Sequence to the beat

Step Six of the editing workflow process is where we start to sequence our clips into their final position and choose the final clips are going to make the end production.

So to do this we could be back into using the music.

So one of the first things we need to do is to pull the music down from its location at the end of all of the clips and put it right up to the front.

So it sits up there.

So now when we actually play through our stuff we can hear the music in the background.

Okay so we’re going to start now to once set snapping took on it we’re going to want to dice up our clips so that they actually meet and start at exactly where the music changes are going to be occurring.

We’re also going to want to zoom in a little bit closer so you can do that by clicking on the plus sign on the bottom right down there.

Or you can hold the Z key down over the clip and then click on it a few times which is what I’ve just done just now and then to use my trackpad to swipe back and forward to move the clips.

Another way you can do it is to hold the H key down and then use your mouse to drag things back and forward to.

So now we’re going to start to look at which clips to start with.

Most of them changing on the beats and this will give people some enticement to look at the Hopefully more detailed clips later on in the show.

So we might as well just start with the first one that we’ve got going on here.

That’s quite a good view that we can play.

And I guess that will be good.

Now we’ve got snapping on.

We want to cut the clip at that point there they’re so press B to go to blade and notice how it snaps

straight to inline with our marker.

So we cut that out so we don’t need to use this clip quite yet again will then go to the next clip.

We’ll take the next one in line that we like before.

So let’s slide that all the way up there.

And then we’re going to change that at the next beat.

So we get a blade was sliced that off.

They’re now going to look for something else to put in place.

So we played that clip.

Now here is a third clip for us to play.

So let’s go and move that up to its new position.

Slice it off at that point there.

Switch over to here.

Then to see well we got to so far.

There we go.

So this first clips work okay.

That one’s probably a little bit too slow compared to the flying pace that we’ve got for the others here.

So we could speed it up or we could leave it for a little bit later.

That’s a very dramatical shot as well.

We might want to consider putting that one there.

Got some great cover reveals going on just a little of it in the background as we sweep around.

We might want to consider putting that at this big each shot that we’re going to have over there instead.

So this is a start though for how we dice things up.

That’s probably even more grammatical shot that we’ve got going on there with the sun going round.

So we’ll leave that for the beat drop.

Meanwhile we need to go back to this position here and decide what.

But next we’ve got that far out flyby the proximity shot coming in closer.

That nice sweet round over there.

Play these clips here.

Going to do.

We’re going to play that one little bit later.

That’s too good to put right there.

That’s very good as well.

That’s quite an interesting shops were gonna bring that one up front so I’m going to just say it only to scroll around quite so much zoom out by going on the negative magnifying glass there.

Whereas the shot that we like so he likes.

There we could use that shot there.

You know like that one there.

I’m going to drag that up front there.

I don’t like that.

That elevator sort of move got go in on though it might work out once we play it a little bit more slowly.

So let’s see from here.

Yeah that’s they came as a little bit of a twitch.

So I got a press n to get snapping off.

So that’s turn it off.

Now it’s not going to snap me to these positions.

I can find the bit where I want to cut that just as it was starting to fly a bit forward.

It will goes down that point they’re going to cut it and I got laid.

Cut that out.

Probably don’t want this footage anymore.

Clicked back on a selected that itched it completely.

Now let’s see how this works.

Now what I do at that point there I think I can leave it exactly that is it doesn’t matter that that extra beat plays are going to make the big change here.

I don’t want a change there and there it’s too close together so I’m going to put snapping back on snaps that point they’re pressed beef away blade so I can ice my clip up right at that particular point here.

Now I need something dramatic to happen where the heat is actually changing.

So I’m going to skim along here so I can find a real drama shot that could be a good one there if it plays for long enough let’s slide it forward.

See how we get.

Yeah it’s going to make it to the next beat.

That’s probably going to work out.

And that’s okay that’s okay.

Let’s it’s going too fast though so we’re going to use one of the only effects that we use at Stage 6 and that is every time this to slow it down a little bit.

