Rough Cutting: Organization for Narrative Wedding Films
5.0 (2 ratings)
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Rough Cutting: Organization for Narrative Wedding Films

A streamlined workflow for modern video editors
5.0 (2 ratings)
Course Ratings are calculated from individual students’ ratings and a variety of other signals, like age of rating and reliability, to ensure that they reflect course quality fairly and accurately.
18 students enrolled
Created by Archaius Creative
Last updated 4/2019
Price: $99.99
30-Day Money-Back Guarantee
This course includes
  • 1.5 hours on-demand video
  • 4 downloadable resources
  • Full lifetime access
  • Access on mobile and TV
  • Certificate of Completion
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What you'll learn
  • Efficiently ingest, modify, and organize all the media within a project
  • Decrease headaches and increase creativity while editing
  • Implement a systematic process that allows for team growth
  • Familiar with Adobe Premiere Pro
  • Access to a Creative Cloud subscription

Our Rough Cutting course introduces wedding filmmakers to a streamlined and efficient ingesting, culling, and organizing workflow that they can replicate on any wedding video that they edit.

The workflow covered in this course will cut down the amount of time it takes wedding filmmakers to dig into the creative process, while also resulting in a clean and easy-to-navigate project file. This course will enhance the creativity editors can exercise while crafting their wedding films because they will already know where to source clips, and how to troubleshoot (if not entirely avoid) common editing pain points.

By incorporating this workflow into their existing projects, filmmakers will be empowered to maximize their editing time and protect their bottom line. In addition to the personal benefits gained, having as detailed and procedural process as this will enable filmmakers to expand their team and ensure that training is consistent and thorough with each new editor.

Who this course is for:
  • Self-taught wedding filmmakers seeking an established ingesting and culling workflow
  • Wedding filmmakers interested in expanding their team, but are concerned about workflow consistency and quality
  • Wedding filmmakers with a desire to increase creativity during editing
Course content
Expand all 41 lectures 01:34:28
+ Introduction
5 lectures 14:37

Dave quickly introduces himself and our company, Archaius Creative.

He covers the content of this course and how it fits into the overall post production workflow.

Preview 01:37

Many of the most common pain points wedding filmmakers experience while editing their films are easily avoided by implementing a streamlined and consistent organizational process into workflow.

Established workflows have countless benefits; team growth, quicker turnaround, and more enjoyable time editing are just a few!

Preview 02:58

A system doesn't exist if it isn't written down!

Download the PDF accompanying this lecture for use in every wedding film you edit. It will help you keep track of where you're at in the process, ensure you don't leave out any critical steps, and help communicate special considerations to anyone else on your team.

We recommend keeping a master copy backed up somewhere, and creating duplicates for each new film you work on.

Preview 01:49

This Lecture will walk you through the way in which we view Premiere's interface.

Make sure to download the entire Google Drive folder linked in this Lecture.

This folder will contain all the assets needed for following along throughout this Course. To ensure it all properly downloaded, the folder size should be 1.62 GB on a Mac or 1.5 GB on PC.

In order for the Project Panel's metadata display to import into Premiere, please download the additional .zip folder and follow file tree in the screenshot for proper installation. The included video will demonstrate how to adjust the metadata display settings within Premiere. You may need to reorder your columns to match this Course.

Preview 04:10

Dave covers the modifications we've made to Premiere's Project Panel. This is where audio, video, and graphics files are referenced, as well as where sequences are sorted into bins.

**If you didn't download the .zip folder in the last lecture, please do so now. This is a critical step to ensure that the Project Panel's metadata display will match the one in this course.**

Becoming Familiar with the Project Panel Layout
+ Organizing Media Folders
4 lectures 06:33

It's easy for projects to go off the rails even before the editing process begins! In this Section, we cover how to best keep your media and project files organized between the internal and external hard drives in your system.

Dave covers our Read-From / Write-To hard drive delegation for optimized Premiere performance.

Introduction to Different Places of Organization

Your internal hard drive functions as your "Write-To" space, where your project files, auto saves, and preview files are stored.

Organizing the Internal Hard Drive

It's very important that media is consistently organized correctly on your external hard drives.

After watching this Lecture, download the accompanying PDF to see an overview of how the files you downloaded from Google Drive in Lecture 1.4 should be organized. Please organize them so that they match this PDF before moving forward in the course.

