Transcripts
1. Start Here: The Power of Cutting & Reshaping Dialogue: Welcome to the short and
punchy video editing. Punchy? No, no, no. Powerful video editing class. I'm Shaun Dikink, film
mocker and filmker. Filmmaker and video editor. I've been working
professionally since 2005. It's not a question.
2005. Okay, I nailed that tape clearly. No, I didn't doesn't
matter, though, because I can fix this using the learn techniques
from this class. Welcome to the short and
powerful video editing class. I'm Shaun Diking filmmaker
and video editor. I've been working
professionally since 2005. What you just saw is an
example of a Franken byte, which is where different
bits of someone's speech are cut and stitched together to
make it sound more natural. There are a lot of powerful
video editing techniques that are involved when
creating a Franken byte, and they expand to solving
video editing problems, like making dialogue clearer, fixing a mispronounced word, or changing the way it sounds. In this class, I'm
going to give you some lasting video
editing techniques that you can apply
to any project. Includes increasing the speed of decision making when deciding
where to make an edit, creating smoother
audio edits and unlock some simple functions
that will level up your audio editing
and proficiency. You can apply these
techniques and skills to most video
editing programs, and you'll still get a
lot out of this class, even if you don't use
Adobe Premiere Pro. This class is geared
towards all levels, and understanding the
basics of editing, using your own choice
software is an asset. You'll learn these video
editing techniques by creating your very own Frankenbte through something known
as blackout poetry. It's super fun to create
these poetic snippets, and to make this happen, you will have access to
interview footage of yours true. I'm looking forward to
seeing you in class.
2. Creating Blackout Poetry in Video Form: Hey, thanks so much
for taking this class. I'm so excited that you're here, and I'm confident that by
the end of these lessons, you're going to come
up with a handful of super effective video
editing techniques that are going to serve you
well in future projects. So let's dive into
the class project. Ultimately, the goal of
creating Franken bytes is to alter dialogue to
change its meaning. And the way we're going
to do this is through something called
Blackout Poetry. What this is is a chunk of text where certain words are crossed out and certain
ones are visible, and the visible words that are left behind create a story. It creates a poem. It changes the meaning of the
block of text. And depending on
the arrangement, you can get many meanings
from the same block. So just as Blackout poetry
reshapes the meaning of text, we are reshaping the meaning of the narrative of our footage. You'll have access to the
self interview I did. After watching all
of the lessons, you'll apply the learn
techniques editing together your own blackout poetry from this
interview footage. Here are two different
Blackout poems I created that
aren't really poems. They're more wacky sound bites, but I think you get the idea. Food is the one thing that makes me rationally happy.
That's why it's awesome. It doesn't matter how many
times you talk on camera, it just doesn't feel really fun. And I think that's
why I'm doing this because I don't know any
surprising things about myself. You can probably come up with some pretty funny Franken bytes, and it can be a lot
of fun to do this. But most importantly,
I want you to leave, understanding how to
use and implement these highly effective
video editing techniques, which I think are
super powerful, and I use them on a daily basis, especially when I'm
cutting interviews, presentations, any
type of dialogue. I find it super helpful, and I want to pass it on to you. What I'm going to
suggest is completing all of the lessons
before you take on your class project because
you're gonna want to have all of the lesson techniques
at your disposal. And I'll provide more of
a framework for how to approach your project in Lesson eight, putting
it all together. But by all means, I do recommend experimenting with each
learn technique as you go, but this practice doesn't need to be part of the class project. Have a lot of fun
with this project, and I'm looking forward to
seeing you in the next lesson.
3. The Key to Better Frankenbites: Searchable Transcripts: In this lesson, we're
going to create an automatic transcript to map out all of the words
within our interview. And this is going to make
it so much easier to do a keyword search to find
certain words or phrases. It's going to help
us immensely when it comes to creating a Frankenbte. First things first, if
you haven't already created a new project,
go ahead and do that. And once everything's loaded up, it's time to import the footage. I'm going to use my media
browser to do this. If you don't have your
media browser open, navigate to Window
Media browser, and then locate
the class footage. Once you've located
your class footage, you can simply click
and drag it to the project panel and then let it go inside
the panel itself. Then click and drag this
to the new item icon to create a new sequence that
matches our clips settings. To create an
automatic transcript, we're going to need to
open up the text panel, which is under Window Text,
right at the bottom here. Now, within our text panel, we have transcript
captions, graphics. We can do a lot here,
but we're going to focus on the transcript panel itself. Now, there are a couple ways
to generate a transcript. We can click on
this ellipsis icon and then move down to
generate static transcript. But in this case, I wouldn't
recommend this option. Choosing this option will
generate a transcript for you, which is totally usable. Only problem with it is when
you make edits and cuts, you cut this interview down,
change it, move it around. The static transcript does
not change along with it. This is why we want to
transcribe source clips. When you transcribe
source clips, it creates a dynamic transcript. Dynamic means that as we edit our source clips
within the timeline, the transcript changes
along with those edits. So I'll click on Transcribe. And now we wait.
