you should always do it because that's gonna make the audience more interested in trying to find out what's gonna happen to this individual 8. Creating a narrative structure: Okay, So let's used to look at Pearl of Africa and how we refined a story structure and the narrative theme or i d for the film. Because this is what everything comes down to. I think you need to figure out, like your story. What iss this story about, In essence, not on like, OK, so this is a story about this woman was goes on a quest to overcome fear off being herself and trying to become, you know, from male to female doing the surgery. Asir transgender person. That's not the essence off the story in the Horn of Africa. It could be if you chose it to be. But, Asa, um, a filmmaking. You need to find the unique perspective for your film. So for us in the film, we had, like, an agenda from the beginning that we wanted to humanize trans people. So that's okay. The first thing you have to narrow enough. Okay. How do you tell that story? How do you tell a story about something that is more open and acceptable? Okay, so then you have that to put into the puzzle, and then you look at like a case of what other films are being made because you don't want to make the same film like everybody else. Okay, so there was a lot of, like, angry activist films. Okay, that's not what we want to do. Want to do something else? So first we started looking at in the the I D stage. Okay, we do it with our mom. We make a film about her and her mom that didn't work out. Eventually, she met her boyfriend and become became a love story with her boyfriend. And it's interesting to see, like with high inside, how this this whole story telling works in documentaries because it it's not. It's not something that's, like, straightforward. You write it down, and that's what it is. I wanted to make a refugee story in the beginning about Cleo, which wasn't the first character that I cost that I had a different story about a gay couple before, So change from gay couple to her. And then the whole refugee story kind of went out the window because now she lived in Uganda. When I started filming her and the refugee couple that I had started to film when I came up with I D. They were no longer part of the stories from, like my initial I d make a refugee story. I'd throw that out. And then it became a story about Cleo and her mom. And then that changed when she met her husband, now husband. And the story changed from being about her and her mom because her mom didn't want to be in the film and then eventually turned in to be a love story about her and her husband. But then they were just living in Uganda, so that was the film that we were making. And then he changed because they have to flee. And then all of a sudden we were back where we started. It was a refugee story once more so because of that shooting something that isn't like, straightforward. You know where it's going to take you that's gonna affect you as an editor and how you can tell the stories you need to figure out what is really the story, because somebody that shot it might have had, like 345 different ideas and agendas while they made the film. Because it's documentary, so you need to kind of find the essence off. What story is or what? That story that you're trying to make it And for the Pearl of Africa, we made that love story, and that was the thing that we honed in on for the rest off. The story that we made eso may be the first year and 1/2. It was a different story. So you have shot stuff with different agenda, so you might not be able to use it in the way that it was supposed to be used. 9. How we built a narrative structure: But the thing that we refined in terms of a story structure was to go from first edit I made was just a straightforward cut where it was a lot of different trips that they made. And the thing that we saw asked for the dramaturgy of story was to simplify things. We make it into one journey, one quest, one trip, not 45 different trips that they make. So by doing that you make the trip into like, this is a life journey. It's one life journey. You simplify it. You you race like the location off, like where do they travel all those things. They traveled by train that terrible by plane, like different transportation's. All that is erased to you as an editor need to kind of think about that and refined that narrative from, like the initial material that's been shocked. And that's the type of stuff that you really need to think about. Like, how do you find your story structure that really works or story theme For us, it was simple to make like a road trip type of concept out of that, but it wasn't so straightforward. We had to go through like editing it chronologically to see where do we need to, Simplify said. You shouldn't be worried about it. It's just a way the processes. 