Organizing Media on the External Hard Drive

Hard drive organization is an often overlooked process. Stay diligent in your workflow and don't forget this critical step before editing your project.

Hard Drive Organization Conclusion
+ Importing Media
3 lectures 06:21

It's now time to begin bringing your media into Premiere!

In this Section, we cover a few easy steps to import your media and make sure you don't leave any video, audio or graphics files out.

Duplicate the provided Template Project File and launch Premiere in order to get started.

Introduction to Importing Media

We start populating our bins within Premiere in alphabetical order, so we'll begin by adding audio files to the sub-bins within the main Audio bin.

Importing Source Audio, SFX, and Music

After importing our audio media, we'll move on to our graphics and footage assets. Premiere's feature of converting folders to bins is extremely helpful when populating the Footage bin! By the end of this Lecture, all of your media should be imported into Premiere.

Importing Footage and Graphics
+ Preparing Media Through Modification
3 lectures 05:18

As it turns out, not all media is ready to be used upon importing.

In this Section, we cover modifying video frame rates so that footage is ready for culling.

Because of the PluralEyes workflow, Audio Channel modification is covered in Section 6, Lecture 6.

Introduction to Asset Modification

It's important that your video footage plays back as intended - specifically that high frame rate footage plays back in slow motion.

If you plan to handle your slow motion footage through "interpretation" as opposed to through speed adjustments, this is a critical step to implement before moving onto the next Section on culling.

Clip Frame Rate Modification

Having your media play back correctly is super important for saving time down the road and for producing high quality work. Make sure you interpret high frame rate footage before beginning the culling process.

Asset Modification Summary
+ Culling Non-Synced Media
7 lectures 19:36

In this Section, we'll start to cull our media in order to pair down all video clips to only their usable portions. As a part of this process, we'll also be organizing the clips between different sequences within the SEQs bin.

This process will apply to all "non-synced" media. For this course, that means all the video clips with the exception of the Ceremony footage.

Introduction to Culling Non-Synced Media

A critical part of our Rough Cutting workflow is to make sure that video clips are properly organized within the Project Panel's bin structure. Here's an overview of the most commonly found sequences that appear within each of the sub-bins within the SEQs bin.

Check out the attached PDF for a written list of our most common bin and sequence organization.

Sequences and Bin Overview

In this Lecture, Dave covers how to create a sequence in order to begin culling your footage. These sequences are where culled sections of footage will live for easy navigation during the editing process.

Create a New Sequence

Our culling workflow utilizes creating In and Out-Points on the Source monitor in order to designate runtime ranges of each video clip in a project. These clip ranges are then inserted onto the timeline based on the sequence of footage content that's being culled.

Using In and Out Points

The goal of the Rough Cutting process is to ensure that all of your strongest content is easily found and integrated into a film. That being said, it's important to consider both the visual and auditory nature of a clip when determining its usability.

Determining Usable vs Unusable Media

As you continue to work through the culling process, it's important to continue updating the Description column so that you can track when content changes if-needed. Similarly, it's helpful to leave a small gap between clips on the timeline whenever a card of footage changes. Check out the Bonus Lecture to see why this practice is super helpful down the line.

For this course, make sure to leave the Ceremony clips un-culled, and save the drone footage for modification in the next Lecture.

Repeating the Process

Since 4K clips are still often incorporated into projects alongside 1080p footage, Dave covers how to treat it so that it's easily identifiable and ready to be best used.

Treating 4K Footage
+ Syncing Multicam Media
8 lectures 22:54

In this Section, Dave covers how to sync multi-camera sequences. While we prefer to use Red Giant's application, PluralEyes, for this process, Dave also reviews how we use Premiere's built-in feature in order to achieve similar results.

Introduction to Culling Synced Media

In order to more quickly locate clips for syncing, it's helpful to have the Description column populated for Source Audio files as well as footage clips.

Labeling Source Audio Files

In order for PluralEyes to function properly, each unique angle of footage and source of captured audio needs to be placed on its own track within the same sequence.

Track Layout for Syncing with PluralEyes

By using Premiere's "Extensions" feature, you can actually sync media using PluralEyes without leaving the Premiere application!

Using PluralEyes within Premiere

For even greater control over the features of PluralEyes, you can launch it as a standalone application. In this workflow, you can make adjustments to how PluralEyes handles clips that don't sync and disable the "Correct Audio Drift" feature.