Awesome. Now that our source clip is transcribed, we can do keyword searches. I know that I said the matrix
in here, you can see, oh, we've got five instances
of the matrix, and you can jump down using
these arrows, jump back up. And what's really cool is when you select the word itself, it'll create in
and out points on the timeline itself
where that word is. And you can copy and paste those words wherever you
want within the interview. There's a lot of cool things you can do with this
transcript panel, but the most important one is the search function
up here to search for different words that you might be looking for when
creating Frank invites. Alright, so to recap, creating a transcript using the source clips allows
for dynamic editing, which means that when you make cuts or edits to your timeline, the transcript
itself is going to adjust along with those edits. Static transcript, on the
other hand, doesn't do this. It's useful in other
situations, but in this case, stick to using a dynamic transcript so that
your transcript mirrors your timeline
throughout the entire process. In the next lesson, these three key
concepts are essential when it comes to crafting a natural sounding Frankenbt. So
4. Three Essential Concepts to Perfect Your Frankenbites: This lesson, I'm
going to show you three key concepts
that are incredibly important when it
comes to creating natural sounding Frankie bites. In this part of the interview, I said my favorite
food was pizza, and I changed my mind. I want to say it
was Putin instead because I did mention that
as my second favorite food, but I'd rather all
these instances where I say pizza be Putin. So I need to dub in
Putin in place of pizza. Let's listen to this
part of the interview. My favorite food
is probably Well, pizza pizza is
definitely up there. Alright, so for the
most part, when it comes to dubbing in words, the first thing I'll
do is go straight to my transcript panel and search in the word that I want
to use as my replacement. So in this case, I
want to use the word Putin to replace pizza. And, great, we got six results. So you might think, awesome. All we're gonna
do is just pop in two different instances where I say Putin in place of pizza,
and we're good to go. Well, it's not that simple. If we do that, this is
what it might sound like. My favorite food is probably Uh, Well, Putin Putin is
definitely up there. Okay, that doesn't
sound the best. But with these
three key concepts, we can definitely narrow down the best choices out of
these six instances. And the first of these three
key concepts is intonation. Intonation is the way that a person's voice
tilts up or down. So it's the rise and fall
of pitch within speech. This helps convey meaning,
emotion, and intent. So basically, here's
a great example is, if I were to introduce
myself and I said, Hey, my name is San. That sounds like a
statement, right? It's because at the
end of the sentence, my voice tilts down. Shawn Shan. What if I said, Hey,
my name is Shan? Would sound like a
question, right? Because I'm lilting up at
the end of the sentence. Sean, Sean. Sean. So if my voice is tilting up at the
end of a sentence, that sounds like
a question down. It sounds like a statement.
That changes everything. If it doesn't match the
surrounding dialogue, it's not going to sound natural. It's gonna sound out of place. So the next key concept
is timing and rhythm. How fast you say a word? If a word has
multiple syllables, the way that the timing of
those syllables are spoken. So, for example, if I were
to say the phrase Wow, it's a great day outside today. I wish I could go outside.
