19:02:32 [Mitch] Darcy Fitzpatrick is leading today's discussion on video editing
19:02:59 [Mitch] a second session is planned for Thursday at 11am Pacific
19:03:39 [Mitch] At the moment there aren't any additional discussions planned but if someone wants to volunteer, let me know
19:04:01 [Mitch] with that, I'll turn the mic over to Darcy
19:04:29 [darcy] hey everyone
19:04:48 [darcy] first off, big thanks to mitch for hosting this discussion and for inviting me to run it
19:04:54 [darcy] and thanks to you all for coming out
19:04:55 [aarong] hi darcy
19:04:58 [darcy] good crowd
19:05:10 [jburly] hi darcy
19:05:15 [darcy] first off, i'm going to assume that everyone here shoots as well as edits?
19:05:28 [Mitch] yep
19:05:30 [darcy] please indicate
19:05:34 [goober99] I do.
19:05:34 [jburly] yes
19:05:42 [aarong] yep
19:05:42 [FM] yea
19:05:49 [NemoFreak] I don't, really
19:06:05 [darcy] so nemo, you edit what others shoot?
19:06:41 [goober99] long awkward silence
19:06:46 [NemoFreak] I work for my Dad, and edit some of his work for/with him
19:06:52 [darcy] ok, and the other thing i'm going to assume as that we are all in some shape or form event videographer
19:07:16 [darcy] weddings, sports, parties, trips, etc
19:07:17 [goober99] Event?
19:07:25 [goober99] gotcha
19:07:29 [jburly] are kiddos events?
19:07:37 [goober99] yes
19:07:42 [darcy] always
19:07:49 [jburly]
then I've got events
19:07:58 [goober99] but mainly fictional stories (i.e. movies)
19:08:10 [darcy] ok, so i'm going to start us from the very beginning
19:08:19 [FM] yea, fiction here
19:08:38 [darcy] first off, its important not only to shoot what you see but to see what you shoot
19:08:53 [darcy] say you shot a wedding. maybe you had 3 cameras set up for the hour long ceremony, and then a camera that ran around during the reception, dance, and subsequent fist fight over the bouquet toss results.
19:09:18 [darcy] you've got hours and hours of footage to sift through
19:09:29 [darcy] or maybe you shot your daughter's soccer game
19:09:44 [darcy] either way, you want to edit that puppy down to something that more or less shows the highlights, thereby keeping people's interests.
19:09:45 [psturgill] wow... full house
19:10:19 [darcy] we're editors. we don’t just transfer what we or other people record to tape. we make choices, we cut through the excess and show people what we can tell are the parts worth seeing, and we do it in a way that moves it all along, ties it all together.
19:10:46 [darcy] so right now you've got a lot of footage, and not a lot of sense of what you're going to do with it yet.
19:11:04 [darcy] so the first thing you're going to do, is watch that footage
19:11:39 [darcy] before i go any further, i want to say that if anyone ever has a question, feel free to jump in. i may sometimes move faster than i realize
19:11:49 [darcy] ok....
19:12:02 [goober99] k
19:12:04 [aarong] i'm with ya so far
19:12:05 [darcy] so you have to watch your footage
19:12:05 [Mitch] good so far
19:12:19 [FM] good here
19:12:23 [darcy] I know, you were there, you shot it, but that was a while ago, and even if it wasn't, you were moving through the moment as it happened, concentrating always on what was coming next. you can't possibly have a clear sense of everything that is on that tape.
19:12:29 [jburly] yep
19:12:46 [darcy] what you want to do now, is set your camera up to your tv, turn on the timecode display, get out a pen and paper and start taking notes.
