Editing with Strategy: Forget Skills - Start Understanding! (Premiere Pro, Adobe, Final Cut, Avid) | Thomas Eberhard | Skillshare

Editing with Strategy: Forget Skills - Start Understanding! (Premiere Pro, Adobe, Final Cut, Avid)

Thomas Eberhard, Distracted by Creativity

Editing with Strategy: Forget Skills - Start Understanding! (Premiere Pro, Adobe, Final Cut, Avid)

Thomas Eberhard, Distracted by Creativity

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10 Lessons (30m)
    • 1. Introduction: Course Content

      2:08
    • 2. Getting Started

      3:48
    • 3. Think Style!

      2:08
    • 4. Do The Cut!

      4:16
    • 5. The Perfect Song - Don't Waste Time Looking For It

      2:43
    • 6. Timing, Rhythm and Pacing

      6:05
    • 7. Effects and Transitions - Stick To The Story!

      2:06
    • 8. Kill Your Darlings!

      2:18
    • 9. Revision Checklist - Check Before You Send It!

      3:43
    • 10. Class Project

      0:59
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About This Class

This is NOT another video editing tutorial. In this course I share my findings of several years of being a professional editor. There are many tutorials to teach you the skills and software. But there are few courses that teach you a real understanding of Editing nor do they focus on Strategy. That is why I created a course that gives you a strategy to approach every project in a more effective way.

I tried to keep it very brief, if there is something you would like to understand better, or have more examples, just get in touch with me! I will be happy to help you!

ABOUT MEMy name is Thomas Eberhard. I am a German commercial director /editor who lives in Medellín, Colombia. After styuding in Germany and Spain and moving to Colombia I worked myself into the advertising industry through editing and lately doing more commercial directing work. You can check my work at http://www.jtefilms.com. I love sharing my experiences and helping young creatives start. I really wish for this course to be very helpful and motivating! If you want to know more or have questions, please contact me!

Cheers, 

Thomas

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Thomas Eberhard

Distracted by Creativity

Teacher

Hello, I'm Thomas. I am a German commercial director and editor who lives in Medellín, Colombia. After studying film in Germany and a semester of audiovisual communication in Valencia, Spain, I moved to South America where I have been living and working in the advertising industry for the last couple of years. I also did a master's degree in "leadership in the creative industries" in Germany. There are many things that I love, like: my wife, advertising, directing, music and teaching. 

