Adob Digital Video Curriculum Guide

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Get Sequences Module 2 31 ADOBE PRODUCTION STUDIO CURRICULUM GUIDE Shooting repetitive action in sequence is another way to tell a story, build interest, or create suspense. A bowler wipes his hands on a rosin bag, dries them over a blower, wipes the ball with a towel, picks the ball up, fixes his gaze on the pins, steps forward, swings the ball back, releases it, slides to the foul line, watches the ball's trajectory, and then reacts to the shot. Instead of simply capturing all this in one long shot, piecing these actions together in a sequence of edits is much more compelling. You can easily combine wide and tight shots, trucking moves, and matched action to turn repetitive material into attention-grabbing sequences. Avoid Fast Pans and Snap Zooms These moves fall into MTV and amateur video territory. Few circumstances call for such stomach-churning camerawork. In general, it's best to minimize all pans and zooms. As with a shaky camera, they remind viewers that they're watching TV. If you do zoom or pan, do it for a purpose: to reveal something, to follow someone's gaze from his or her eyes to the subject of interest, or to continue the flow of action (as in the floating leaf example earlier). A slow zoom in, with only a minimal change to the focal length, can add drama to a sound bite. Again, do it sparingly. Keep on Rolling Along Don't let this no-fast-moves admonition force you to stop rolling while you zoom or pan. If you see something that warrants a quick close-up shot or you need to suddenly pan to grab some possibly fleeting footage, keep rolling. You can always edit around that sudden movement later. If you stop recording to make the pan or zoom or adjust the focus, you might lose some or all of whatever it was you were trying so desperately to shoot. Plus you will miss any accompanying natural sound. Shoot Cutaways Avoid jump cuts by shooting cutaways. A jump cut is an edit that creates a disconnect in the viewer's mind. A cutaway—literally a shot that cuts away from the current shot— fixes jump cuts.
3 Module 2 Camcorder Features and Shooting Tips Cutaways are common in interviews where you might want to edit together two 10second sound bites from the same person. Doing so would mean the interviewee would look like he suddenly moved. To avoid that jump cut—that sudden disconcerting shift—you make a cutaway of the interview. That could be a wide shot, a hand shot, or a reverse-angle shot of the interviewer over the interviewee's shoulder. You then edit in the cutaway over the juncture of the two sound bites to cover the jump cut. The same holds true for a soccer game. It can be disconcerting simply to cut from one wide shot of players on the field to another. If you shoot some crowd reactions or the scoreboard, you can use those cutaways to cover up what would have been jump cuts. A crowd reaction shot works well as a cutaway from this bloodless bullfight in Sumatra Don't Break the Plane This avoids another viewer disconnect. If you're shooting in one direction, you don't want your next shot to be looking back at your previous camera location. For instance, if you're shooting an interview with the camera peering over the left shoulder of the interviewer, you want to shoot your reverse cutaways behind the interviewee and over his right shoulder. That keeps the camera on the same side of the plane—an imaginary vertical flat surface running through the interviewer and interviewee. To shoot over your interviewee’s left shoulder would break that plane, meaning the viewer would think the camera that took the previous shot should somehow be in view.
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Adding Video Transitions Transition
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13 Module 7 Creating Dynamic Titles
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Applying Specialized Editing Tools
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Adding Video Effects Adobe® Premie
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1 Sweetening Your Sound and Mixing
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13 Compositing Techniques One impor
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1 Exporting Frames, Clips, and Sequ
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Adobe Audition 2.0: A Professional
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