I said that pretty fast. Or I could say, Wow. It's a great day outside today. I wish I could go outside. That was pretty
dramatic, I guess. But if I were to try
to dub any one of those words and connect those
sentences together somehow, it would not ntch. It would not sound
natural because the timing and the rhythm
are completely different. And the third key concept
is tone and emotion. The tone and emotion of a spoken word can be affected
by many different things, but we're mainly
looking at the pitch, the volume, and the
quality of voice. So, for example, if someone's talking very excitedly about
their dog or something, they might have a raised voice. They might talk louder because
they're excited about it, or maybe it puts them at
ease, it relaxes them. So their voice is more airy
and comforting and relaxed. So if you're trying to combine
two parts of an interview, maybe someone's talking very excitedly about something,
and then later on, they're very emotional
about something, those two instances, they're not going to mix
well together because the tone and emotion are
so dramatically different. So back at our interview, I'll start out by listening to the different instances of
pizza within this blurb. Well, pizza pizza is the first time I say pizza
is kind of matter of fact, it's a statement pizza pizza. So now, with that in my mind, I'm going to try to match
the word pizza with Putin. Putin. Okay, that sounded
like a question because my voice
tilted up at the end. So that's a no go. Putin
and that's quite fast. The timing and rhythm is quite fast, so I don't think
that's gonna work. Putin. If there's Putin,
that's also quite fast. Putin on the menu that's
also quite fast, too. Those last three were
kind of very similar. Putin, it's just something, that sounds like the pitch is quite a bit lower and
it's not gonna match. Now our final result. Putin. Good stuff. None of
these options are great, but this might be the
best option we have. Putin. Good stuff. So, what I'll do is I can right
click on the word itself, copy and then I'll go back to the beginning of
my interview. Well, pizza. Pizza. And I'll just
paste that in there. And did you just see
that our playhead just jumped through the timeline
back to that word Putin. If there's a word in
the search function, the playhead is gonna
jump to that word. So in order for
that not to happen, I'm just going to
delete this word. My favorite food is
probably Well, Putin. Pizza is it's not the
greatest, it's not the worst. But let's move on to
the next instance here. Pizza Pizza Pizza
Pizza is pizza. Okay, so that's
quite a bit faster. So we might be
able to use one of the faster paste
instances of putin. Putin? It's very That's a
question. I don't like that. Putin. And when I go butene
if there's Putin Putin, if there's Putin that
might work. Putin on the. I think this one's jumped
out to me the most. Okay, let's right
click that copy. Now, let's find that
other instance. Pizza, paste it in. My favorite food Putin
Putin is Alright. Putin. Putin is
It's not amazing, but really what we're going for is to do our best to match
the intonation, timing, and rhythm, tone and emotion of the original spoken
word with the new dub. And it's also important to keep in mind that these edits need to be covered with Broll
or some sort of visuals. Because when watching the
interview footage with the jump cuts and the
dubs, it's just jarring. And the Franken Bite itself, I think it's going
to sound worse because of the chaotic visuals. It might just be something
that my brain does, but it's something I've noticed. So I would suggest closing your eyes or deactivating
the video track while you're listening to Franken Bites
is going to help you get a better sense of how
they're actually sounding. Well, Putin Putin is
definitely up there. It might sound a
bit complicated, all of these things that
you got to keep in mind. But really, there's
a simple solution. Just go through the options you have available and pick the
one that sounds the best. With a longer interview or
more dialogue to choose from, you can definitely
find better options. But with what we
have, I think that sounds the best it's going
to sound with that dub. So to recap, to make a
Frank and Bite work well, remember these
three key concepts. Intonation, the rise and fall of pitch within speech,
timing and rhythm, the speed at which
individual words, syllables, or even
phrases are spoken. Finally, tone and emotion,
which is the pitch, the volume, and the
quality of the voice. Just keep these three
key concepts in mind, and it will help you narrow down the best dubbing choice for your situation and whether or not it's actually
going to work. In the next lesson,
we're going to get into precise audio editing. So
5. Refining Your Edits With Audio Time Units: Admittedly, this edit
is still quite rough, but with this lessons
learned technique, you're going to be able
to get more precise, improving the audio edit. When making edits
on your timeline, the cuts are made on each individual frame
because that's how cameras capture video frame by frame at a determined rate. When it comes to audio, it
doesn't work the same way. Audio records samples. The sample rate for
professional audio and video is typically 48 kilohertz
or 48,000 hertz. Which means samples occur
48,000 times per second. Do you need access
to 48,000 samples? Not necessarily, because
for the most part, cutting your audio on each frame is going
to be precise enough, but sometimes you need access to those samples for
higher precision. And the way we're going
to do this is making use of something called
audio time units. To access audio time units, navigate to the time roller
within your sequence. The time roller is right here. Right click Show
Audio time units. So you'll notice now that the time roller is in
samples rather than frames, and now we can scrub through
48,000 samples per second, making precise audio edits when zooming in on the timeline, getting so detailed that you see the individual samples of audio. But you got to remember that
this only works for audio, and when making cuts, we're still making
cuts on each frame. Even if I want to make
it cut at the playhead, it's not making a
cut at the playhead. It's making it at the
individual frame. So this is one whole frame, but because we're in
audio time units mode, we can scrub through all
the individual samples that are available to us. Here's what's even more useful. Now, let's navigate down
to this audio edit. And because we're working
mostly just with audio, let's select the audio
portion of the edit only by holding Alt or option and then click on
that audio edit. So when clicking and
dragging on the audio only, we can stop at each
individual sample. And again, this
does not work for video because video is
not recorded in samples, it's recorded in frames. With this precise audio editing, I'm going to see
if I can improve this transition on this second
instance of Putin. Putin. Just finding the end
of the word here. So that's where I
begin my next word. Let's take the audio
only option, click, and then drag that audio. You can cut out a bit of that. Uh, as well, if you want to. That's where we
start is. Zoom out, Let's try this out. So
it cuts out quite a bit. When you click on this
little gray icon, you can enable an audio fade.