19:13:08 [darcy] if you can sit with your computer or laptop by your tv, do it up in word or something, same idea
19:13:22 [darcy] take note of everything you see, and mark it by its timecode. this my seem like a huge task, but trust me, this will help you dramatically
19:14:11 [darcy] you will want to make note of things like quality of zooms, pans, etc. angles. people in the shot. the action and how it advances, changes
19:14:25 [darcy] sound quality, lighting quality
19:14:45 [darcy] and very important, if there are any timecode breaks
19:15:02 [darcy] you will have a reference you can always go back to, where things are described in your own words. and not only that, but by transcribing what you see onto the page, you are familiarizing yourself with that content more than you may realize.
19:15:30 [jburly] why are the timecode breaks so important?
19:15:47 [darcy] good question
19:16:10 [darcy] time code breaks can be a real snag when it comes time to do your logging and batch capturing
19:16:38 [darcy] it can confuse premiere because the trail of breadcrumbs it will be following will essentially vanish
19:16:57 [goober99] couldn't be a problem in your notation too if your keeping track of scenes by timecode?
19:17:10 [darcy] i will get to what you do with those time code breaks a little later, but for now, its just important to note them in your notes
19:17:23 [jburly] ok
19:17:37 [darcy] when I see a TC break, i mark in IN BIG LETTERS ON THE PAGE
19:17:49 [darcy] lots of ********
19:17:53 [darcy] asterisks
19:17:58 [darcy] not swear words
19:18:06 [darcy]
19:18:28 [goober99]
19:18:35 [darcy] so back to taking the notes
19:18:48 [darcy] in the end, this will save you loads of time, from saving you from capturing footage you don’t need to trying to find a clip you think you may have but aren't sure even where it might be, as well as keeping your hard drives more free.
19:19:19 [darcy] by now, after having watched and transcribed all your footage, you've got a pretty good idea of the content you're dealing with, and the gears may be turning as to what you're going to want to do with it.
19:19:36 [darcy] so now what you want to do next is assemble a paper edit.
19:19:59 [darcy] this is nothing fancy, just a list of the shots you think you may need in your piece. give yourself some leeway - don't be too conservative in your choices - but keep in mind you don't need everything.
19:20:19 [darcy] choose the best looking shots, shots that will give you nice looking cutaways, clean zooms and pans, shots where we can actually make out what the person in front of the camera might be saying.
19:20:47 [darcy] your notes will contain such details as these, so refer back to your notes and on your paper edit page mark the timecode in point and out point for the clip you are adding to your list, and a brief description.
19:21:43 [psturgill] so do you find yourself watching, rewinding, watching, rewinding and watching?
19:21:45 [darcy] so example: 00;01;30 pan across room, people partying hardy 00;01;50
19:22:00 [darcy] try not to get too much in the habit of that
19:22:09 [darcy] you'll find your rhythm
19:22:17 [psturgill] ok
19:22:28 [darcy] i pause sometimes to catch my breath, and if missed something important i'll go back
19:22:34 [darcy] but i try and keep things moving along
19:22:47 [jburly] you must have a "shorthand" of codes then to make taking notes faster, right?
19:23:10 [darcy] when i ,ark timecode, i usually do it in increments of no more than 5 seconds
19:23:26 [darcy] yes, you will find your own shorthand as you go
19:23:48 [darcy] whatever works for you
19:24:11 [darcy] no one else will be looking at these notes. when i write mine by hand, half the time i cant even read them
19:24:13 [darcy] )
19:24:16 [darcy]
19:24:49 [darcy] give those in and out points 3 seconds at least of buffer on either end of what it is you want to see in the clip
19:25:26 [darcy] so i tend to round backwards to the nearest 5 or 0 for the inpoint
19:25:38 [darcy] and forwards for the outpoint
19:26:07 [darcy] do it tape by tape in the order the clips appear on the tape, and break the list up by tape name - yes, all your tapes should have a name and it should be labeled on the tape and the case!!
19:26:38 [darcy] so you’re list is done and it looks like you've got some good shots at your disposal.
19:26:58 [darcy] now - can you believe it - we're actually ready to fire up premiere pro!
19:27:10 [darcy]
lets all congratulate ourselves for making it this
far!
19:27:22 [goober99] Clap! Clap! Clap!
