I covered the macro aspects of editing in my previous post; check that out for my take on how to use subject, balance, distance & pacing to support the music. This is the micro side; zooming in on each cut to make sure it lands on the best frame. This is one of those things that makes a small difference individually, and a big difference across the whole video. When you nail your timing, the cuts flow seamlessly (sometimes invisibly) through the song, becoming another aspect that supports the performance rather than distracting from it. My cuts land on one of two cues; visual & audio.
Visual cues are motions that draw the viewer’s attention, covering up the transition of a cut and maintaining the visual flow. Visual cues include:
- a performer moving, turning, waving, nodding, jumping, etc.
- a guitar strum, piano chord, drum hit, etc.
- a light flare or lighting change
- a camera pan or zoom
Continue reading “Editing Live Music Videos: Timing Your Cuts”
For me, editing a live music video is about recreating the performance through the eyes of the audience. Imagine you were the entire audience; not just one person, but everyone in the venue. What would your collective experience be? You’d be watching the performance from the front row, from the balcony, and from the crowd. Your focus would shift from the bassist to the lead singer, to the drummer as he laid down a fill, and to the people rocking out in the front. When I’m cutting together a live concert video, I’m trying to recreate that experience; bringing the viewer into the space and creating the feeling of being right there.
My second goal is to follow the music. The musicians are already telling a story through their words and notes; my job is to support & mirror all those elements. A bad edit will work against the music, cutting out of time and focusing on the wrong subjects. A good edit flows with the beat, amplifying the hits & emotional energy of the music. When I’m putting the edit together, I’m focusing on four elements; subject, balance, distance, & pacing.
Editing live music videos is mostly a pragmatic process; my main goal is just to focus on the most interesting element at any moment. On my first pass, I’ll go through all the different angles and pick out the best moments from each (I’ll also cut out any uninteresting or unusable footage). For the lead singer, I’ll pick out the verses & choruses. For the guitarist, I’ll pick out riffs that stand out and any solo sections. For the drummer, drum fills; and so on.
In my second pass, I’ll go through and pick the most interesting moments from all the angles combined. At this point, I’ve got a good starting point to build my edit from. Continue reading “Editing Live Music Videos: Recreating the Concert Experience”
I shoot with the Sony a7S II, and I’m really happy with the images it produces. Unfortunately, it’s also limited by a codec which restricts it to 8-bit, low data rate video capture. In the real world, this manifests as digital artifacts that reduce the resolution of your footage and make it harder to color grade. I use the process below to clean up my footage before editing, but I’d recommend this workflow for any 8-bit video or footage with visible noise.
Digital noise is one of the biggest obstacles to high-quality video. Whereas analog noise can be aesthetically pleasing, digital noise looks cheap and pixelated. It’s a combination of the noise of your camera sensor (created by amplifying light, more prevalent at higher ISO values) and the artifacts created by the codec (created by compression, more prevalent at low data rates). A high-quality denoiser can make a world of difference on your footage; I’m using Neat Video, and I’ve been really impressed by its capabilities. Here’s a dramatic example (click here for full-size):
Continue reading “Digital Film: Cleaning Up 8-Bit Footage”
I’ve been using Adobe Premiere since I first started editing (nearly ten years ago), but I’ve been curious about Blackmagic’s DaVinci Resolve. With version 14 hot off the presses, I thought I’d dive in, give it a spin and see if it could replace Premiere as my go-to NLE. After 12 hours (straight), here are my thoughts:
Your ability to edit depends more on your familiarity with the NLE than the software itself, and as it’s a pretty standardized process, you won’t find major differences between programs. With both Premiere & Resolve, I was able to cut together a multicam within an hour or so of messing around; no need to open up a manual. But if you go beyond basic edits, Premiere shows its pedigree; its tools are more refined and offer more options for power users.
Continue reading “Gear Talk: Resolve 14 vs. Premiere Pro CC”