There's not much to it. You just have to click and
drag it, move it up and down, and experiment until you get the best sound out
of your audio. So I must have cut out quite a bit of this word initially. I didn't need to. As Putin. As is Putin AS is definitely. So we're just finding
how far we can push this Kind of hear
abated that word. You might not hear it when
it's played back in real time. Putin AS Putin AS is definitely up there.
That sounds a lot better. When we don't need to work
in this mode anymore, you can right click Deselect
show audio time units, and you're right
back into frames, and it does not affect
the audio at all, but we can't scrub
through samples anymore. We're scrubbing through
individual frames instead. Putin Putin is
definitely up there. To recap. To enable
precise audio editing, make use of audio time units. Allows you to access
48,000 samples per second. Remember, this only
works for audio because video is recorded in
frames, not samples. Enabling audio fades creates
a smoother transition. Really, all we're doing
is trying to make use of the full word so it doesn't sound like it's being cut off. In the next lesson,
this technique is a game changer for daily editing work.
I'll see you there.
6. Why Cutting on Consonants Works Best: Cutting audio is
not rocket science, but we can make it a
little bit easier with this one extremely powerful
video editing technique. What is this technique? It's cutting on consonants. Consonants are short, sharp sounds with clear
beginnings and ends. They're basically any letter in the alphabet that isn't a vowel. And you'll notice that
their closed mouth sounds like ten. By making your edit
on a consonant, you're avoiding potential
mismatched tones or pitch, and you get a clean,
sounding cut. Okay, so for example, we have this chunk of audio. I'm talking about YouTube and
I'm talking about finding recipes on YouTube.
Let's listen to it. Recipes. Awesome. I can
find a recipe on there. You can find anything
you could possibly need. Okay, so this is a
very common place where you might want to make
an edit right here there. You can find I say, you can do, and then I cort myself by saying, You can find. I'd rather just have myself say, you can find anything
you could possibly. Yes, in this case,
I can just cut and use the corrected portion, but what happens
when I prefer to use part of the first take
before the Blunder? And in this case, it's
only two words. You can. This is where the
power of cutting on consonants comes into play, and you're going to use this
so much after this lesson. I just know it. All you need to do is locate the consonant. You can do. Right there. That's the C. You can on there. You can find and I'll find the consonant
on the next phrase. Right here, and I'll
make another cut, and then I'll simply delete the middle chunk
and we'll combine these two pieces of audio together on the
continent to be on there. You can find anything you could pos And it already
sounds amazing. You don't need any audio
transition to be on there. You can find anything
you could possibly need. So cutting on the
continent creates this very smooth transition between two different
pieces of interview. Now what happens if you
try to cut on the vowel? Let's take a look.
Here's another place where I repeat myself. I do appreciate I
appreciate the field. And I think so we can combine the first part of the sound
bite with the second. So I just say, I do appreciate
the field. Do appreciate. And normally I would
cut on the consonant. That would be either or
ph But in this case, I'm going to cut on the vowel. Here we go. I do
appreciate on the A. A. We'll find A there,
and then we'll go to the next portion
of this audio. Appreciate. I appreciate I kind of mumble little
bit. Let's see. I do appreciate the field, and I think it helps the
field. So do you hear that? Appreciate the field and The tone the pitch is
lower in this first part. And it's a bit higher
in the second part. The tone and emotion
don't match. When you're cutting
on consonants, you don't have to
worry about that. So cutting on vowels doesn't
work as well because vowels are expressed
using tones in our voice. So like, ah, A. Ooh. Okay, well, you might say, Hey, I'm going to avoid consonants
and vowels altogether. I'm not gonna bother with that. Well, you can do
that. Do appreciate. Okay, so I end out appreciate. Appreciate the
feel. I appreciate Appreciate you'll
find the right there. So we're gonna avoid cutting on the consonant and the vowel like cutting on the breath or empty space between these words. After a sheet. There we go. And let's cut that space out. Now, let's take a listen.