19:27:32 [darcy] i'll field any more questions about this phase before we move on
19:27:39 [aarong] *aarong pats himself on the back
19:27:49 [goober99] Do you have a method for naming your tapes?
19:28:12 [aarong] i name mine after ex-girlfriends
19:28:25 [psturgill] lol
19:28:37 [darcy] i tend to keep it simple. usually a word or two that describes the event, and then if there is more than one tape from that event i'll go 01, then 02, 03
19:28:40 [goober99] Like A1, A2, etc?
19:28:44 [darcy] lol aaron
19:28:58 [darcy] A1 is not advisable
19:29:06 [FM] just as a possibility: could we do that & log it immediately with premiere?
19:29:10 [darcy] it would never tell you anything about what is on that tape
19:29:20 [FM] instead of the paper
19:29:41 [FM] Oh but we have comment fields on the logs
19:29:41 [goober99] Pro allows you to log offline. That could save some time.
19:29:46 [goober99] Good idea, FM.
19:30:00 [FM] doesn't it do?
19:30:23 [darcy] that's actually what we're about to do. its good to get it on paper first, have a hard copy reference that you can see in front of you, look over and see what you've got
19:30:51 [darcy] sorry fm, the first comment i made was to goober
19:30:59 [FM] besides we can print the logs or import them to excel (at least we could we 6.5)
19:31:06 [darcy] "it would never tell you anything about what is on that tape" was about the name A1
19:31:08 [FM] sorry Darcy...
19:31:20 [FM] Ok, LOL
19:31:44 [darcy] the other thing is, you can do this paper edit anywhere. all you need are your notes
19:32:50 [darcy] ultimately, what you are suggesting is possible, and if it works best for you then you should do it. this is all just meant to be a basic guide
19:33:23 [FM]
thanks darcy. I'm ok!
19:33:45 [darcy] ok, so are we good to go to the next section everyone?
19:33:57 [Mitch] sure
19:34:00 [jburly] ready
19:34:01 [aarong] yup
19:34:17 [darcy] so we've got premiere pro opened up. whether its version 1.0 or 1.5 shouldn't really matter. its time to start logging!
19:34:23 [goober99] yes
19:34:33 [darcy] because we have our paper edit, this is going to be quick and painless
19:34:57 [NemoFreak] *mentally reminds themself to get Premiere Pro*
19:35:15 [darcy] start by opening up the capture tool and go to the logging tab
19:35:38 [darcy] in your project window, set up a bin for your first tape and name the bin the same name as the tape.
19:35:53 [darcy] as your first tape sorry
19:36:26 [darcy] you can set up and name a bin for each tape now if you like, or do it on a tape by tape logging basis
19:36:59 [darcy] in the capture window, you will see your project folder in the "log clips to" space, and the new bin should branch off of that folder. select the bin folder here.
19:37:27 [darcy] this will ensure all the clips you log on now will go to this bin
19:37:45 [darcy] under clip data, name your tape the same name as what is labeled on the tape. name it exactly as it appears on the tape, so there's no confusion.
19:38:06 [darcy] look at your paper edit for this tape, and see the first clip you have marked down. it should have a brief description. use this to come up with a sensible name for the clip, and place that in the clip name section.
19:38:31 [darcy] now in the timecode section where you have the set it, set out and log clip buttons, you can simply scrub the values to what you have for that clip, or click on them and enter it manually. then just hit the log clip button, and press ok on the popup window to send that offline clip to your bin.
19:38:53 [darcy] set it = set in
19:38:57 [darcy] sorry
19:39:15 [darcy] this offline clip retains the in and out settings you have given it, as well as the tape name it is associated with
19:39:25 [darcy] do this for all the clips on your list for that tape
19:39:43 [darcy] if you have other tapes, set up a bin for the next tape and repeat the last steps until all its clips are logged. repeat until all tapes are logged
19:40:10 [darcy] now go back to your first tape bin, make sure your tape for that bin is loaded in the camera, select all the clips in the bin and press f6 to launch the batch capture dialogue, and let it go through your entire tape, capturing only the clips you asked it to.
