Pyro Industries API-1394PCI Manual de usuario descargar pdf (Pagina 38)

■ EDITING WORKFLOW

many different ways of doing it that it might appear overwhelming at first. Not to

worry, you’ll adapt.

By trimming each piece in our program, we either can extend it by adding more

frames, or shorten it by reducing the number of frames for each clip in the program.

Trimming gives you the power to create the overall timing of events and the flow of the

program, what we call finding the rhythm of the scene. It also determines the duration

of the piece. Sometimes, when editing commercials, the timing can be more important.

This type of timing can mean the difference between a masterful editor and a poor edi-

tor. So trimming is very important.

Using some of the Timeline tools discussed in Chapter 4, you can replace shots,

juxtapose shots (changing the order in which they appear in your program), and exper-

iment with the final presentation. If you’re unsure about whether or not this will

improve the program, you can also duplicate the program and try it using the dupli-

cate. If it fails, you can revert to your original piece.

I personally love the trim mode, which is where all my important decisions are

made. It is where we take a closeup view of each clip and each transition to determine

whether or not they will be used. This is also the point at which we question our origi-

nal decisions, wondering if one shot would look better than the one we already chose.

Although it might sound tedious, it is that level of concentration that allows an editor

to really see his or her work for the first time.

If you’re new to editing, keep this in mind: You’ve been watching television and

film for years. Instinctively, you probably already know when and where to cut. But

with your inexperience comes some doubt. In the trim mode, you can look closely at

what you’ve done and determine what was necessary and what should go away from

the program. The more time you spend here, the better an editor you can become.

Import

The import part of the workflow can begin at any stage of postproduction (see Fig-

ure 1.12). If you have various graphic files, shot logs, audio files, or digital media files

to import, you can begin doing it right away.

But in many cases, imported files are not even created until the editor or pro-

ducer realizes the need for it. For example, if someone slams a door in your program,

but the audio is distorted, you might need an audio sound effect file to import a slam-

ming door. Again, the capability of nonlinear editing shines. You can import the sound

effect anytime and adjust the scene and the mix accordingly.

Figure 1.11 Trimming

to perfection

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Pyro Industries API-1394PCI Manual de usuario Pagina 38