Appreciate the field. And I think Well, we avoided the cutting
on the consonant and we avoided
cutting on the vowel, but you can hear the difference
in the timing and rhythm. Appreciate the field. And I think this doesn't
sound natural because the timing and rhythm from one clip to the next,
they don't match. No, we get that jump
in speed because I speak the corrected
portion slightly faster. We can cut in the middle
of the word appreciate on the sound. And
here's that option. But I do appreciate the field, and I think it
helps people a lot. I think this sounds a bit
better than cutting in between words and on the
breath or on the silence, but we're still mixing different timing
together since I say appreciate slower the first
time and faster the second. And the pitch difference
is still present, too. To work around this,
we can aim to cut on the continent at the beginning of a word or even at the end. After trying out cutting
on the P and the T, I found that cutting
on the consonant at the start of the word
sounded more natural. But I do appreciate the field, and I think it
helps people a lot, and you can still cut on the space between words or
on a breath. That's fine. Cutting on consonance is just another tool
in your toolbox for solving editing challenges and efficient
editing in general. So to recap, cutting
on consonance is a powerful way to approach fixing audio mistakes
and edits in general. Powerful because it can take the guesswork out of where to cut, simply locate the consonant on each take and connect
them together. This works because
you're connecting two closed mouth sounds, which are short and sharp. Unlike vowels, they
restrict tone and pitch. They sound nearly identical, creating a seamless
sounding edit. Cutting on consonants
can also help retain the original rhythm
and pacing of dialogue, resulting in a more
natural sounding delivery. You are having issues with the Franken Bite
sounding natural, aim to cut on the consonant
at the beginning or end of a word to better mask
differences in timing. So I hope now you can see how powerful cutting on
the consonant is. It preserves timing and rhythm, and it takes the guesswork
out of where to make an edit. Just find the consonants on each clip that you want to connect together, and
it's as simple as that. In the next lesson,
quickly apply smooth audio transitions for
fast and seamless edits.
7. Achieve Seamless Audio Transitions Fast: When connecting two
different pieces of audio together or
creating a Franken Byte, you may hear clicks or pops. In this lesson,
I'm going to show you how to approach those. Clicks and pops often
occur when audio levels from one clip to the
next don't match. These discrepancies create
noticeable artifacts like this, people to note. I don't know. I
guess it's pretty. Press. So it's press. So you can hear that pop, right? I mean, this is an
extreme example. You're not always going to
hear something like this, but when you do hear
a click and pop, there's a really easy
way to fix that. And that's by using
audio cross fades. Audio cross fades are a highly effective way to
eliminate clicks and pops because you're bridging the gap between two clips. The audio levels between clips
blend smoothly together. It ensures seamless
transitions in ambience or voice and removes
unwanted artifacts. To access cross fades, select the Effects tab. The navigate down to
audio transitions. Cross fade. It's already open. And without getting
into the nuance of these different
types of cross fades, constant power is
the option out of these that sounds the most
natural and seamless. Alright, now, I'm
going to click and drag this to our audio edit. I never went to school for a job that you needed
to go to school for. Okay, so this doesn't sound natural at all because
we are blending way too many frames together to maintain a natural sound without hearing the
blend in audio, we're going to want to
take this cross fade down to only two frames. So I'll click and
drag on either of these gray icons to
adjust the length. And as you're clicking
and dragging, also try to keep these curves
the same as what they were. They're at cosine value 19, and I'll go down to two frames. That might be two frames.
Is that two frames? Let's see. Yes. So we have one, two, one frame on this side of the edit and
one frame on the other. Let's take a listen. To school for a job that you need school for a job
that you needed to. Now, that sounds a lot
better, much more natural. Now, we may be able to tweak each side of the transition
to improve the blend. You can also hold Shift
and click on each one of these individual
icons to drag it out and experiment to see if another option sounds better. School for a job. It's
too much on this side. The school for a
job School school for a job to school for a job that you need
to So give it a shot. Okay, this definitely takes
way too much time to click and drag Audio cross fades.