19:40:34 [darcy] if you have premiere pro 1.5, now you can go check your e-mail, surf the web or what have you while premiere does the dirty work for you in the background
19:40:45 [darcy] now might be a good time to talk about the unthinkable. what if you have timecode breaks on your tapes???
19:40:58 [darcy] timecode breaks are something you want to try and avoid when shooting, but sometimes it happens.
19:41:08 [darcy] if you were paying attention during your note taking section, you would have noted any timecode breaks that occurred
19:41:23 [darcy] when you have a TC break on a tape, what you need to do for logging purposes is create a new tape name for the section after the break.
19:41:37 [darcy] so say you have one TC break in the middle of your tape. you effectively have 2 tapes in the one casing.
19:41:58 [darcy] so when you are logging, you would set a bin for the fist half of the tape, calling it "tape name A", and then set up another bin for the second half after the break, calling it "tape name B".
19:42:16 [darcy] these names have to be used in the capture settings as well
19:42:36 [darcy] so once premiere has batch captured everything from "tape name A", you will need to fast forward to the beginning of the new timecode and then start the batch capture for the "tape name B" bin of clips
19:42:57 [darcy] this keeps things organized for both you and premiere, so everyone wins
19:43:07 [Mitch] makes sense
19:43:17 [darcy] how are we all doing?
19:43:28 [aarong] good
19:43:30 [FM] good procedure, Darcy
19:43:50 [goober99] god
19:43:55 [goober99] mean good. whoops
19:44:06 [jburly] doing ok
19:44:10 [FM] lol
19:44:15 [darcy] ok, so are we ready to move on to the next section?
19:44:20 [jburly] oops, doing ok
19:44:23 [Mitch] good
19:44:26 [jburly] yep
19:44:34 [darcy] so now everything you need is captured and neatly organized in bins. its time to start laying down your rough cut!
19:44:34 [aarong] yea
19:45:01 [darcy] by now you should have a rough idea of the sequence your clips will appear in the program. start by double clicking on what you want to be the first clip. this will throw it into the source monitor, where you can trim it down a bit.
19:45:24 [darcy] set an in and out point here to trim off some of the fat, but don't waste too much time here being a perfectionist. this is a rough cut, fine tuning will come later
19:45:47 [darcy] with your in and out point set, press the "," key to perform an insert edit. this will send the clip to the timeline starting at wherever the current time indicator (CTI) is located. since you haven’t touched anything in the timeline yet, this should be at the very beginning of your sequence. gr
19:45:54 [darcy] great!
19:46:00 [darcy] (i got cut off)
19:46:31 [darcy] when it performs the insert edit, premiere will be smart enough to advance your CTI to the end of that clip, so when you're ready to perform your next insert edit, the CTI will be perfectly placed to allow that clip to butt up against the end of your previous clip.
19:46:51 [Mitch] ok, that the comma key, right?
19:46:59 [darcy] yes, exactly
19:47:22 [darcy] the period key "." would perform an overlay edit. we may get to that later
19:47:39 [darcy] so double click on the next clip you want in your sequence, trim an in and out, and perform an insert edit.
19:47:52 [darcy] do this again and again, never worrying about messing with the timeline in anyway
19:48:28 [darcy] sometimes you will have two versions of the same shot like two pans of a room. choose the one you think works best, and keep the other on reserve.
19:48:52 [darcy] when you've got all your footage laid out in the sequence, you should have a rough cut that is much longer than your intended final product
19:49:06 [darcy] that's to be expected
19:49:30 [darcy] you've got stuff in there that will eventually come out. some of it will be trimmed, some of it will end up getting pulled out altogether
19:49:48 [darcy] but you can't really know what will work and what wont until you watch your rough edit
19:50:04 [darcy] so sit back, relax, and watch that sucker
19:50:14 [darcy] and don't expect it to be pretty
19:50:27 [darcy] you're getting a basic sense of the narrative flow
19:51:15 [darcy] we're still not even thinking about transitions or titles or effects at this point
19:51:28 [darcy] so obviously that was a bit messy
19:51:40 [darcy] its time to start cleaning things up!