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Transcripts

1. Introduction: Course Content: Hello and welcome to my own land Cost. Not another video editing tutorial. Forget skills. Start understanding. Editing. My name is Thomas A Bob. I'm a German living in marriage in Colombia, who happens to also be a commercial director and editor. In this course, I will give you a short but very different approach to editing something that most tutorials won't talk about. They will teach you the tools and skills off the craft. But in this video you will learn to understand video editing so you can strategically improve your editing experience and your client customer experience. These are the topics I will discuss getting started client communication and organizing the project. Think style united tone message inform Do the cut. Understanding your tools. The perfect song. Don't waste time looking for it. Timing, rhythm and pacing. Kill your darlings effects and transitions. Revision checklist. Check before you send it at some points off the course. I'm pretty sure you will think something like, Well, this is very basic. I knew that before And yes, you probably nude. But here's the thing. Knowing something and doing it are two different pairs of shoes. Now that I work as a director many times the commercials that I do, I edited by other persons, not by myself and really often the most problems that we come across with are not the complicated things. It's almost always the basic things. Imagine that if this is happening to the experience and professional editors, it can also happen to you. And that's exactly why I did the course. Focusing on the basic stuff will help you to have a much better experience while editing. My name is Thomas Eva. I'm a commercial director and editor, and I made this calls to help you become a better editor, have fun watching and learning. 2. Getting Started: Chapter one getting started, the first chapter will focus on the importance of communication and editing. And then we will learn how to organize a fresh project so that you always have a clean overview off the whole project. And it's numerous assets. Let's get started. So you are lucky enough to have landed a gig. Now you start editing, right? Wrong. First, did you get a brief? If yes, read it carefully. Make notes if it helps create a sheet for the notes. If you did not receive a written brief, you probably got a or a briefing with the client or the production company or whoever asked you to edit the video. This sounds basic, and it is, but it is crucial. You might remember all in the beginning, But as soon as you're handling barriers projects simultaneously, you will have to organize. Why not just start right away? If you did not get any brief of any kind, then make sure to ask the client in any of the aforementioned cases. First, listen or read carefully process it and then proceed to make the right questions. Save yourself and declined sometime by being on point and asking Onley. What will help you to understand the end result the client is looking for? I talk about signs. Maybe in your case you're your own client. It will still apply the same. Listen, first process, make the right questions. Then if asked off you give the right answers and here is a pro tip. Ask for references. Tell them to send you a few videos that have the style, spirit and form that they are looking for to achieve. This will help you a lot. Okay, now that we have the information that we need, we proceed to the organizing part we open the editing software were using. In my case, it will be Premiere Pro Sisi, but it works with all the programs out there inside it. We have the possibility to create different bins. I create bins for all the assets footage, sound music, graphics, sequences and other. You probably got a hard drive with all the footage on it. Look for the different types of assets that you were provided and add them to the been that they belong to. If you happen to download stuff, make sure you take it from the download folder to the hard drive. Otherwise, you might delete it at some point, and then the footage will be missing in the sequence. Now that you have organized, it'll take care of it. Use the bench with every new item that you add to that it Now, when you start editing, you have different timelines, some for image and some for audio. Use those different all your tricks to separate music from voice sound effects, etcetera. Don't mix the tracks. It will spare your some headache later on. Use graphics on Lee tracks. Footage only tracks credit only tracks. Now you're always ready to make the first cut, but before that you should think of the video style or tone. Let us talk about style and tone in the next chapter, where I explain what you have to think off before you make the first cut. My name is Thomas A. Berhad. Thanks for watching my video. I appreciate it and hope that you enjoyed and learned a lot. See you in the next chapter. 3. Think Style!: Chapter two Think Style. So a brief recap from the chapter before starting to edit a project should always begin with understanding, declines needs or the videos intention. And you should make the preparations beforehand great bins so that you know where to find it all. When you are looking for something specific. Now there's something else to think off, and it is related to the first chapter. You know the client's needs. You understand the videos intention. Now you have to apply this information on the edit. Think about the style and tone of the video. Think off the audience, is it for young people and has to be cool. Fast Trendy is an educational style with a more serious tone and slower pace. Is it a music video and needs a lot of cuts? All these things will determine the way you will cut the video. It doesn't make sense to make a super pace. Jump cut video with loads of transitions for an educational video. Also, you do not need a slow paced, motionless edit for punk rock song. It just has to make sense, and if you don't think of that, you will lose the climb fast as he got him because think of that you are a creative mind and you love to experiment. But this is not about you. It is about the client and his project. Use the style pays, rhythm informed, that fits the project. This applies especially for the music and songs that you will choose if it is a personal video without a chronological story or maybe even a show. Really. Try to implement some kind of narrative. Some storytelling through the images, which helps to keep the view's attention get inspired research and watch reference videos. So you have a very clear idea off what the video is going to be like. That's it for now. Are you ready to start editing? Not yet. Let us continue first with the next chapter. 