Then adjust its timing. So we're going to
do this faster. We can do this by making use of the apply Audio
Transition shortcut. I'll delete this transition. I'll use my rolling edit tool. That's default shortcut
N, select the edit. Then I'll push Controller
command plus Shift plus D for the default
audio transition. We still need to
click the handles of this audio transition and
drag it down to two frames, which is still too
time consuming. An even more efficient
way to apply audio transitions with
two frame fades is this. Navigate to edit
preferences. Timeline. At the very top here we see audio transition
default duration, and it's set to 30 frames. That's why our
transition is so long. We can set this to two
frames. Click Okay. And we'll delete this
transition that we already have and create a new one,
and there you go. We have our default audio
transition, set to two frames, and now you can apply to all edits quickly by
pushing that shortcut. With the shortcut upgrade,
you're going to be eliminating clicks and pops at the
stroke of a couple of keys. It's just a good best
practice to add in these short audio
cross dissolves to avoid any potential
clicks and pops. But if you're already
editing on the consonant, like here, it was a
huge game for me. And here, it was just
too wordy for me. You don't even hear the
click or pop at all, but it doesn't hurt to add the default audio
transition just in case. That was a huge
game for me, too. It too wordy for me to recap. Large discrepancies in audio
can produce clicks and pops. Making use of audio cross fades, blends different audio
levels together, meeting at the same level, eliminating clicks and pops. Make use of the default
audio transition shortcut to quickly
apply audio transitions. We've covered a lot so far. And in the next
lesson, we'll put everything we've
learned into practice.
8. Put It All Together: A Practical Guide to Dialogue Edits: You've taken in all the
learning techniques, and now it's time to
put it all together. In this lesson,
I'm going to help summarize what you've
learned so far and also give you a practical
approach to your project. Alright. Step one, I'm going to identify the sound bite
I'd like to begin with. Can be really any sound bite. Matter how many times
you talk in camera, it just doesn't feel right. Yeah, why don't I
start with this one. Now the next step is to identify the next soundbte
you want to choose. But we also want to
connect the next soundbte with our first soundbte on the consonant.
And why is that? It's because cutting
on consonants reduces the guesswork when it comes to where
to make the cut. We just locate the consonant on the first soundbte and
connect it to the second one. Cutting on consonants
also retains the intent of what's being said along with the
timing and rhythm. This means we don't
need to cut on the breath or the space
in between the words, which can make
creating a natural sounding fragen byte a
lot more challenging. I've chosen my
first soundbte now it's time to decide
where I want to end it, and I'm looking for a
consonant to end it on, so I can connect this consonant to the next sound bite I choose. Doesn't matter how many
times you talk on camera, it just doesn't feel right. So I could. It just
doesn't feel right. Feel. Why don't I go on the
R? We'll go on the r. Doesn't feel okay? Alright. Now, I've made
the cut on the consonant. Now I can find the next sound bite that I
want to connect. And because we're using
the consonant, er, I'm going to find another
word that starts with an R or even the middle of
a word that has that sound. Instead of listening
through the rest of the interview for
that consonant, I'm going to type it in. I'm going to type in because we're in the middle
of the interview, it's searching for the first
R nearest to the playhead. We're on Result 39. I don't want to jump
all the way up, so what I'll do is
I'll just delete this. I'll go to the beginning
of my transcript and then type in R, so we can start from the
beginning. Alright, here we go. So I'm just looking for an
R word that could work. That's interesting.