19:52:10 [darcy] i'm telling you right now, you're best friend on the keyboard in premiere pro is the CTRL key
19:53:03 [darcy] while you have the basic selection tool in use, the CTRL key will act as a modifier to change it to the ripple edit tool when you mouse over a cut
19:53:46 [psturgill] k.. stupid question... what does the ripple edit tool do?
19:54:01 [darcy] and when you are dragging and dropping clips within the timeline it will allow you to perform extract and insert edits
19:54:09 [darcy] thanks for asking!
19:55:19 [darcy] if you use the basic selection tool and trim the end point of a clip, it will trim it forward or backward depending on which way you drag, but any neighboring clip will either be left with a gap next to it, or get covered over by the clip you are trimming over it
19:56:09 [darcy] when you use the ripple edit modifier, trimming back will cause any gap that would have been left behind to get covered over by the rest of the timeline pulling back with the edit you are performing
19:56:35 [darcy] trimming forward will push the rest of the timeline's contents ahead, so you don't cover anything over that was already there
19:56:56 [psturgill] gear!!
19:57:02 [darcy] lol - exactly!
19:57:15 [jburly] man, I wish I had known that shortcut last night! Great keyboard shortcut!!
19:57:22 [darcy] so right now, we are focused on flow
19:57:36 [Mitch] gear!
19:58:15 [darcy] we need to recognize what is happening in each section of the program, and see what the pacing needs to be there
19:58:26 [darcy] some sections will do best to have a nice slow pace
19:58:43 [darcy] others will work better when things move along quickly
19:59:07 [darcy] this can be affected very simply by the pace with which we apply cuts
19:59:30 [darcy] if every clip goes on for 10 seconds or so, we have a relatively easy pace happening
19:59:45 [darcy] if every 1 or 2 seconds we have a cut, the pace will be fast
20:00:02 [darcy] your audience will feel this pace, whether they recognize the pattern in the cuts or not
20:00:35 [darcy] so if you want them to feel the excitement of your daughter scoring her first goal, some quick cuts might punch that up nicely
20:01:26 [darcy] where as, if its the first kiss and man and wife at the alter, some long shots with slow dissolves would most likely do well to make the moment last
20:03:26 [darcy] first off, how is everyone with what we've covered so far? did any of it help? make sense? any questions?
20:03:48 [jburly] understanding everything fine
20:03:55 [psturgill] made sense to me
20:04:11 [goober99] I liked the tips about the comma and the CTRL. I think I'm catching everything.
20:04:48 [jburly] I definitely want to get to some of the cutting styles
20:05:01 [jburly] please...
20:05:05 [darcy] ok, cuz thinking about next time, i'm wondering if the pre-editing stuff was as important an issue to cover for people
20:05:07 [Mitch] yea i thought it was very helpful, I've done it similar but some good tips on saving time
20:05:15 [FM] made a lot of sense, darcy! & it was very clear, too
20:06:19 [jburly] yes, made sense to me -- my projects are much smaller scale so I have been capturing everything & then basically doing something similar to what you've said
20:06:28 [jburly] except doing in on the computer not on paper
20:08:29 [Mitch] yea, it would be good if you talked a bit about 2 camera setups where a continuous flow of time is needed
20:08:56 [darcy] ok, so we're kind of going to get away from procedural stuff now and talk loosely about working in the timeline
20:10:35 [darcy] ok, lets talk about J and L-cuts
20:10:57 [darcy] does anyone know what i mean when i say J-cut, and what makes it different from an L-cut?
20:11:11 [psturgill] nope
20:11:20 [psturgill]
different letters?