10. Syncing audio: Okay, so say you get home from a shoot. What do you need to start doing straight away or whenever you're ready? But what do you start with? Sinking audio? Did you always need to be able to sink things manually? If you do docks, it shouldn't be like the way you want it to be. But often times you realize in the situation that you rather not interrupt things and let things play out, even if, like a record or something messes up or whatever happens you are so fond of like the situations just happening and playing it out rather than interrupting. So that's why you end up in those situations. I kind of get lacy sometimes and just do everything just without a time called Generator. But if you have a time code generator like the tentacle sink or timecode buddy or whatever , like there's probably a bunch of them, it can make it a little bit easier. But it can also be unpredictable. So phrases the tentacle sink one. Sometimes it just doesn't work, and it could be my fault. It could be the tentacle sink fault, but you have to be prepared that you might have to do it manually anyways. And I know a lot of people use plural eyes. But the thing is with plural eyes or whatever, like wave form sinking there is when you work like I do, you work freely. You move away from the subjects, you get too far away with the on camera mike and all that, so you can't get proper audio, so you have to sink it manually anyways. So you have always have to be prepared for that, which is why I kind of just do it manually. And I don't think about it so much like it's not that dreadful, like the only reference point you really have is the way forms. So you really need to, like, try to figure out what is all this like. What? What's what. Now it's pretty easy. If you look at the major case of this this Islam, it's a door. Okay, that's easy to understand. Here, Dan. You have similar things, so you would go OK, here's the door. Now let's just listen to the door and weaken here for reference. That's daily routine when it's cold. Okay, that's the door. Or is it? No, it's the wood. OK, that's the wood. So now you would look for something similar in terms of Spike. Then we need that track as well. And that's it. That's how easy it is to sink something by hand. So, like I'm so confident that I give figure it out, that I don't even stress about it because it is not really demanding to do something like that. And this is basically like a case. It's a frame wrong or like it's plus one frame or back one frame. But this is probably that's daily with no back one friend and it terrified routine when it's cold. 11. Structuring your workflow: you really need Think about how do you structure your projects? This start in the editing program, where you organizing bends and color code things and just regular organization here is like one character, another character and 1/3 character. And then in that you have the different scenes. So I tried to have them put in beans that are like the scene. But I don't put like, okay, this scene, this take or something like that I would just keep like, all this stuff in that one. I get it in and then I start to organize it. I put all this metadata on top of like all the files tries to structure everything. Everything is like color coded. And then you have, like, smart bins for a certain type of media. And I have this section over here, which is all the media, which is like just collecting all the media so well, you just get all the media in the project, and then I would just go in and I would search, for instance. Okay, I know that everything that is don't move. Most of that is the Ursa. And then I know how the naming conventions off their size. I know that all these would be Ursa and then I could just go in and I could go into the matter that out And I could just bring up my template, which is like the logging template. And I've done this already, so I would just go and feeling these things like, Okay, angle environment, like those things like environment and stuff. That's kind of hard, cause you just pick everything, so it's not gonna be the right thing. But if you know that most of the stuff is exterior than you might as well write exterior. But then, like the camera that's used a location, camera type, production name, production company, director de API, camera operator for that camera on, then you would go and do that for all the different stuff that you have. So you go judge five material, you would just go like MP four, and you would do that as well. But trying to do as much as you can just autumn eyes like you don't want to do this on like every single file. You don't want to do it even on like 10 5 you want to do it as quick as you can. So, like the next step in this whole process that's gonna be to structure everything like all the scenes that are there. I'm gonna edit them as a scene without a narration or anything like that. Just gonna play out like cinema. Very Terry type of style. Fly on the wall, Aesthetics. Just watching the scene. What happens? Just edited as a like a human observation of somebody's life Total, Ian commented. Just to see what this stuff is like, What do you have there? What type of story do you have? And and I do that for every scene that I have and then that becomes the starting ground for trying to, like, write the story in the edit room. 12. The art of the cut: Okay, So Walter Murch is an editor. That is very experience, and he's written a book called In the Blink of an Eye, I think, and it's a really philosophical approach to editing. And he has some different pointers to like what you need to care about. So emotions. That's the most important thing. He ranks these in order. So how will this cut affect audience emotionally at the moment of the cup? That's crucial. That's what you want to have happen when