Maybe it doesn't work, but it's just
interesting to use. Another tip here, I
have 401 results. It's just too much
to sift through. Instead of looking
for every instance of R or that sound embedded
in each individual word, I'd rather search all the
words that start with R. So to do that, I will add a space and now because
we've added the space, it's able to identify words that start with R
because there's a space before each individual word within
the transcript. I've located the second sound
byte with the R consonant, and I've also created
a little space to make my Franken byte. I just added it to the
beginning of my timeline. Now I'm going to
paste in this second. No, and again, my playhead
is jumping because I have the letter R in the search
bar of my transcript panel, so I'll delete that, and
I'll go all the way back to the beginning where
my two soundbtes are. And I'm going to now connect the R consonant from one
sound byte to the next. So I'll just nudge
through frame by frame. Per, per. There we go. And
then this one Yeah. That should work. Just
doesn't feel really fun. And you might nudge
that edit point around until you get something
that sounds a bit better. It doesn't feel really fun. There's a click at
a pop, so I'll add my default audio transition. Doesn't feel really
fun. Still doesn't sound right. Doesn't
feel really fun. Okay, so now I'm hearing the next word come in a bit early. So to fix this, you
can use the slip tool, which is shortcut Y. This is a great way to
keep the clip in place, but move the content within it backward or forward to get
the timing just right. Nudging this just one
frame four does the trick. Just doesn't feel really fun. The advantage of using
the slip tool is that the audio transition we've just applied doesn't
get removed like it would if we move
the entire clip over. After working on these
sound bites for a bit, I decided, I'm going to scrap all this. I'm
going to start over. I just wanted to do
something a bit different. So I'm trying to make this kind of funny sound bite where I talk about food and it makes
me irrationally happy. So I've connected
a few different phrases and words together, but now I've run into this. Food is the one thing that makes you Food is one thing
that makes you. I wanted to say food
is the one thing that makes me. I want to dub in me. This is a great example of when you'd use audio time units, and that's mainly when you don't have a consonant to cut on. So what I'm going to do
is find a way to make the full use of makes and then somehow
dub in the word me. Let's go to Audio time units. I'll really zoom in here. I'll delete the word. And trying to make full
use of the word makes. That makes that makes me. And then I have my me here. Instead of using audio cross
fade to connect those two, I'm going to just use a
normal audio transition. And the reason for this
is because the dub word me has another word
right in front of it, so I want to avoid that word
bleeding into this dub. Trying to make full use
of this word again. Alright. Now we'll connect
irrationally happy. Because we can't
cut on consonants, I still need to make use of audio time units
for irrationally. There you go. And we'll just bring that
clip in now. Let's see. I mean, irrationally
happy that makes me irrationally happy.
That's not bad. So audioT units is a
great tool to use, especially when you're not
cutting on consonants. Food is the one thing that makes me irrationally happy.
That's why it's awesome. What I love about it is
that it kind of puts you into a different place. I mean, it's just
kind of like a plus to the whole
experience of eating. Really silly, but it actually sounds like it's
something I've said. Now, this is more
common than you think just not to this scale. A client will often ask for words to be dubbed
in and in some cases, just to create words that
aren't even spoken at all. And this is normally to
correct a misspoken word, a mispronounced word, to change the delivery of a
phrase being spoken. And that's entirely possible. We just need to cover up all of these edits with some roll. I hope this gives you
a better idea of how to approach your
class project or even that challenging Franken
Bite you have to create for a personal project or
even a client project. Covered a few new
tips in this lesson. Adding a space before a letter, you want to keyword
search within the transcription
panel will show individual words rather than every instance of that letter. Narrowing down
hundreds of results makes editing Frank invites
a lot more manageable. Make use of the slip tool
when editing in your dubs. This moves the
content within a clip while retaining
audio transitions. When you don't have
a consonant to cut on and need high precision, audio time units
can save the day. In the next lesson,
I'll show you what it came up with
to cover my edits for my class project and share some quick Franken tips
to level up your editing.