20:11:31 [goober99] no idea
20:11:45 [darcy] (doing ben stein impression) anyone? anyone? anyone?
20:11:49 [NemoFreak] same here
20:11:55 [darcy]
20:11:57 [aarong] nope
20:12:01 [darcy] cool, ok
20:12:08 [NemoFreak] I dunno... ask Mitch
20:12:18 [jburly]
never heard of them until I saw the write up of this discussion
20:12:25 [Mitch] i'm looking in fernando's glossary
20:12:27 [darcy] when you are cutting your video, you will tend to cut your audio attached to that video the same way
20:12:29 [goober99] terms FM needs to add to his glossary
20:12:37 [goober99] just checked and L wasn't there
20:12:40 [goober99] I'll check for J.
20:13:00 [goober99] no on J too
20:13:44 [darcy] so if clip A ends at the 1 second mark, it will end both in video and audio, and clip B will start there with its video and audio at the same time
20:14:27 [darcy] if you are doing a J cut (look at the shape of the letter) the audio from clip B will come in under clip A before A ends and B starts
20:15:05 [darcy] an L cut will have the audio from A extending to go under B even after the video for A has ended and B has started
20:15:23 [darcy] why would we ever want to do this??
20:16:07 [Mitch] to give people an audio clue of what is about to happen
20:16:17 [darcy] J-cuts are great for moving things along. they introduce you to a change in setting or time in the narrative before the image hits you. it essentially prepares you for the jump
20:16:22 [jburly] to make a smoother transition
20:16:24 [darcy] exactly!
20:16:39 [FM] sorry i had to do something for a while
20:16:53 [darcy] L-cuts help us remember where we are coming from when we move somewhere new
20:17:19 [FM] Jump cuts?
20:17:29 [darcy] there are artistic reasons to use these cutting styles, as well as practical, tricky reasons as well
20:17:41 [darcy] ok, you want to talk jump cuts?
20:18:04 [FM] Just asking if J-cuts = jump cuts?
20:18:06 [goober99] Again, ignorant. Be glad to learn.
20:18:09 [Mitch] sure...how about some examples 1st?
20:18:17 [darcy] how does everyone feel about J and L cuts?
20:18:42 [darcy] no, sorry, a J-cut is a J-cut while a jump cut is something else entirely
20:18:42 [FM] L = link cut?
20:18:45 [FM] lol
20:18:45 [psturgill] so it only applies to the audio?
20:18:46 [jburly] I would like to know "how" to edit these in PPRO. I have done them, but didn't know what they were called & probably am not editing them the best way
20:18:50 [goober99] I think I understand J and L. What do you call a normal cut though?
20:19:03 [darcy] the letters don't stand for anything - its more about the shape of them
20:19:19 [darcy] think of the bottom of the J as your audio sneaking back
20:19:29 [FM] ok, I had never came across those... go ahead. sorry
20:19:31 [darcy] the L is the audio going forward under the next clip
20:20:04 [FM] I see
20:20:09 [darcy] a normal cut is just a cut - but really, there is no such thing as a normal cut. every cut is special, every cut has a reason
20:20:37 [FM] precisely
20:20:50 [darcy] ok, lets talk about how to do an L- or J-cut in ppro
20:21:22 [NemoFreak] question: how much of this can be done in P6.0?
20:21:29 [darcy] your second best friend on the keyboard in ppro is the ALT key
20:21:50 [darcy] it can all be done in 6.0, but the shortcuts and tools wont be the same
20:22:12 [NemoFreak] okay
20:22:12 [darcy] i cant remember how to do these things the 6.0 way, though, sorry
20:22:32 [NemoFreak] s'allright
20:23:06 [darcy] ok, so the ALT key will allow you to click on either the audio or the video of a clip in the timeline and manipulate it separately
20:23:45 [darcy] so you could hold alt and click on the audio of the clip and move it somewhere further down the timeline, and the video will stay where it is
20:24:01 [darcy] but when you are done, they will still be connected
20:24:12 [psturgill] so you don't have to unlink the audio from the video before doing that?