you cut something you wanted to have any intent. You don't just don't want to cut it in like, ah, way of total randomness. That's not what you're after. So no matter how like awesome the shot is that you have and all that, it doesn't matter if the cut is batter, it looks bad or it feels bad. That's crucial. And then you need to think about this story again. So does the cut move the story forward in a meaningful way? Super important. Then you have rhythm as well. How does it rhythmically fit into the story? Does it make it make sense on? Then you have I trays and this I think a lot of people. They don't think about it until this is explained. But where is the eye focused? It's gonna feel unnatural if you from watching something over there all of a sudden need to cut to over there. And sometimes you can use that to your advantage, like this is what you're trying to do. You. I want them to jump over there, but usually you wanna have stuff flow in an international way, especially for documentaries. And that's when something feels off eso. How does like the audience, location and 100 they see time from how you cut from, like, one place in the frame to another. How does that affect their their vision off the story world? Because that's what you're trying to put them in. In essence, you want to put the audience into the story world, and then you need to care about like how you navigate them through it. And then you have the axis, which is pretty much like this story. So how do you move them through the story structure or the story access timeline you could call it? How is that made through the cut or the editing that's crucial to think about. And then the last thing that he talks about is the three D space. So if you have established a physical space, for instance, me sitting here by this table, how does it affect by you, like jumping into a cut over there or camera over there? Or over there? You have the line of action to think about as well, Which is, if I put the camera over here and then I can move all the way to this side, or it can go all the way to that side. But as soon as you've moved to dot or that side the second you want to jump from one side to the other, you usually need an insert, or you need some movement to be able to make that in the natural flow. But you should think about the space that you've made through that it How is the audience experiencing the space that you're you're in in this moment in this scene, those are crucial things I think to think about, but they're not mind that Walter Murch is stuff that he think 13. Scene Breakdown: about. But before I get to this stage, I pretty much dio optimize media. If you don't do optimize media, especially when you do like multi campus and you do four K, especially like Fourcade that we do in 12 bit and that sort of thing, then it's just gonna get sluggish on any system. So I usually just generate proxies. And I did that before today just for this scene here. All this material and there's really no short cut into, like getting ahead in terms of like the story, anything you need to watch a lot of material in order for you to understand things. So he's just walking in a place which is a festival ground in in Kino City, where they have, like, a yearly festival, and he's actually going there to kind of prepare this place. Um um, cleaning the place up and about 50 meters or so away. There's a male that mining company has put there illegally, so threatening this whole festival, and there's this conflict that's underlying in this this whole scene on that's a general part of the conflict that we're working on is trying to Kanna visualize this whole daily nice spot right here. We're trying to keep the birch and the small flowering shrubs like this guy here. So when I watched this, I kind of got this idea that I had a place where I felt like it could really start. It doesn't necessarily have to start. You know where the scene starts chronologically. You pretty much need to start to begin with. And and I usually look at it as like, you want to find something that hooks and interest straight away. And there's a couple of things that's happening in all of this, which I think are pretty interesting. But when I watched it, I saw this part of this sequence where he's just pulling stuff out, and it's just observing him. Not much is is like being commented at that time. And I think that what I look for him in this scene is pretty much to kind of build attention towards this mill. Build attention towards the Mylan explained the conflict with ah, the festival on the festival ground and all that, and through this whole scene, explain kind of how this conflict affects the town, how the town is kind of paced at each other because of how they are fighting with this outer thing that is like this meal that they don't want their. 