Rank order the graded clips

We’ve now got to Step Five the editing process.

This is where we’re going to put in order our clips.

The ones that we like the most.

We’re going to put over on the left and the ones that we like the least.

We’re going to push over towards the right.

This will make it much easier.

When we go to Step 6 in the editing process where we start to put the final clips in their final place against the music as we start to make our initial selections.

We can simply go to wirelessed take the ones from the beginning and start to move those into place that will be our starting point.

We’re going to set up our screen to aid us in ranking these clips a little bit better.

We don’t need to see this video scope anymore so we’re going to turn that off to do that.

It’s command 7 or we go up to a window view a display hide video scopes.

So that’s given us a little bit more space to work with.

We also don’t need to see this soundtrack anymore so we’re going to zoom in.

There we go.

So that’s lower it better.

So we’re just basically seeing the clips along the bottom here.

Now it’s simply a case of looking through each of these clips skimming through them deciding we really like them that start the beginning.

Yep still active is there.

I prefer that first clip to the second clip so I’ll keep that in existing position.

That’s quite a nice shot.

Prefer that the one before it saw shifted over.

That’s a very nice shot.

That’s probably why nicer shot so fast or shove that right at the front.

Look through this one that’s a little bit didn’t do such a good job of stripping out the flight erratics at the beginning and it kind of Scates about a little weight but it’s a nice long shot so that’s most likely going to have a place.

But I think we’ll just move it up one more.

First of all remember we’re partly considering here the design principles now around what content we actually keep in.

So this is things such as looking at how much dramatical content Do we have in place how much colour.

Do we have the extremes of colour the rarity of colour the variety of colour.

How many different locations are we actually seeing.

Well all of this clip comes from one location.

We’ve got different aspects of that location.

So let’s flick through all of our clips and have a think about those.

We’ve got some nice wetland footage in the background that’s a particularly nice clip as an interesting one will bring that right up front.

Move that forward.

We are now getting a bit of variety.

If it shot different lighting that’s the other thing that we’re looking for as well.

And then we probably want some higher.

So proximity like shots too we’ve got one there up front.

Definitely had some before.

So we’ll skim through this and kind of look for where we had those coming in.

OK so that is a very bit of a draw as probably a nicer shot so far.

So we’ll put that up front too.

That’s a really good shot too coming nice and close in there.

Now.

That shot slipped back as well.

That has got some fantastic beauty dramatics.

Looking at that very very nice.

So that definitely takes a place further up front.

K that’s quite a good shot.

That’s quite Harp’s.

Not the best.

You’ll be exposed him this quite interesting details a different kind of perspective so I’ll add a little bit more variety.

We’ll move that up from there.

Still probably are worth a shot at the moment that was slipping to the back there.

That’s a great shot too.

We might want to quickly adjust the colour grading while we’re looking at that as well.

I think the exposure is our go a little bit more darkness.

There we go.

That’s a bit better.

So.

I will skim back now that little bit back up there.

I think we’re about now.

Oh that certainly had a place a bit more forward.

We’re about done.

We’ve now got D in a good order for the best clips towards the front and the clips that we’re less happy with.

Towards the back.

So as a quick recap we successfully put our clips in order.

We’ve considered some of the design principles around what content we should keep.

To help us in that process we didn’t need to work out whether the chips formed an appropriate group because they all come from the same flight pack we had been flying round quite a small area.

So that job was already done for us.

We haven’t explicitly considered whether Phillips will tell part of a story but there’s not quite enough footage here to make an obvious story to tell and we don’t have any ground footage either so we’ve not had to consider that design principle in any more depth.

What we have been considering carefully is a dramatics within the clip.

So what are the dramatics.

Are they strong and we be looking at things to help make sure that those dramatics were as amplified as possible to be looking at the colour and light that we can see in the clips and making sure that we’ve got variety extremes a rarity in what we’re seeing this beautiful sunset shots here to have helped with that.

We’re also looking at things such as the dramatic some selves.

Have we got different kinds of flight dramatics different kinds of geographical dramatics that we’re seeing.

There’s definitely some beauty dramatics in there along with some flight dramatics as were doing some close for flybys.

Were making sure that we’ve got some variety going on in that kind of thing as well.

There’s also paton’s is one of the other things that we need to have considered carefully.

There are lots of different patterns that we’re seeing here is a particularly nice pattern going on between the dark water and the greenery in place as well.

So from all of that we then also used essentially a gut feel to put these clips in order.

The other design principle that we could have been considering for our content is where exactly should the content be positioned.

But we don’t need to concern ourselves with that till the next step.

Step Six of the editing process.