The massive video editing extravaganza! – 50 tips! Part 3

Moving onto tips 11 to 15.

Notice the end points of the audio and video tracks don't line up at the end of the first clip

11. Trim the audio separately from the video. As noted in the previous point, the audio sells the sense of continuation of time. The way to do this is to have sound overlapping the cuts between shots. For this, you’ll need to deal with the audio and video separately. Trimming with just one track means that no matter what editing system you use, you need to unlock them if applicable. Just make sure that if you’re dealing with stereo sound on two separate tracks, that you’re manipulating those two tracks at the same time. Otherwise you’ll end up with wonky sound (not a technical term, though I think it fits).

12. Be ruthless. You’re editing a shot that took a long time and a lot of money to set up. It doesn’t really work in the film. Cut it. There’s a tendency to appreciate and keep in these types of shots, but don’t. The final product is far more important than pleasing cast or crew that got to do a cool thing at their expense.

13. Most NLE programs allow you to re-add footage previously cut. Okay, so you’ve got a complex sequence and you’re happy with it, apart from the fact that you cut too many frames out somewhere and you really don’t want to undo the last 40 things you did. Well, that’s just dandy! Most NLE programs (as far as I’m aware) will allow you to extend the footage again, reading from the original file. In other words, you can reverse the trim without having to replace the section you were working on. Most of the time, this will push the rest of the footage up the timeline in order to accommodate the new frames, but in AVID, you can set it so that the new frames replace the frames from the next shot. Handy if you’ve got to keep to a strict time constraint.

14. Group import/lasso. Just like you can import your media into your project en-mass, often you can import a whole load of footage onto the timeline in much the same manner. The best way to explain this is that you can create a short visual storyboard using your media files icons. Once that’s done, highlight all of them (or lasso them) and drag them onto the timeline. Viola! You’re onto the manipulation part of the editing process in one foul swoop!

15. Don’t colour correct until the end. There’s something off about all your footage and you know it. It’s just too red/blue/green/dark etc… It’s fine. Leave it until the end. There’s no point in colour correcting the footage until it’s set. If you chose to colour correct before adding special effects or anything else that needs to be added, the special effects will look weird. Imagine a piece of stylised footage – maybe a greenish tint added on. Now when you apply an explosion, it simply won’t gel because the footage itself will be totally different to the explosion.

AVID's colour correction mode - with 3 monitors, customisable to give you the best views on colour in your project

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