Today's aim was to complete the edit of the animatic for our upcoming music video. We achieved this. At the start of the lesson we went straight up to the edit suite to find our footage from the day before successfully downloaded onto the computers. Before beginning, we had to have a brief tutorial with Matt regarding the different editing software the school have chosen to employ this year. They have switched from Final Cut Pro, which we used last year, to Adobe Premier which provides better support for multi-platform usage which is something the school requires with the abundance of videos they help to produce each year. The technical principles of Premier are very similar to that of Final Cut, much is the layout. The main changes were simply adjusting to some new key commands and trying to regain to preciseness which we had with the previous software.
Editing the animatic was a fairly simple process. Because we shot the video clips of the storyboard chronologically, they were already laid out in perfect order in the 'rush' bin we created. This meant that we had to just transport them into the timeline and match them up with timing we had marked on our storyboard. The important tip for this technique is that when cutting from one clip to another, it is important to make the cutting point not just on the right second but also on a definite beat such as the bass drum or symbol. This gives the cuts rhythm and makes them more natural to look at, preventing the video from being disjointed.
We managed to get the animatic fully edited within the hour of the lesson;
Upon reflection, both myself and Rachel are very happy with the way the animatic shaped up. We understand that to some it may look drastically simplistic or even slow, and some of the drawings could benefit from being slightly more detailed. This is because it is difficult to convey motion still drawings. Therefore, if you have a still drawing for a shot that lasts 5 seconds then it will inevitably become boring. However, when we look at those shots we can see in our minds eye what is actually on screen happening to fill the time such as movement and interactions. We believe that the cut is precise and it flows very well. Points during the video such as the 4 portrait shots of the band early on, and the home-video cutaway work very well with the music at that specific time which is something we worked on extensively when creating the original timeline and subsequent story board. Primarily, this exercises has proved very useful as it gives us a reference point for our concept which we could even show to the band to give them an idea of what we are doing. It also reassures us that we have an idea that is fleshed out enough to fill three minutes.
Editing the animatic was a fairly simple process. Because we shot the video clips of the storyboard chronologically, they were already laid out in perfect order in the 'rush' bin we created. This meant that we had to just transport them into the timeline and match them up with timing we had marked on our storyboard. The important tip for this technique is that when cutting from one clip to another, it is important to make the cutting point not just on the right second but also on a definite beat such as the bass drum or symbol. This gives the cuts rhythm and makes them more natural to look at, preventing the video from being disjointed.
We managed to get the animatic fully edited within the hour of the lesson;
Upon reflection, both myself and Rachel are very happy with the way the animatic shaped up. We understand that to some it may look drastically simplistic or even slow, and some of the drawings could benefit from being slightly more detailed. This is because it is difficult to convey motion still drawings. Therefore, if you have a still drawing for a shot that lasts 5 seconds then it will inevitably become boring. However, when we look at those shots we can see in our minds eye what is actually on screen happening to fill the time such as movement and interactions. We believe that the cut is precise and it flows very well. Points during the video such as the 4 portrait shots of the band early on, and the home-video cutaway work very well with the music at that specific time which is something we worked on extensively when creating the original timeline and subsequent story board. Primarily, this exercises has proved very useful as it gives us a reference point for our concept which we could even show to the band to give them an idea of what we are doing. It also reassures us that we have an idea that is fleshed out enough to fill three minutes.
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