Begin to Edit in Premiere Pro
Lesson 37 from: Filming Families: The Modern Family VideoCourtney Holmes
Begin to Edit in Premiere Pro
Lesson 37 from: Filming Families: The Modern Family VideoCourtney Holmes
Lessons
Class Introduction
09:38 2The Spark That Inspired Me
13:50 3What Are Family Films?
06:15 4Gear for Family Films
11:50 5Camera Settings for Video
02:56 6Frame Rates & Slow Motion
20:48 7Picture Profiles & Color Grading
06:47 8Settings for Audio Capture
14:13Exposure for Video
13:21 10Stabilization, Focus Techniques & Shifting Mindset
17:41 11The Purpose of Camera Movements
22:19 12Camera Movements Demo
12:02 13Visual Storytelling: How to Film a Scene
04:51 14How to Film a Scene Demo
09:22 15B-Roll & Use in Storytelling
17:57 16Jump Cuts & How to Avoid Them
04:30 17How to Look for & Film Different Types of Light
03:28 18The Importance of Audio
10:45 19What About Photos? How to Switch Back and Forth
17:31 20Client Prep
10:49 21Troubleshooting Artificial Light Issues
03:13 22Managing Client Expectations
10:39 23Uncovering Your Client's Story
17:51 24Developing a Story on the Fly
07:12 25Think Ahead as a Storyteller
11:45 26Student Film Critique
38:56 27Ideas for Your First Film
06:31 28Create a Shot List for Your Film
03:26 29Demo: Interaction With Family at Start of Session
20:44 30Demo: Capture Authentic Moments
21:17 31Demo: Work the Scene
28:12 32Demo: Decide What to Shoot
26:06 33Demo: Move From One Location to Another
23:21 34Organize Footage & Photos From a Session
07:53 35Cull & Edit Photos First
17:09 36Sourcing Licensed Music
14:57 37Begin to Edit in Premiere Pro
07:08 38Editing to The Music
19:54 39Scrub Footage & Insert Into Film
33:33 40Breaking Down The Final Film
37:38 41Editing: Color Grading
15:51 42How Much Should You be Charging?
11:03 43Marketing Tips for Family Film Business
10:28 44Delivery Methods For Family Films
05:05Lesson Info
Begin to Edit in Premiere Pro
I'm gonna show you how I create a new project. Before we start, I wanna say I've already been through the footage for the session that I did on Sunday. I've put together a version of the film because by the end of this, I want you to see what a completed film for them will look like, but in saying that, I'm gonna do it from scratch with you guys so that you can really hear my full thought process, and I'm not gonna try to replicate what I did. It's probably gonna be pretty similar anyway, but each time that you sit down and work with... It's like when you have a group of materials, you can build lots of different things with it, right? So, it's not ever going to be the same. You can take the same materials here, and here, and build two different things, right. So it's gonna be pretty similar, but what I'm gonna try and do with you guys so that you can see my thought process through this is do it from scratch. And I would always be pretty familiar with the footage anyway before I get st...