14. Starting a scene: If if it starts with something like this, you're wondering where are you? And that's kind of what I'm looking for here. So you're close enough that you start to ask yourself questions as an audience on. He's just like ripping all this up. And then as it place, we just speed this up a little bit. Mahdi's angle is kind of showing the whole place. So you see these two together and I'm just starting to see, like, how this could kind of cut together. You could have that him just ripping. And you have us just observing him. And then you get this wide shot with with the money thing. And then here's marry Second shot him just like they're ripping in in the really wide shot . It could start with something like this as well, just him walking on. And then you see him like ripping that. But I wouldn't show his face because you want to kind of build up some some tension towards something. So I would really like, look at it as like, how do you build interest and how do you build something that's like starting to ask questions, starting to try to find an answer to what is doing. So Okay, he's walking there. You could start with something like this. If you have something like that, it directly it, like, brings people into some ideas and they start to think. 15. Markers: so I would put like a marker here you mark the clip and then just a double top and then ah , good. Start something like that. Just to know what the different stuff that you have this and maybe over here as well. Mm. Let's a game with tools. So just starting to kind of pieced together like what type of stuff you like. And over here we got muddies wide shot, Not it wide of car eso That's good to bring in some something that shows the environment and everything. 16. Storytelling with action: Andi. I like something that's over here. Yeah, so he's ripping here. And then he finds flower. We just got a nice So let me just show you that these little guys air loop ins. They're really nice. It's too bad they weren't in blossom when the festival's on. So that in itself, the reason why I like it so much is if you listen, he tells us that it's Ah, it's a festival, but it doesn't without being to like, overly descriptive or explaining. He just talks about this flower. And then he tells us that there's a festivals and I would know that there's a festival. These little guys air loop ins. They're really nice. It's too bad they weren't in blossom when the festival's on. So the way that that works is that you usually try to keep us as natural and as little of explaining as possible in the dialogue. You wanted to play out like it's reality, like people are just going about their lives just doing things. So the more you can get it to be like that the better, because then you get all the information you need, but you still are getting to know the people and the characters in a more personal way. Eso That's what I'm looking at here 17. Mapping out story: They're really nice. Okay, so this regular street and then you can just fast forward to get to the next thing there. We got the flower. This is just me using out. Okay, Spit out a little bit. The next thing here we go. Another. I don't think the town while the town survive without any of us, but it to be a different kind of town if he decided to leave, You know, he's, uh, been a guiding force in his own way for Miller Sing and make some notes. It's just for, like, I just usually watch it through. And then I make some notes so that I can kind of navigate later within the file itself. Hey. Okay, so I think I have like enough, but you want to try to kind of focus every scene around whatever topic that you're looking for. Um, and the key to make a scene work is usually like to have a consistent action focus to not like, have too many things going on, Especially not in, like the narration of what is being said. So you need to ask yourself like what the scene is about them. The first step is really to look at the dialogue and kind of just feel throughout everything that's unnecessary. Pretty much eso it should flow and make sense once you edited it. And then the second step because in the first of you don't even think about like how well it cuts using B roll or cutaways. You just watch it in terms of like making sense as a story and the temple and then you go second pass and then you start to like, smooth things out, make it look professional. 18. Developing narrative: I think that one key factor in being successful as a documentary storyteller or editor if you want to do it big projects, you need to be able to manage your organization. One part of that is also how do you approach the story material that you have to work with ? I like starting with scenes. So I edit scene by scene, let them just unfold like they are, make them as long as feel good. But I don't tend to worry that much about like getting it. To be perfect at this stage is just about like fleshing out the story first by anything seen by seeing, not narrating or trying to build a story that's gonna work in the film per se, but more so trying to figure out what is this scene that we have here toe work with? Because everything that you are going to care about it's gonna come down to the scenes. If you don't have seen you have a boring headshot like me talking and trying to explain something to that doesn't get you emotionally engaged. It's informational, it's educational. You learn things. But to get emotionally invested as an audience, you need more than that, you need to be taken on this journey. And when you edit the scenes without commentating, we're trying to build a narrative with interviews. You let the scenes unfold like they are cinematically first and try to make sense of them that way. Then it's easier to kind of put a narrative together after that. But that's how I like working. And I think a love documentary