4. Do The Cut!: Chapter three. Do the cut, understanding your tools when you have finally identified and define what's died. The video should be. You can start picking the shots that you want to use, but first, prioritize. I always thought with the big picture and work yourself up to the detail, not the other way around. Losing yourself in detail on the too early stage will cost your time that you do not have so prioritize and work in a strategic way. When there are several takes off the same shop, I don't waste the time to look for the best shot right away. I take the last one, which most of the time turns out to be the best, since the director determines that there will be no extra shot, which implies that he liked what he saw. Also, it helps me to get on very quickly with the role cut, have a first added off the whole story and get a feel for the whole footage and how it works. As an edited film, it is the best way to have a fast preview or very early version off the edit. In the end, you can start comparing all the takes off the same shot and see if maybe you did not use the best take. But you will see that in many cases, the best take is rather the last one than the 1st 1 This strategy also helps to see fast what works, what does not work. And thus you don't get lost in detail on the too early stage, as I mentioned before, and I know I'm repeating myself here, but I have seen too many editors ignoring this. So please, first do the general stuff, then start with the details you need to prioritize. Okay, now they're basically two ways to edit the video, which, of course, also can be mixed. Number one chronologically, number two non chronologically chronological editing means that there is a defined star mid part and ending, and you already know which shot belongs where more or less. This makes it easy to make a first roid it. You just have to pick these shots, put them in their order and then start cutting off, make it look smooth in non chronological editing. However, you do not have a defined position for the footage, but maybe you can think of some kind of story or way to connect these shots in this case, go through the footage and pick parts off the shots that you like. Throw it on the timeline. I do this when I cut Shorey. It's the different commercials are not really connected to each other. So I create first a sequence where put all the shots on it that I like. This is like a first filter for the whole footage. Then I create a new sequence where dropped them in an order, which makes sense to me, puts a music under it and now start moving the footage around speaking off sequences. I told you in the beginning that I created painful sequences. The reason for that is that you should never have only one sequence and work on that sequence on the changes with every big progress on the edit, Duplicate the sequence and use, rename it in a chronological name and go on working on the new sequence. This way, if you mess up a some point, you can always go back on an earlier version off the sequence and start over from there. Here are some examples sequence on the line. One sequence underlined to sequence underlined three or day on the line month underline year. There are a 1,000,000 ways to do it. Just do it in a way that makes sense to you and helps you not get confused. Pro tip. Close the sequences that are not being worked on currently, since sometimes you can accidentally switch between the edits and you might not notice and start working on an oldest sequence mixing it all and that's getting totally confused. Now that you're ready and you want to do the first Cup, you might think I would like to cut on music and their cases where this is the best option . So let's head over to the next chapter and learn how to find fitting music. 5. The Perfect Song - Don't Waste Time Looking For It: Chapter four The Perfect song. Don't waste time looking for it. This chapter is my personal favorite. Ever since I realized this learning it has saved me a lot of time in Chapter two. Think style. I invited you to think first off the style of the video. If you have not done it yet, this is the time you should do your homework. And now you have to want to choose a song that works perfectly fine for the edit. So how to find the perfect music track for that edit? Easy You don't at first do not fall into the trap of looking for the perfect track before you already are close to more. Progressed at it. Let me explain until you can already see more or less the outcome. You just don't know how the overall film will look. Whatever song you choose might not be the right one. In the end, no matter how long you looked for it, no matter how much you love it, what if after a few cuts, you notice that it just doesn't work with the images or what if, after presenting it to your client, the client does not share the same music taste is you happens a lot. Well, you have just lost an enormous amount of time. So what do I suggest? Instead? Just think of a type of music or song. They would work more or less fine, for that matter, it only has to function as a reference. You choose one of the first songs that more or less works fine and start editing on that music. And when the cut this close to finished, you can start looking for the perfect match. Since you already have the pace, the mood and the images in the right place, you will be surprised how well the edit will work with different songs without having to change too much. When you finally have found the song that you want to use, you just adjust the shots and you're done. If you do not know where to find music, there many platforms, you can check them out and just think with the one you like Most. Some well known platforms are art list, audio, jungle and premium beat off course. There are several more, but these are the big place. I myself use a lot art list. It has a huge variety of music and they have very high quality. Okay, now that we have finally found a better approach to finding music, we have to take a closer look at another very important, if not the most important topic of all. Timing, rhythm and pace see in the next chapter. 