I begin moving the audio clips around away from their sequential order. The more you listen to what sound is available the better you gain a sense of the strength of the story.Īfter I have edited and selected the most essential audio content, I progress to editing in a more detailed way. I can then always refer back to the original long edit timeline to re-introduce any audio or video which I may have been edited out previously. I always make edit changes and work on the latest edit version of the editing timeline. As I progress, I make another new editing timeline version (edit three) and so it continues. I then start editing the edit two version of the timeline removing anything that is no longer needed for now – so reducing the duration of the overall edit. After making the edit one timeline, I then make a duplicate of that edit and rename it edit two. Once I have listened to all the sync sound and have made the first extended edit of all the good bits of sync sound, I name this edit – edit one. I then start to edit and assemble a long edit timeline of all the best sync sound as I listen to the clips. To begin editing this type of film, I first transfer all the filmed rushes into my edit system and then spend time listening to all the sync sound. It was filmed as the actual events happened. The Strength & Vulnerability Bunker film was not scripted or storyboarded it was more of an observational documentary-style. Editing together the structure of a story from the sound Click on the images for a higher quality view. An example of what a simple Avid first sync assembly compilation edit looks like – a series of audio and visual (AV) straight cuts. In the case study, I explain the process for a short documentary I filmed and edited. Editing sync sound to build the essence of any kind or storyline is an essential craft skill for all film and video editors.
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