added Tourists works that way. 19. Editing A Scene Step 1: Okay, so this is the first scene that I edited. It's basically Scott clearing up the camping grounds at a festival, and I just first when I added films, I just go through a scene by scene basis off the story, trying to just edit them as they are uncommon. And this is one of those scenes which is just meet trying to extend the action, trying to tell a story just by having the scene itself play out. And this is something that I do as a federation for me to try to understand the material that have to work with. And then this Lay's asked basically the ground for, like how I start to piece together a narrative at the next stage. But here you can see how I cut this. It's basically just like not caring so much about, like Holly cuts in terms of be Rolande all that, but I'm trying to make it as smooth as I can in the shortest amount of time. But the thing that I'm the thing that I'm looking for is does it flow? Does it have a like a natural narrative to it? And this scene is about the conflict between the mining company that has put a mill just outside of this camping ground that he's clearing up. So the story in the scene is actually about that conflict, and in this you don't have so much of that because that's something that I put in when I know what the scene is going to be about. But at this stage, I'm still trying to give you hints off. This is a festival. It's a festival that he's working on trying to, you know, prepare for the festival. And that's how it is just kind of thought of this first batch off that and encourage people just to roam around. I think this is an important step in your editing face to really try to understand, like what material is about, What do you have to play with this brings what's the story in narrative that you can do 20. Why edit scenes first: So you need to understand the story. That's why you do it. And you need to see all this like without narration, because that will help you to develop a cinematic story. So instead of looking at what's being said, you should look at the action that's going on. So let's just try this out and see how we can build this this scene up from a little bit of the clips that I just picked out. And then J. K and Ellis will. I used to get the right. Sometimes you need a little encouragement, Theo. First pass. I just usually let them run through just as a general scene. But I do know how I want to use it. So I keep some things in, but I don't want to push it too much in a direction yet. One thing that you can think about when you're watching this passes, and that sort of thing is something that you really look for in anything because sometimes you cut things as they are, and that's final. But sometimes you wanna have a little bit of time afterwards and you wanna have a connection with the character is a tricked about is that every time that I ask question or any director or whatever, asks a question. For instance, there's always a listening, and there's like a moment there in most most scenes, and those are the pauses or the cutaways. Or, for instance, here you get a little bit off time where you can reflect on what he says before you cut to the next thing. So let's just play this again, and you can just think about if we would meet me here, how that would play out if we just put ambience from the scene there and cover it, but still keep it. How much of a difference I think it can make. This might not be the way that they should be edited, but it's something that's super useful in any scene that you have with anything living this play this you can see Mystic is evil wherever they like. Just bring a spirit of festival to the whole community. Jim, just that the part there. So if you would just keep that and have something going on, maybe the music starts whatever it is, it's something that's good to have, so I wouldn't cut that away. I would just keep myself for now. Thes little guys, your Liukin's. They're really nice. It's too bad they weren't in blossom when the festival's on. - Sometimes they need a little encouragement. Uh huh. I think that it's working pretty good until you know the ending. We have a pretty nice set up because you kind of get into this festival ground and you get a feel for, ah, what is doing and what they are doing as a community. So whatever you want to be left to could be them talking about the conflict. It could be him not wanting to go near the the mail. It could be how they collaborate together. Any, like ending is possible with this, but I think the whole build up towards that. That's something that you need to kind of look at in, like the next stage 21. Organising Project: the first pass I do is usually by the time that it it's shot on the place like OK, so this is the first shoot that we did. It's the day and then it's whatever location and character that we shall separate them into characters usually. And then I start to do this, breaking them out into scenes. It's really important for me to do this because it kind of makes it easier to to understand this story because I have more of like a photographic memory than I have anything else. That's probably why I like taking photos ever really makes it easier to understand the world. But anyways, it's just something that makes it easier for me to navigate a story, just flushing