20:24:24 [jburly] cool
20:24:34 [psturgill] double gear!!
20:24:36 [darcy] so you later you could move one and the other would follow in tandem with it, keeping their established distance from each other in tact
20:24:49 [darcy] its like a temporary unlink
20:25:04 [jburly] & then relink
20:25:07 [Mitch] cool
20:25:46 [darcy] also very cool is that once you move the audio out of sync with the video, a little number on the end of each clip will tell you by how many frames they are out of sync so you'll always know
20:26:08 [aarong] nice
20:26:19 [darcy] so ok, for the J-cut
20:26:20 [psturgill] sweet
20:26:28 [jburly] now does this allow you to extend the audio in one direction or just shift it?
20:26:48 [darcy] you're going to ALT select the audio from clip B and drag it down to the audio track below
20:27:23 [darcy] holding ALT, grab the edge of the audio and pull it under clip A's audio and video
20:27:37 [darcy] the audio of clip B will extend, while the video will stay as it is
20:27:51 [jburly] extend or shift?
20:28:02 [darcy] extend
20:28:11 [darcy] you're dragging the end, the cut
20:28:17 [darcy] the edge
20:28:21 [jburly] yeah!
20:28:35 [darcy] cool hey!
20:28:46 [goober99] So it is picking up audio from the clip before it was trimmed?
20:28:50 [jburly] very cool!
20:29:38 [darcy] yeah. you will need to have audio available for this - something that would have been trimmed of in the source monitor when you were setting in and out points for the video
20:29:51 [jburly] I have a small question - you said ALT & select audio from clip B & drag it to a lower audio track,
20:30:10 [darcy] yes, you do that first
20:30:25 [jburly] I don't think that it is necessary to hold down the ALT for that. It use to be that I had to unlink (cuz I didn't know about the ALT),
20:30:27 [darcy] then you grab the edge of that audio clip and extend it
20:30:55 [jburly] but now in PPRO, I think you can just drag the audio & move it to another track (it would be in sync though)
20:30:59 [darcy] i think you're right jb, i guess i just go into "alt mode" when i perform that edit
20:31:25 [darcy] you do need alt to do the extend part though
20:31:28 [jburly]
again, I wish I had known about the CTRL & ALT things last night
20:31:47 [jburly] yes, to extend or shift -- excellent!!
20:31:53 [darcy] so is everyone good with J-cuts?
20:32:14 [Mitch] yep
20:32:27 [FM] fine
20:32:40 [darcy] to sweeten this cut, add a little audio dissolve at the beginning of the B audio cut and the end of the A audio cut
20:32:56 [darcy] yeah, i think i may just stop here now anyway
20:33:09 [jburly]
oh man
20:33:19 [darcy] we'll go back over all this starting with rough cutting on thursday
20:33:28 [Mitch] thanks a lot darcy, extremely helpful!
20:33:29 [jburly] will there be a transcript of what you talk about on Thursday?
20:33:40 [darcy] does anyone have any questions?
20:33:47 [Mitch] sure
20:34:02 [jburly] Thank you, Darcy!!!
20:34:16 [psturgill]
when do the video tutorials come out Darcy?
20:34:19 [darcy] it was my pleasure
20:34:20 [psturgill] Thanks
20:34:29 [darcy] sorry the first half was so dry everyone
20:34:53 [Mitch] all of it was good darcy, i think it was very helpful
20:35:03 [darcy] i do believe that kind of procedure will help you in your editing though
20:35:05 [jburly] the bigger the project (multiple camera angles), the more organized you have to be
20:35:15 [aarong] *thumbs up
20:35:21 [darcy] but i know we all want to play with the toys in ppro!
20:35:30 [FM] Darcy, if you want to make two definitions, about J, & L cuts I'll be glad to add them to the glossary
20:35:50 [jburly] and we will (play with the toys)