So I’m going to click on it.

There’s lots of different ways you can do this to quickly get access to the retiming function.

We click on the clip we go over to here where it’s got that retiming arrow drop down and we want to slow this down.

Let’s try 50 percent to begin with.

We’ll get to adjust this ourselves manually by moving that little point there so we can adjust this up or down.

You will hit it exactly 50.

We click on the arad’s Sloth 50.

Now portale and that’s better.

The pace of that is more similar to the pace of that now with slowing it down.

And notice how it’s looking even though it slows down the computer tape with frames that were recorded in the GoPro it’s not having to make any of them up.

So we’ll play that through to there what we could start to do now as we’ve got through the very first bit of our overall production we can start to slow down the times that we start to flick from one clip to another We’ve got three four actually done.

So are now going to slow it down rather than clipping it they’re such a nice shot.

We’ll play it all the way through to the second beat point.

After that a drop there and that’s where we’ll chop it.

So click on be shot that out click on a select the next bit.

Move that off.

Let’s see how we’re doing so far.

And the only other thing I might consider is that the music requires something to actually happen just there because we which hit that beat all the other times before.

So normally I would put in other effects all together in one batch at the end.

But because I can see it happening right now I’m going to add in a teeny little effect to go with the beat of music.

I think that will help strengthen the overall emotion and goodness that’s coming from looking at this rather than hinder it.

So to do that I’m going to go to the I’m going to slice that clip there.

I’m not actually cutting it away I’m just putting a slice point in where I can introduce an effects and then kick back one day and go over to here where I can look at some of the effects that I could introduce.

So for instance if I look here for a transition effects arm I want a little light flash.

So I go up here find one of these light flashes lens flares too soft.

You want quite a hard light flash take that point there and put it just in I want it to be real quick.

We got much footage left before the drop comes in.

Once you put it in you see a little orange marker down there.

I need to wait.

Take my hands off the controls for it to work out what to do there.

Let’s see if that works any better.

That’s nice that’s working really nicely.

So that’s the right thing to do.

And then it further sets up the beach drop was about to happen after that.

So going to go through the same thing.

Okay I now want something that’s going to move us on specifically said that there is very similar to

that there.

In fact it’s just the rest of the clip moved on so we need a new clip.

I do want to return back to that old clip quite yet.

I’m not doing that flip flop action.

That is one of the ways to do our sequencing.

I want something completely new.

Keep the stimulation.

So good.

Find something on a scanner down here.

Yeah.

This is quite quite good work.

Were at that point in the production where people might start to leave.

If we don’t really entertain them and we’re doing a good job of it so far that’s a nice shot along here.

So let’s see what we can do with that shot so we’ll bring that one forward.

There after each drop with played this clip here for two beat changes so will therefore probably now move up to two big changes for this.

And we’ve also got another beat change.

Another big drop that’s happening there.

So we’ll probably edit it in the same way that we edited things over here.

So we’ll make a break here just before the beat drop.

Pressed on Eve for blade sliced it and then we’ll make another break there on the beat drop.

It’s this little one here.

We’re going to introduce an effect like we did just hear little flash effect.

Got a gut feel that that’s going to work out with drag the flash effect in onto where we made the blade mark and we’ve just made it slightly shorter by dragging it over here.

Then we got to the change to happen just about here.

I’m not sure what we’re going to put in there but let’s change it from this image here so we can see what it’s like when we get that visual change at the very least.

Let’s try that one would it be that one up there and we’ll go back to here.

Play it through and see how we are doing.

And

boom boom boom boom boom boom boom boom

boom.

Yeah that’s good that’s good I think that worked well having that extra flash in there now we’re moving

on so the music is slightly picking up in pace.

Now we haven’t got many fast shots here.

What we do have is some shots that are closer to the thing that were flying by.

So they’re going to appear a bit faster.

So actually the fact that we move this up nice and close is probably about right.

Because it’s one of our faster looking shots.

So we’ve got a flight dramatic of course Eade appearing here just because of the close call flight pattern

that we were in fact using.