arted. We will get as far as I can, and then at the end, in the next segment, I will show the completed film. So first thing first, we go into New Project, and I would call this the client's name usually, but it's up to you, however you want to title your stuff. And you can see there's a location folder underneath this. This is kind of going back to what I was talking about earlier in terms of how I organize stuff. I keep the project within the hard drive, the document folder, the client's folder. It defaults to your documents folder. So you'll need to change this to go and point it to wherever it is that you want it to go. This stuff you can leave as it is. Under Scratch Disks, you have two options. You can either have it all point to the same client folder. What this is, is it's the preview files, and it's the auto saves, and all of that. So you can have this write to the computer, and then have the project file be on the hard drive, or you can have this with the hard drive. If the hard drive failed, you would still have the previews here. So if you still had the footage somewhere you could then relink it. I don't worry a whole lot about that stuff because I'm always on top of my hard drives making sure that they're doing really well. I also have backups, I use CrashPlan as a back up. So I've always got my footage saved in two locations. I typically will leave this in the documents folder, and I don't worry about moving this. It's the kind of thing that you can also delete later. So you don't necessarily need to keep this stuff, it's just the extras, okay. So I'm gonna go back over to general. You can leave this as it is, as I said, and then go okay. So who here is familiar with Premier Pro? Can I just get a show of hands? Okay, alright, and I know that there's a lot of people at home here who are watching who've probably haven't ever seen it opened up, so I'm gonna go from scratch here. When you open up the work space, you're gonna probably be, I would say, in editing. Up here at the top, these are all the different work spaces, and you can see I've got editing highlighted right now. So a quick rundown of what we're looking at, and I'm gonna be really basic with this. I don't want to get too heavy into the technical stuff of Premier Pro, because there's a lot of classes on that, on all the different ways. It's like Photoshop, there's a million different ways to do the same thing. So what I want you to take away from my class, is my thought process in assembling the film. It's the story telling side of it. But I am gonna run through some basics so you can get there. So when you first open up from your Pro, over here on the left hand side, and this is the source panel, and this is where when you double click on a video file, it's gonna show up here, and this is where you're watching the raw file, the raw footage before it's edited, before it's cut, any of that. So that's where you would see it. Your media would be here. This is the project tab. You can see there's several different tabs. I'll cover those later. But you would import your media in here. It lives in folders, they're also called bins. And when you double click on the media, it then shows up here. When you've picked the clips that you want, or the sections of the clip that you want, you then drag that down here onto the timeline. You can't see if populated yet, because we haven't created it. Whatever you drag down here first, sets the settings for your sequence. This is a sequence. You can have more than one. Your timeline, there's multiple sequences within, okay. So whatever you pull down first sets your sequence settings. I usually recommend for the people that are shooting a mixture of resolution sizes, which usually happens if you're shooting a mixture of frame rates, and you're on a mark three. I always recommend that you start your sequence with a 1080p clip at whatever the standard frame rate is that you're shooting. So 24 or 30 or 25 if you're in Australia. So start it with that, whether that's the first clip you plan on using or not, it doesn't matter. It's just setting the settings. It's the easiest way. There's another way to set the settings, I'll show that later. But for now, this is the easiest way, okay. And then you continue that process of you click on the clip here, you watch it here, you choose what you want, you bring it down here. And then you click on a clip, you watch it, bring it down. Choose where you want, bring it down. That process then builds a film all the way across. Then when you're watching this part play back, you see that here. So this is where the completed version lives.
Class Materials
Bonus Materials with Purchase
Ratings and Reviews
Adam Nicholls
Worth a watch! Courtney provides a clear and organised class, she is also very passionate about what she does which is always nice to see. She has a great back story which is fantastic. This course is good for beginners who have some knowledge in photography and want to learn more about video. I would recommend that people do not refer this class to the bible of filmmaking as I feel you can expand further on what Courtney teaches. Some useful tips for beginners but some methods I personally feel can be taught differently. I feel a gimbal is a useful bit of kit if used correctly. You can still use a gimbal when in manual mode providing you follow the basics rules! Obviously if Courtney prefers not to use a gimbal then that's also fine but I wouldn't discourage students from exploring useful filmmaking tools. Slow motion can be achieved with 50/60fps however I feel other frame rates should have been discussed like 120fps. I liked that Courtney engaged with the students as it gets them involved and will help them remember what they have learned during the class. Thank you for taking the time to share some of your knowledge
a Creativelive Student
Courtney's work is absolutely amazing and inspiring. I feel lucky that she has chosen to share her process and that this class is available! After watching all the videos and trying my hand at this video thing, I am feeling really encouraged and inspired to do more- both personally and professionally. I appreciate the way that she breaks things down in the video and that she shares her thought process. A really great course!
AShley
Courtney’s course completes me! I have storytelling “holes” in my film previously, but this course helped fill those holes to create a flow and a film with emotion. Not only is the course wonderful (and well worth every penny) but Courtney is wonderful as well! I had such an amazing experience at Creative Live!!!!