things through my filter of the mind. Just seeing the scenes play out makes it easier for me to connect things and make sense of things, and it becomes more intuitive when I see it. So that's how I filter. It tried to just put the seams character by characters in See my scene basis, but I do break out scenes like I'm doing here. This is probably gonna be two or three seems out of this one scene that we shot 22. How to get unstuck: remember to take breaks. That's what When you're in a project, getting stuck is like the most annoying thing. And I think when you go out and you do other stuff, you really get the distance. You need to keep going. So don't feel like you have to do everything at once. My preferred method is often to like be everything, everything, everything, getting into the flow eventually because it's important to start. That's the first objective to just start. Then you're getting to flow to make it easier the second day. It's really smart, I think, to just walk away before you finish everything perfectly toe have somewhere to start the day after. That's a least a method that I go by. Andi, the motto. The hardest thing is starting. 23. First Scene Version: the Sometimes they need a little encouragement. - These little guys heirloom pins. They're really nice. It's too bad they weren't in blossom when the festival's on. - What do you camp here? Yeah, the gym's come up with a great idea for this year is to maybe start the stage up here early in the evening and encourage people just to roam around town and have impromptu performances at the museum. The Corp in Ryan, local businesses, the gazebo wherever they like. Just bring the spirit of festival to the whole community. You, Jim. 24. Continuity doesn t matter (that much): Okay, So some key points that I've learned from editing stuff is that continuity is subjective to me. Like continuity isn't all that the real life. Like what? What are you trying to say? That stuff underneath, like the subtext and the story behind what's out in the air in life? That is what you should care about and especially with common continuity. Don't get obsessed by having like also, they were standing there in this shot the now they're standing there. It's more about, like how you understand continuity, that it's important or feel it emotionally like, Do you feel like this works? Then go ahead. Do it like don't be afraid of that just because they're standing on one side of the room and then in the next for docks, I think it's crucial to erase, like, all off the contradictions, in terms of like, being real, you should really think about documentaries as being film on. If you approach it that way, you're gonna get by easier. I think trying to find a narrative and not get hung up on stuff like, you know, irrelevant things like minor details in how continuity is like they were standing there one second. Now they have that like sometimes it matters. But don't get stuck on that. That's one thing. 25. Emotions is everything: and for me, the most important thing, perhaps in the editing is emotional impact. It's everything. If you feel something and you feel like it works, you feel something from watching just life than that works. You don't have to worry and stress about stuff, then that's the thing that I think most people worry about. This the over and electoral eyes things and like you as a filmmaker, you need to do that. But you need to put yourself in an audience perspective. Don't care about one image or one shot or something like that forever. You need to be able to kill your darlings. 26. Keep it simple: and this is something that you learn with experience. Simple always works like Don't over complicate things. Make it as simple as you can, but still emotionally engaging and and all that you shouldn't make it simple just because you know you don't want to do the work and do it complicated. But it should always be like the essence of story. It's always easier when you simplify it. So even if you have this complex I d in mind in terms of a story, you need to simplify it so that anybody can understand it. But then, because you have this complex story, it's still gonna be complex and multilayered, but you still need to simplify and simplify and simplify more stupid. 27. Always build anticipation: and another thing is to always build anticipation. I try to surprise people, try to build the suspense you always need to care about, like keeping the audience engaged and interested. And you do that by keeping their anticipation on four different stories that can be done in different ways. But you really need to think about how to keep them interested. 28. Manage the story: But on top of that, you also need a story. Manage. So how do you navigate this story in a good, effective way? And how do you put that into a visual way of working? I love working with post its or for the Pearl of Africa. I pretty loud each scenes on just regular cards. That makes it much easier because there you can put it up on the wall or on a cardboard like this or something, and you can just put him up and move them around. Organized the story. Try to see by a piece by piece what the puzzle. 