KEY APPDC Lesson 4 WORKSHEET

Transcription

1 KEY APPDC Lesson 4 WORKSHEET 1. Video editing changes the arrangement and duration of video and audio clips to craft a narrative, (tell a story.) An editor arranges footage to create a coherent story paced to appeal to the audience. 2. n traditional film and video, continuity editing makes use of very few transitions, and the straight cut is the preferred method of getting from one scene or shot to another. 3. The editor attempts to find a match cut, in which different scenes, people, or objects share a similar visual relationship. This type of cut forms the basis of the continuity editing style, the goal of which is to create a seamless and non-jarring change. 4. The terms A Roll and B Roll describe the primary and secondary footage shot and used in video and film productions. In an edit, B Roll is used to add or enhance the meaning of the main footage, (A Roll), or to cover the removal of unwanted or error-ridden material. 5. Cut-ins and cut-aways are instantaneous shifts in the framing of a shot. A cut-in is a cut that shifts from the main subject (A Roll), to an event occurring INSIDE the same scene. For example, if your main scene involves two people shaking hands, a possible cut-in might be a close-up of the handshake. 6. A Cut-away is a cut AWAY from the main action to other simultaneous events. For example, in the scene of the two people shaking hands, a possible cut-away might show other people entering the room. 7. CUTTING ON ACTION is a standard practice of continuity editing that refers to a technique in which you cut from one shot to another that matches or anticipates the action of the first shot. e.g. A shot of a person looking up in response to a knock on a door can be cut to a shot of another person walking through a door. 8. The Source Monitor is one of the most important tools you can use to preview and trim clips in preparation for the Timeline. You can preview all footage used in Premiere Pro using the Source monitor, except for the content of Sequences, which you can preview in the Program Monitor. To preview footage, you can double-click a footage item or drag it to the Source Monitor panel.

2 9. When a clip is imported into Premiere Pro, its In and Out points are automatically set to the physical beginning and end of the clip, allowing it to run for its full duration. You can trim the clip by setting new In and Out points using the Source monitor. 10. You can click the Play-Stop Toggle button, or the spacebar on your keyboard at any time to start and stop the Monitor preview. (You can also use the 'L' key to play forward, the 'K' key to pause, and the 'J' key to play in reverse.) 11. The keyboard shortcut to set the In Point to the current position of the playhead is the 'I' key. The keyboard shortcut to set the Out Point to the current position of the playhead is the 'O' key. 12. You can use the Transport controls, located in the center of the Source and Program Monitors, to play, pause, and move forward or backward through video clips. 13. You can easily create a cut-in or cut-away by placing a new clip containing B Roll footage on a track above the one containing an A Roll clip. Multiple tracks are also useful when you need to place graphics or titles above your video footage, or to compose multiple video clips to create a ghostly effect. 14. When you create a new sequence in Premiere Pro, you can specify the number of audio and video tracks to include in the Tracks panel of the New Sequence dialog box. By default, the dialog box creates video and audio tracks for each new sequence based on the preset used, but you can add additional tracks or remove empty, unused ones. 15. You must right-click (Windows) or control +click (Mac OS) an empty area of the Timeline track header to open the context menu. 16. The Add Track dialog box allows you to add Video, Audio, and Audio Sub mix tracks to your Timeline. 17. To delete tracks, right-click (Windows) or Ctrl+click (Mac OS) a current track and choose Delete Track from the menu that appears. You can also open the Delete Tracks dialog box by choosing Sequence > Delete Tracks. In the dialog box that appears, choose whether to delete Audio and Video tracks by name or remove all empty audio and video tracks. Remember that the sequence needs at least one of each track type at all times; you cannot remove a track if it is the last of its kind left on the Timeline.

3 18. Expanding the height of tracks in the Timeline makes it easier to see your clips. 19. Renaming tracks can be a helpful way of keeping your Sequence organized. 20. You can add clips directly to the Timeline from the Project panel, Media Browser, or Source Monitor. 21. You can also move the playhead to the location of a timeline or clip marker by dragging it. To make the playhead snap to the position of a marker, press and hold the shift key on your keyboard while dragging it. 22. Pressing and holding the Ctrl (Windows) key, or Cmd(Mac OS) key while dragging a clip into the timeline creates an insert edit. 23. You can START previews in the Timeline using keyboard commands, (such as the spacebar, or 'L' key), or in the Program Monitor using the Transport controls. 24. You can STOP the Timeline playback at any time by pressing the spacebar again, or the 'K' key, or by clicking the time ruler at the top of the Timeline panel. The time ruler is the area where the Timeline s time code appears. 25. You begin the editing process in the Source Monitor. There you trim your clips to eliminate excess and unnecessary footage. Once you add your clips to the Timeline, the true editing begins. The type of editing you do in the Timeline helps you judge how each clip relates to the other clips in your sequence, thus allowing you to refine the rough edits you make when trimming clips in the Source Monitor. 26. When working on your own projects, it is strongly recommended that you play through the Timeline many times to determine the best edit point for your footage. 27. The small graph on the audio track is called a WAVEFORM, and it displays the volume of an audio track over time.