9. Level Up Your Edits With These Quick Frankentips: Let's start with the edit
from our last lesson. There are lots of cuts,
but now I've added B roll, music and sound effects. Food is the one thing that
makes me irrationally happy. What I love about it is
that it kind of puts you into a different place. Tastes cheese and the
fries and the gravy. I mean, it's just
kind of like a plus to the whole
experience of heating. I know it's a bit of
a ridiculous edit, but it does demonstrate
the learn techniques. In this lesson, I'm
going to share with you some quick Frankin tips that we haven't necessarily
covered yet. B roll, music, sound
effects, even graphics. They're not required
for your project, but they can help mask edits. Misdirection can
trick the viewer into not noticing a
challenging Franken byte. For example, in the
introduction of this class, I use the lower third to
distract from an imperfect edit. Welcome to the short and
powerful video editing class. I'm Shaun Dikink, filmmaker
and video editor. These on screen graphics help distract the viewer from
the rougher looking cut. To ground things in reality, especially if the sound bite
is ridiculous like this, it's nice to cut to a shot of the speaker featuring
a longer phrase. It makes the dialogue
covered with B roll sound a lot
more believable. When possible, use
just the audio and match the dub to the visual. Eliminating the need
for a visual cut, such as cutting to B
roll or a close up can save time and sometimes be
more effective than a cutaway. For example, here's
a clip that I wanted to fix for
my class intro. Notice how the
pronunciation of the word stitched can be a bit clearer. Different bits of
someone's speech are cut and stitched together to
make it sound more natural. I noticed a somewhat
slurred speech, so I recorded that
small portion, one more time for clarity. Cut and stitch together to
make it sound more natural. In this edit, I've
cut to a close up of the new clearer tape, which is where different
bits of someone's speech are cut and stitched together to
make it sound more natural. And then in the second edit, I've cut in the dub
on the consonants, added the audio transitions, and then slowly nudged each edit point of the dub
inward on either side, doing my best to fully use the good parts of the
original spoken word. Speech or cut and stitched together to make it
sound more natural. And yeah, the more
you watch the dub, the more subtle
inconsistencies can appear, but most people won't notice. Yeah, and you can
see there's nothing wrong with cutting
to a close up. Stick to what works
best for your story. But sticking with just the dub can be a lot more
flexible in some cases, faster to complete
and less jarring than cutting to a
close up in this case. Either way, you have these
two options available to you. Sometimes you'll need to stitch words together from
different sources to create an entirely new word that didn't even exist
in the first place. Takes just psychology. It takes time, but
can be rewarding. In my class project,
I created the word tasty from three different words by matching the intonation, timing, rhythm, and
tone and emotion. By following the same
framework that we used for our class project,
tasty, tasty, tasty. Also take notice that this
Franken Bite sounds a lot better within the
context of my class project, along with Brole music
and sound effect. Before making a Frankenbte, ensure it aligns with the
speaker's original intent. Outside of drama,
narrative or fiction, reshaping dialogue irresponsibly
can be misleading. In reality TV, Franken
Bites are common, sometimes painting
people unfairly. But this seems to be the norm. In other media and especially
with your own edits, it's important to be cautious. If an interviewee misspeaks or needs a factual correction, you can fix it in post, but always with
transparent and consent. The biggest example I can think of was this interview
we conducted in 2019 about housing crisis
in Vancouver, Canada. Interviewee needed to
correct the information she presented after we packed up all the gear, after
we were already home. We were all on the same
page and agreed to fix this in post if
it was possible. Thankfully, the fix
was able to happen, but it took a lot
of time on my part to figure out how to
make it sound natural. Houses when I first came here that we're probably
selling for around 300,000 would sell for maybe
1.4 million now or more. To recap, create
misdirection with B roll, graphics, sound
effects, and music. Ground the dialogue
in reality by cutting to the speaker
once in a while. Match dubs to the
visuals when possible to avoid having to
cut to a new angle or to have to cut to B roll. Don't be afraid to
get creative by combining multiple sounds
to craft new words, but remember to be ethical. Have fun with your
own project edit and feel free to get creative. Even if it means reshaping the
intent of what I'm saying, I'm totally open to playful
or unexpected edits as long as it doesn't make me say something politically or religiously controversial and paint me in a
negative light. All right, you've made it.
Let's solidify the techniques you've learned in this class
with a final recap. Up next.
10. Strengthen Your Understanding With This Class Recap: Congrats on making it
through all the lessons. It's time for the final recap. There's three key concepts to
make francobtes work well. The way the pitch
of someone's voice rises and falls,
timing and rhythm, the speed at which words
phrases syllables are spoken and emotion and tone
relating to the pitch, volume, and quality
of the voice. If all these concepts match to the word or phrase you're
attempting to dub in, then you're gonna have
a great time getting a Frankobte to sound natural. Cutting on consonants is, in my opinion, the biggest
takeaway from this class. Cutting on those short, sharp sounds can retain the
intent and timing and rhythm of what's
being spoken and also cuts out the guesswork
of exactly where to cut. If you don't have a
consonant to cut on, then rely on audio time units
for precise audio edits. Make use of two frame
audio transitions to avoid any clicks or props. And lastly, rely
on VroleRoomtne, graphics, sound effects music to further mask dialogue edits. Submit your projects,
and I will provide constructive feedback
upon request. Please leave a review. Any feedback helps me do
better and serve you better. Follow my profile
for announcements, new class releases, and
occasional giveaways. If you want to learn more about filmmaking and video editing, I highly encourage you to take my other classes
on my skill share page, and you can also view additional content on my YouTube channel. Thanks so much for
taking the class. I appreciate your support, and remember story is your
guide. I'll see you next time.