29. Edit Version 2: so that speaks of parodies up here. Back in the seventies, they used to have really good times here in this community, like with ballgames. And then that smash up Derby, I think up on the hill there, too, for some nice pictures of that in the museum. We thought this would be a sweetheart of a camping site right next to the state. But everyone runs in here to piss. I mean to pee. And so sometimes they need a little encouragement. We're hoping that this could be not just a festival site, but the community. Common green space, weedy little devils. What, do you camp here? Yeah, little guys there who pins? They're really nice. It's too bad they weren't in blossom when the festival's on some of the naysayers. So we're gonna They're gonna kill the town. So Jim said Okay, well, better not advertise too much. You don't want to do that, offend people. But it was a huge success. There's something common in music and a celebration of all that it can bring. Could you show us the men that's close by? Ah rather not, uh, go. Yeah, I drive by. They're going to my claim. But that's all, Um, I think they have the place sort of crowded of security camera, very suspicious of us. Happy question at a public forum destroying discourage negativity. And they jump on you in single iota and humiliate you in front of a couple 100 people. And then they stand with one of their muscle bound heavies right behind you to make sure that they know you know, that they're there, Not a way to go vote positive business relations with the neighboring community that's founded on a proud tradition of mining expert doesn't seem to make sense. So we'll keep making music. Maybe we can drown it out. You don't have to drive up that road very far before you can see the whole town site to build the tailings. Everything. So you serves exactly how close this actually is to this community is essentially right in town. Essentially, you kind of mark. But to give you an idea where five minutes slow stroll from downtown and, uh, right at the edge of the industrial park. Well, now they want to turn it into a district male that mills every gram of rock through this entire valley. is gonna be piled up at the edge, Aquino. So that would be really sweet. You know, 300 people trying to enjoy themselves. They're while they're dumping toxic waste in the edge of it. We have people camping down both sides of this road right up little you see it from here. So essentially right around here and camped all around here in behind the stage. It's quite nice. People just stay up here for the entire weekend. Come on up here. Come. I don't want them drinking that shit. This is a company that's supposed to be here. Teoh clean things up. That's what they were brought here to do. They were sold this whole valley for $410,000 and they were supposed to clean up all of the mines. And actually, Canada was going to pay. Well, they've not more of a scar here than 100 years of predecessors ever could accomplish. 30. Scene Breakdown V2: Now we're watching the second version of this, and this is really one of gunning to my transcriptions because you usually do transcriptions of the interviews. And then I try to piece together a narrative there, and from that I look at the scene that I cut before, and I try to piece together a really like good narrative structure for a scene. And when you're working with a scene, you wanna have a turning point somewhere in the scene, Ideally, which is the story of that. So in this, I'm trying to kind of show off the community that this is a place where they have a community based type of mentality or thinking, or at least it used to be. They used to be a close knit community, and now I'm hinting that it might not be so anymore. But I'm still trying to talk about the community at the same time that I'm talking also to the audience about, like this being a festival, trying to hint that that's what he's preparing. We're hoping that this could be not just a festival site community, common green space, but the festival in itself. It's not there to talk about the festival. It's there as a scene and a cinematic embodiment off the conflict with the mining company for the mill. So I'm trying to use the festival to build up towards, you know, talking about the mill and the real conflict. So all you're seeing in this scene is basically just me trying to build that up. And then there is a turning point where we actually start to talk more related to the conflict, and that's something that you need to build up towards. And ideally, it's good to build that up first with something else that is, you know, something that you can turn from so, like positive thinking about the community. And then all of a sudden something switches and we switch to talking about the middle. I'd rather not, uh, go and the reason why I picked the shot that's just down towards the ground. Me talking to him is because I wanted to add to the tension off him, fearing to go to the mill, and now we're seeing the mail from far up above, kind of like a security camera. I'm trying to tell this story all throughout the scene, through conflict through action, trying to just embody the whole conflict in a cinematic way, rather than like him saying that he hates the middle and he wanted to be removed. I'm trying to show that through a scene and through, Actually, that's what it's all about when you're trying to edit something with a narrative, you in front of a couple 100 people. And then they stand with one of their muscle