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FILL IN THIS GAP!
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Craig, I endorse your method. Far more intuitive and creative for old hands and “no more gaps”. Sounds like a television commercial I once made.
Redgum Television Productions
Broadcast & Corporate Documentaries
Brisbane, Australia -
As a certain helmeted character used to say: “‘Veeeerrrry Intearesting.”
If I’m to understand Norman correctly:
Drag clip from project, not to source window, but directly to timeline.
Use usual methods to determine the piece within the clip to be utilized.
Razor the clip twice: at the desired start point and at the desired end point.
Use ripple edit to expunge unneeded portion before start point.
Use ripple edit again to remove unneeded portion after end point.Contrast this with Craig’s method, as stated in prior post. Hmmmmm….
As to which method is more intuitive, I forsee a hung jury. Depends on perspective, background, prior training/learning, etc. It’s subjective.
As to which method is more efficient, I believe the edge would go to Craig’s method. Less keystrokes, mouse moves, keyboard shortcuts, etc.
As to which method is safer, Craig’s method wins, surely, hands down. A single change to the timeline is better than three changes. Three steps forward(timeline drag to insert entire clip; razor #1; razor #2) and two steps back (ripple edit unneeded clip ends, twice). This method shifts the timeline 3 times, introducing a chance for error three times. (A note: Behind the scenes, a change to the timeline requires ADOBE to recalculate all edit points after said change, then store those numbers back in the virtual, in-memory copy of that fragile, guargantuan XML project file.)
I usually use the razor tool to divide a sound clip (on the timeline) into sections, for the insertion of synced (or other) material. Little else.
Keep Smiling
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When I first got into NLE ( 1st version Premiere whatever that was called),my instinct was to razor the clip and I am not sure there was any other option/method.
My early “training” had been on flatbeds and pic synch machines (35mm film) and every edit was a physical cut. It seemed logical to “cut” and it took some time to come to grips with the “non destructive” nature of non linear editing. The new tools in subsequent versions of Premiere also permitted better and more techniques to achieve edit functions and so I adapted as they did.
When I had outside editors cut my work (AVIDS) I observed their techniques and learnt from them also. I was always envious of the features they had in their Avids , until PremPro came along. (I actually thought 6.5 was the turning point and it worked pretty well for me). Every time I edit I learn something new , usually by trying something I learnt by hanging around these forums.
For the record :I cut ( & shoot/direct also) maybe 50 tv commercials a year and some long form projects.
Hey Redgum – I also have shot Selleys ‘No more Gaps’ TVCs in the past.
Craig
Shooter Film Company
Auckland
New Zealand(Premiere Pro 1.5 / Matrox TRX100 XTreme Pro)
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When I examined the two procedures, yours and mine, it appears that the number of actions required for both are, essentially, two. This fact may be misleading, however, since the actual amount of work required in the ‘numbers’ method (what with the all the scrubbing to actually arrive at your edit point) is probably greater.
Whatever else good this method may be, intuitive it ain’t. Even so, I’ll give it a whirl. After all, my ultimate goal is a project free of bugs, and if your method acheives this, then it is worth any amount of extra work.
In any case, I very much appreciate your your feedback, Craig, and look forward to trying it out.
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Norman:
I have no idea what you mean by “numbers method” and this has nothing to do with the number of actions. This is about editing to a precise frame by watching the source clip play down. Editing to me is a visual and not a mechanical process.
I play the source clip to the start of the section I want, I set an in point, I play the clip to the end of the section I want and set and out point. I press a shortcut key and the exact section I want is on the timleline (Program Monitor). Gap free.
Helpfully, the source monitor tells me exactly the duration of the in to out I have set and leaves the source clip there for me to edit other material from should I wish to. I also do not need to delete or clear the excess head and tails from my timeline as I would if I had razored it. (And) I do not need to worry about unwanted gaps that this can create. These gaps, by the way are obvious if you preview the cut you just made. If you complete a project then discover the gaps… they should not come as a surprise.
I also determine if I want audio , video or both from the source monitor before I insert or overlay to the timeline. This saves time and keeps a tidy timeline.
What do you use the Source monitor for , if at all?
Good luck but mostly you should stick with editing the way you are most comfortable and familiar with. PremPro has more than one way to “skin the cat”.
Craig
Shooter Film Company
Auckland
New Zealand(Premiere Pro 1.5 / Matrox TRX100 XTreme Pro)
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The two Craigs:
Craig Bryan–
Your outline of my method is close up to a point. Let me give a clearer picture.
I normally import raw footage in 15-minute contiguous chunks. I assemble the whole thing on the timeline then rough cut my sequence by using a razor cut at every point that strikes me as an appropriate IN or OUT point. I subsequently go thru and delete every other portion. Next I drag the pieces individually to meet end-to-end.
But that is just the rough cut. From here I fine tune my rough cuts and add composite effects, overlap individual clip soundtracks, etc. (I use the Track Select tool a lot, frequently dragging the entire multi-track balance of my sequence to meet up with the portion I’ve just fiddled with. It is usually these dragging operations that start to screw things up. Not too surprisingly, it is not just occasional, but common, for me to leave unintended gaps on the timeline.
What with multi-layering of NTSC’s 29.97 fps 2-field video, it is a wonder to me that any NLE ever manages to deal with drop-frames!! I feel sure that they are the ultimate gremlin that mitigates against my turning out a smooth-running, no hassle project.
In this respect, maybe numeric IN and OUT points are the only sure means of ensuring multi-layer timeline harmony.
Craig Howard–
As you can see from the above, my method introduces easy opportunity for timeline gaps. That is a definite down side. Still, as a legitimate and common editing technique, it certainly entitles the user to expect ADOBE to provide a utility to detect gaps.
BTW, how do you feel PREMIERE PRO compares with AVID in general. What in particular made you switch? (Truth to tell, I’ve had so much aggravation with PREMIERE PRO, its compression applets and ENCORE that I do from time to time entertain the notion to switch.) For you, it must have been serious enough a consideration to switch not just applications but operating systems!
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