And boom boom boom boom.

And definitely he’s changed up about there.

So you can slice that off there.

Now need to find the next bit to go and look at will get rid of these at the moment we don’t need to look at those.

So if we click on our transition icon there now give us more visibility of unclips.

Make sure that we go back to a so that we can look at our clips further without actually slicing them

up accidentally.

I think we’ve gone here were on a.

Quite a read.

Green shot.

So we need some variety in our culture to keep the amplification of the dramatics high or go over here

and this is a darker shot or going out over water.

So that’s a good one.

Let’s move that up there that’s going to fit quite nicely.

Going to play that I can say almost definitely for a couple of beats.

Slice it there and then we need something else now to then bring in after that.

So we’ve just gone from that water shot there.

Let’s go for a swim top down action.

There we go some bird’s eye view action because that is again we’ve got variety that’s going on in place

so you can bring that back up and remember where it was we cut ourselves off here.

There we go bird’s eye view.

Got that in there.

A play that probably for a couple of beats.

Let’s see how we’re doing.

So we come back to here.

And the happening.

Proximity is work and work

out.

So those two are quite similar in the way that they look when you flick from there.

Over to there.

And the pace is quite right.

It looks like you’ve been sort of translated in the air quite a lot so I quite like that effect.

Normally I would try to avoid it because it looks like you just kind of slipped out a nasty nasty bit

of the shot.

This worked rather well because it works so precisely on the music.

Let’s go back and look at that one more time.

Boom.

Boom.

Boom.

Yeah that’s working nicely.

Okay good.

That’s good point.

Up to that point we have hit at that point very nearly the one minute mark so we’re doing well we can

now either look for some completely new light looking content.

All we can go back to some of the stuff we’ve had before so that ackwards moving shocks a great shock

at us a completely different way of flying so that’s going to continue to keep the interest and entertain

or drag that right back up into here.

Got that playing on for a couple of beats.

And that shot may even go on even further let’s drag it out of it and see what happened afterwards.

It could be we’ve got flight matics Oh no we didn’t want to do that.

So that was where the flight dramatics erratics were that we chopped out.

So I’m going to do command Z to undo that little thing I did there and I’m going to slice that off at

that point there.

Then when I go back to a line a look for more imagery that we can do to.

That’s quite a new angle we’ve not played out so far.

Even though that was one of our last shots we said bring that all the way forward now.

Right to where we got to before so it was about here.

We played up to that backward point there.

That’s where we drop this new looking thing.

So all the time I’m trying to mix up the variety of the visual experience that people are actually getting.

This one I’ve now got an opportunity to play this for quite a long time right up to the beat drop because

it’s such a big panoramic shot.

So I’ve clicked on B and I’ve sliced the clip at that big each drop place just there selected the section

next to it and deleted it or put in something a bit more dramatic straight after that.

Let’s see how this plays out.

Da da da.

Boom

boom boom boom boom boom.

That’s working out why.

Wow.

If only the way that the beat here start to get closer together anyway.

It definitely makes sense at this point to not start slicing up our clips so much.

By this point as well the viewers will have got a little bit fed up with us keeping switching over so

they start to want longer clips by about one minute.

Actually in so that’s good editing that we’ve got going on there.

Don’t worry too much when you’re seeing this footage that you might have some slight flight erratics

are visible at this stage because we can still pull out some of those by using the stabilizer effects

in the next step.

So let’s just look at this again and see their shape.

It doesn’t look so good.

We should be at a stabilized that out no problem.

So we’ve now got to 122 with the next beat drop comes in.

This is hopefully giving you a detailed enough example of what my thought processes as I go through

when we’re editing all of this work up.

I’m constantly looking how to amplify the dramatics mixing up the variety extremes the different types

of dramatics themselves and flipping back and forth quite quickly looking at all of these kind of things

occasionally putting in the order best to help amplify things.

Right now it’s the next step where we start to put in all the rest of this of the effects we’re really

tidying up what we’re doing.