6. Timing, Rhythm and Pacing: Chapter five timing, rhythm and pacing off course, and every video is a music video or has only songs on the soundtracks. But when there's music and it has a beat, the easiest thing to do is to cut on the beat or on the off beat. That would mean you synchronized the edit to the music. You can also try an experiment editing it not only on the beat but more important than the beat. Because the overall rhythm and pacing and I do not refer to the song, the edit must feel natural. The transitions and cuts are best when people do not consciously notice them, or if they support the overall style that will, in most cases mean to cut off a lot of footage, keep only the essential parts that you need to tell the whole story. You will be surprised how little you need to make a story work. All fine. I'd say that if there is a problem with length in almost all cases, it is that is rather too long than too short. Check the timing off the cuts. Movements that are connected from one shot to another need to have a natural flow to it, which you only achieve by good timing. There must be a general natural ality to the edit, and that is something that you can feel. And if it doesn't feel right, it isn't think also of drama. Editing is some kind of storytelling. Your sample, the story that is told that is a very big responsibility and a fun one as well. You get to manipulate. Therefore, you should try to apply dramaturgy to the edit. Rhythm and pace are tools to create atmosphere and emotion. You can create tension or calm. Tension is mostly created by fast paced editing. Think of action movies and the fighting or shooting scenes. Some cuts are so fast you do not even get to consciously notice the shots. On the other hand, you can create tension as well, with extra long or slow shots. It always depends on the context. Com, on the other hand, is a sheaf by slow paced editing. You give the view time to focus on the shot and acting or conversation. There are several cuts that give you different results. I will briefly explain some of them, but not all. See the ideas to help you understand editing as a whole, understand the tools and how went to apply them. This knowledge is the basis so that from here on out, you can independently grow your skills and knowledge. So now here a few basic cut types, standard cut or heart cut. This cut just connects one shot with another without any transition effect. It is simple but powerful. It can tell a story from different angles connecting chronological shots. It can bring you in the blink off a knife from one location to another. You can use it to cut on action, which means cutting wiling object or subject is still in motion and use that flow off the movement to cut without the cut being noticed. A such the jump cut the jump cut basically, is a fast forward in a very long shot. Instead of showing it all, you just take out parts off the shop and jump ahead. This gives you a special effect, which should only be applied. What makes sense? There are many variations of it, but mostly you do not change the shot itself. It is the same framing and angle all the time and the editing in most cases is fast paced. The L Cut and J cut. I love this one. L cut and Jacob are basically the same only the other way around to explain it better think often edit was shot a and shot be in the l cut. You go from shop A to B, and while you already seeing shut be, you're still hearing the audio off shot pay in the Jacob, however, it is the other way around. You are still a chop A and already here audio off shot BB before seeing it. This technique works great as a transition without using any fancy effects. Parallel editing, peril, editing or cross cut editing is when you mix two different scenes that are happening simultaneously. You jump from one scene to another, and with every cut you progress in the story. There are many more cut types, like montage or match cuts, where, as it says in its name, you met shots. You connect them through similar position, movement on direction. I will not go more deeply into that, but they are really powerful tools, and you should learn all of them. Go do some research, look for examples to better understand them and then try analyzing videos and movies by identifying the types of cuts and understanding how and why they were used in that specific case. You will learn a lot and be able to apply it, and I know I mentioned this before, but I feel like it's worth repeating it. Editing is something that you also feel so use that gut feeling toe. Identify when something does not work and experiment until you feel that reports better. This is something that will probably take you more time in the beginning. But the beautiful thing of editing and everything else in life is that experience will improve your skills, and at some point everything will become just natural. You will do it naturally without thinking about it too much. Along with cutting techniques, come transitions and effects. Let us have a talk about the use of them in the next 7. Effects and Transitions - Stick To The Story!: Chapter six effects and transitions stick to the story. Effects and transitions can make a good firm and even better. Food effects and transitions are cool. They stand out, can have, ah, while effect. But that is not always what you need in this chapter, when I talk about transitions and the fact I refer to things like Fade in, fade out, wipes, dissolves, moves, zoom effects, burn film effects, lands, flares and salt. Sometimes I watch a video and see effects, and I think to myself, Wow, that is really awesome. But then these effects and transitions just don't stop speed Rams everywhere slow motion, and we wear zoom effects that we were not only because you can means that you should understand this effect and transitions are just simple tools to improve your credit. They are not the firm itself. They are there to support, not to steal the show. You could say they're the secondary or complement a reactors. They can be important, but they serve very specific purposes. Otherwise they become redundant and obsolete, and everything that's obsolete and redundant makes that worse. Do not overuse them, but only as much as you really need. Also try to stick to the same style. Mixing too much different stuff is like bad design. It just does not look good. And you want to avoid that. Now that we have learned some of the existing types of cuts and how to use transitions and effects, let us talk about something that will always be hard to do but still is necessary. See in the next chapter where we will talk about killing your darlings. 