Check out the end of this Lecture in order to see the process for syncing clips with multiple frame rates.

Using the Standalone PluralEyes Application

Accurate audio playback is an extremely important, and often overlooked, part of the culling workflow. In this Lecture, Dave covers some of the most common audio modifications we make when Rough Cutting wedding films.

Because PluralEyes removes audio modifications during the syncing process, we chose to include this topic here as opposed to earlier in the course.

Audio Channel Modification

If you'd rather not incorporate a third party application into your culling and organizing workflow, Premiere's multicam sync will yield similar results as PluralEyes. In this Lecture, Dave covers how to arrange media within the Project Panel in order to create a Multi-Camera Source Sequence within Premiere.

This is an incredibly powerful and dynamic feature of Premiere that we use incredibly sparingly for wedding film editing. There are tons of commonly used features of this process that we simply don't incorporate for one reason or another. If you're looking to apply this feature to a different workflow, many of the settings within the Multi-Camera Source Sequence creation window will be modified differently.

Setting Up Premiere's Mulitcam Sync

Dave overviews how we modify and work with the multicam sequence that Premiere generates.

While there are definite benefits to working with the multicam sequence that Premiere generates by default, for our workflow later on in the Creative Editing phase, we find that converting it to a standard sequence works best.

Should you choose to leave your multicam sequence in its native format, you have access to functionality similar to a live TV switcher. If you’re interested in learning more, a quick YouTube search of Premiere’s multicam workflow will primarily yield walkthroughs of that feature.

Working with a Multicam Sequence within Premiere
+ Proxy Workflow
7 lectures 12:11

While proxy workflow isn't necessarily common knowledge, it can be incredibly beneficial when working with 4K and larger video files. In this Section, we cover how to best work with Proxies throughout different stages of your culling workflow.

Introduction to Proxies

In order to best work with proxies, it's helpful if each clip has a unique file name. If the camera you work with renames its clips with each time you change a card, this is an important step to follow.

Remember to make any file name changes before importing clips into Premiere!

Renaming Clips on a Mac

In order to best work with proxies, it's helpful if each clip has a unique file name. If the camera you work with renames its clips with each time you change a card, this is an important step to follow.

Remember to make any file name changes before importing clips into Premiere!

Renaming Clips on a PC

If you already know that you'll need proxies generated before working on a project, you can actually designate that Premiere create them upon importing media.

Check out the next Lecture for a walkthrough on generating proxies after a project file has already been created/populated.

In order to see the Proxy column in the Project Panel, make sure you properly imported the Metadata Display Preferences covered in the resources of Section 1, Lecture 4.

Generating Proxies before Starting a Project

If you start culling your project and realize that you'd rather have proxies to enhance your workstation's performance, watch this Lecture in order to learn how to create proxies at this point in your workflow.

In order to see the Proxy column in the Project Panel, make sure you properly imported the Metadata Display Preferences covered in the resources of Section 1, Lecture 4.

Generating Proxies after Starting a Project

After generating proxies, it's important to know how to toggle them on and off while working with your media. In this Lecture, Dave covers a slight modification to the Premiere Workspace that will allow you to quickly and easily view full res or proxy files on the fly.

Working with Proxies

There are a few important limiting factors to consider when working with proxies. In this Lecture, Dave walks through some of the most common hiccups we've found when incorporating a proxy workflow into our editing process.

Other Proxy Considerations
+ Conclusion
3 lectures 04:12

We're nearly done with the Rough Cutting process! In this Section, Dave outlines a few last minute processes in order to help double check your work and safeguard yourself from oversight.

Completing the Rough Cut

Even the most diligent Rough Cutter can make mistakes. In this Lecture, Dave introduces two final steps to help ensure that no usable media is left out and that sequences contain accurate content.

Double Checking your Work

You've made it! Your rough cut is complete!

As you integrate this workflow more consistently on your projects, you'll be able to complete it quicker and make modifications based on your preferences. You can utilize it as a training material for expanding your team or solidifying your existing team's processes.

+ Bonus Section
1 lecture 02:46

In our Bonus Lecture, Dave revisits a process introduced back in Section 5, Lecture 6 that will help you to even more drastically increase efficiency when building sequences during the Creative Editing process of your project.

Bonus Lecture: Refined B-Roll Grouping