4 28. The playhead is currently positioned at a level point on the waveform, which represents a point of silence, when the speaker is quiet. This point is usually the best place to cut a clip, because it gives the illusion the speaker is taking a pause and has the most natural affect. 29. You might want to adjust the number of times you zoom in on the timeline depending on your monitor resolution to make "fine" edits easier to see. Additionally, you can adjust the height of a track by dragging the dividing line in the track header that separates the A1 and A2 tracks. 30. When trimming a clip, you must be careful to not cut too closely to where a person is starting or stopping while speaking. 31. You can press the V key on your keyboard to activate the Selection tool. (Using KEYSTROKE COMMANDS like this makes you a faster editor than always clicking in the toolbar with you mouse and cursor.) 32. When trimming a clip, you must pay attention to the appearance of the cursor. This is how Premiere Pro tells you which tool variation you have active. 33. One way to "clear" a gap on your timeline is to Right-click, or (Control-click), the gap between the clips and choose Ripple Delete from the menu that appears. This clears the gap and shifts all of the clips that are to the right to compensate for the gap s deletion. 34. You can move your playhead on the Timeline manually by dragging it, but to move it precisely one frame at a time, press the left and right arrow keys on your keyboard. 35. You could use the Selection tool to trim the beginning of the clip, but as you learned previously, this would leave a gap between the two clips that you would then have to remove. 36. The keyboard shortcut to activate the Ripple Edit tool is B. 37. The Ripple Edit tool appears to do nothing at all; but in fact, the entire clip moves automatically to the left to remove the gap created by trimming the clip.

5 38. To get your playhead to move to the beginning of the Timeline you can press the Home key, or (fn+left arrow) on your keyboard or manually move the playhead to the beginning of the Timeline. 39. You can use the razor tool to create edit points to shorten the duration of a clip or remove footage from the middle of a clip on the Timeline. 40. If you want to zoom "out" on the Timeline to see the beginning and end of the Timeline simultaneously, press the key. If you want to zoom "in" on the Timeline, press the + key. 41. The Razor tool cuts through the audio and video of a clip on the Timeline. 42. You can also cut a clip on the Timeline using both a menu command, (Choose Sequence > Add Edit), and/or a keyboard shortcut, press Ctrl+K (Windows) or Command+K (Mac OS) to cut the clip on the active track at the current position of the playhead. 43. The Razor tool is used to split a clip and will automatically snap to the position of the playhead. 44. Press the Backspace key (Windows), or Delete key (Mac OS) on your keyboard to delete the selected clip. 45. An Insert edit allows you to add a clip currently previewed in the Source Monitor to the Timeline, while simultaneously moving the clips already on the timeline to accommodate the new one. 46. When you perform an Insert edit in the middle of an existing clip, the command splits that clip and moves all adjacent clips to the right. 47. The color change in the Source panel lets you know that you have created In and Out points in your video clip. 48. The Source Track Indicators appear when a clip is active in the Source Monitor.

6 49. To add tracks to the Timeline using keyboard shortcuts, the controls in the Source Monitor, or the copy and paste commands, you must specify a destination track. This is process is known as track targeting. 50. When you add clips to the Timeline panel by dragging them from the Source Monitor, the Project panel, or the Media browser, you automatically target a track by dropping the clip onto that track. However, when you use the Source monitor controls, keyboard shortcuts, or copy and paste, you must specify a target track in advance. The placement of the Video and Audio target track selector in the Track Header area (where the track names are) indicates that a specific track is targeted and ready to receive clips. 51. To perform an Insert edit, with the Timeline panel still active, click the Insert button on the Source Monitor, or use the ',' (comma) shortcut key to perform an Insert edit. Notice that the clip is added to the B-Roll track at the current position of the playhead and all the footage on the Timeline shifts to the right to accommodate it. 52. If you want to Preview your edits from the BEGINNING of your Timeline, press the Home key or (fn+left arrow) on your keyboard, or manually move the playhead to the beginning of the Timeline, and then press the spacebar, or 'L' key to preview the edits in the Program Monitor. 53. B Roll footage is the secondary footage shot and used in video and film productions. During the editing process, B Roll is used to add or enhance the meaning of the main footage, or to cover the removal of unwanted or error-ridden material. 54. A cut-in is a cut that shifts from the main subject (A Roll) to an event occurring inside the same scene; a cut-away is a cut AWAY from the main action to an event that occurs simultaneously. 55. The trimming done to clips in the Source Monitor usually results in rough edits. To refine an edit, you should see your clips on the Timeline to judge how each clip relates to the other clips in your sequence. It is easier to edit clips in the Timeline due to the specialized editing tools, such as the Ripple Edit tool, that can be used there