bound heavies right behind you to make sure that they know, you know, that they're there, not a way to go vote positive business relations with the neighboring community that's founded on a proud tradition. And then, as I was finalizing the whole scene, I realized that Okay, this is a natural progression into a different scene, which is Jim, the other character, talking about the conflict in a different way. So I tried to make this music part as a transition over to the other character, and then they go to the mill before you could see the whole town site to build the tailings everything. So it's a conflict where he stout spoken one, and Scott is pretty much fearing a little bit for like their intimidations and these partiers is just me trying to establish character trying to establish the Yukon Place, which is where this takes place. Tryingto also like in picture him as, like, this badass dude that doesn't give a fuck. And that's really important, I think, to show the character before you get into, like, listening to him and always think about like, how do you make this into a scene? Don't think about it in like, OK, they were just out for a stroll like, Why did you pick that stroll? Why are you going to that industrial park that they're talking about? Well, to show off what the conflict is, you need to think about that if you're the one shooting or you need to find that in the material as your editing. So this is all about like trying to build a narrative after feels natural, even though it might not be, you know, shot this way. Thought about this way, you need to try to figure out how do you make the store is cinematically entertaining to people and to feel like, Okay, I'm in that world. I'm seeing this. I'm experiencing this with them. That's what you're trying to do all the time as an editor trying to fifth throughout the stuff that disturbs you and that makes you jump out of the story all the time. You want to make it a smooth as possible for the viewer to understand the story and the narrative. This is a company that's supposed to be here. I'm trying to end here with the really nice thing. That kind of sets things into perspective on where you start to think about things, and it's just like this really nice environment is realized. The shot, it's just is really vast country on its being destroyed by this company. I'm trying to do this in a really subtle way, and it all ends with the dog digging through the dirt, which is basically the toxic waste that they're wasting. So that was like my thoughts off editing this 31. Summary: Okay, So I hope this course has helped you to understand a little bit more about editing and anything from documentaries and how you can work to create a stronger story. Because that's what anything is all about. You can usually get, like all into how to edit and unending program all its it's this and out in terms of technology. But if you want to edit documentaries and if you want to make stories, it's much more important to care about those things. And I hope that this course has helped you to understand that on a deeper level, first of all, you need to find a story structure. What's your story about? How can you package it in a way that makes people understand it and feel it mawr emotionally and then scene by scene, you need to edit things seem by seen toe understand story, and then essentially, if you can make every scene be a story event, those air gonna be more impactful. Try to structure your storytelling around acts and climaxes. But don't be afraid to not do that either. If you feel like that is the wave that's right for your story, I wouldn't be obsessed about the three act structure, even though it's a good starting ground for any story. And if you look at organizing, start with the program. But don't stop there. Try to structure things on, post its or pronounce every scene to make it more visual. Try to make your editing easier by making the process more visual than just being in the program. I know Walter Murch, for instance. He walks away, and I do the same like don't be afraid to walk away. When you're editing, you need to have, like, pauses in between work to let ideas evolve. And that's one key factor, I think, for many editors to just let the story tell you what it needs and remember that continuity is subjective. It's not like one truth in terms of what's right or wrong in terms of continuity and emotional impact is everything to me. And I think it should be for you to if you think about emotional impact and you care about like how the audience experience a story, it's gonna help you so much to get them involved and engaged and wanted to find out what your protagonist is doing and For me, it's It's super important to structure my products the right way because it makes it easier . But I'm also very hands on and just want to go out and start editing, and usually you make it complicated, but you need to simplify things and just make it simple. You need to flush out and filter out as much as you can, of all the material that you've collected to make it easier and more easy accessible for an audience. When you have done your edit and have a film or something to show, upload your project into the project galleries, we can give constructive feedback on the work that we're making, otherwise I'll see you guys around all right.