8. Kill Your Darlings!: Chapter seven. Kill Your Darlings. We just learned some basic editing and cutting techniques, and probably you already have applied some of them at some point. But now comes the big challenge as an editor, and even more so, if you're also the director or D. O. P, the director of photography, you will have shots that you love more than others. Shots that were hard to chief that haven't amazing look, or for whatever reason, you just love it. But here's the problem. Many times these shots as beautiful as they are, they just do not serve any purpose. If you left them out, it would not hurt the story. That is the moment when you should do the only right thing. Chop it off. Seriously, kill your darlings. Let's try something, duplicate the sequence and do an experiment. Chop off everything that is not crucially important for the understanding off the video, you will see that it still works and probably even better than before. This can be different, of course, with music videos that have a fixed length videos that have a storyline that do not have a storyline. And while you have to fill the time So look, whoever watches this, I ask you not to only learn my advice like rules, because they're not there hints and suggestions and can be flexible if necessary because no project is equal. So things change. But this is true to most project. If there is a client involved, chances are even if they were present at shooting day, they do not remember every single shot that was taken. They will most probably not miss anything that you cut away. That is, if you did a good job and that it is really good with the knowledge you should have by now . I think you are ready to finish the edit. Now you want to show it to the client or the world. But there's one more thing that you should do before you send it. Learn about it in the next and last chapter before class Project 9. Revision Checklist - Check Before You Send It!: chipped in eight. Revision checklist. Check. Before you send in this chapter, I will briefly explain to you why you need a revision checklists and how to use it. Before you send in the edit to the client. It will spare your time extra revisions. And most importantly, it will spare humiliating situations that can cost you a follow up job and can really be easily avoided. With every revision, you will have to make changes. Don't override sequence is just duplicate them and work on the latest sequence. You will thank me later. Now let's jump into the revision checklist every time that you are about to send the latest version often edit to the client. Please do a check up beforehand. There's nothing worse than sending something with errors that you over. So look, I get that after while one gets tired of seeing the same footage over and over again, day in and day out. But that is exactly why we do not notice so easily. When something is missing or something has changed by accident, you have to watch and rewatch the final edit very precisely and consciously, you do not want the client or the production company to call you back, asking about that very obvious arrow that is in the video. At best, you're criticized or get a warning. At worst, you lost the job in a potential follow up job. So here's a small list with some crucial steps to check on off course. You can edit the list and at other points to it sound. Is it complete? Other problems with transitions is everything in its place. Check the sound on different outputs. Earphones, loudspeakers, etcetera. Make sure that you have the sound on both sides, not only on the right or the left. Check levels throughout the video so that they are the same. Check if everything is synchronized and on time color. If you are to do the color correction, make sure you do not only compare images that are next to each other, but check if they are the same with images from the beginning and the end. Etcetera. Graphics, credits and text check spellings and positions. Transitions, exclamation marks, dots, climbed remarks. In the beginning, I asked you to make a list off. Notes from the briefing. Do the same with every revision. Make notes off the changes that the client wants and check. If you have made them all, no client will want to see that you skip any of his petitions is just not professional. You're done checking and everything is all right. Congratulations. You can publish will send the video. Now, we have come to the end of this course, as I mentioned before, this cause was not about learning all the techniques and software. It was to give you the necessary tools so that you can continue exploring and learning on your own. Take the knowledge applied and go on studying and why? And approve what you've just learned in the last chapter. I will tell you about the class project, and I'm really eager to see what you have learned. Thank you very much for watching this course. I really appreciate it. And if you liked it a lot, I would be really thankful if you left a review so that other people can find it more easily. As I said in the beginning, this course is very brief. Maybe you have questions or want more examples? Please just get in touch with me. I will be happy to help you 10. Class Project: Chapter nine, The Class project. Congratulations. Finally, you're done. You're through the course. Now Let us see if you have a good eye for editing. I want you to send me to videos, one video that you consider good editing and one with you that you consider bad editing. Send me the links to the videos and right? Why you considered good or bad? You can use your own edited films or if you do not have any, just send me anything I'm looking forward to. Whatever you will send me. My name is Thomas A VOD. Thank you for watching this course.