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Editing to The Music

Lesson 38 from: Filming Families: The Modern Family Video

Courtney Holmes

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Lesson Info

38. Editing to The Music


Class Trailer

Class Introduction


The Spark That Inspired Me


What Are Family Films?


Gear for Family Films


Camera Settings for Video


Frame Rates & Slow Motion


Picture Profiles & Color Grading


Settings for Audio Capture


Lesson Info

Editing to The Music

I have my own work space because for me this is too small. So what's really cool, I want to be able to see more of that media, and so what's really cool about Premiere Pro is you can make this however you want it to be. You can drag the lines and you can make things bigger or smaller or whatever. So my workspace looks like this, which is, I'm just going to drag this out a little bit so you can see a bit better. I have my project file here. I have my project file here, so I import all my media, and then I get to see two rows of, of clips. And then here's the source panel that we saw before where you're looking at the clips that you're watching, so that's where you get to see them play back. You make your choices. Here's a timeline. So it's similar, the only difference is is that I've kind of split these two, this into two, okay. So now my effects, which I use for things like transitions or openings or if I want to add things like a cross dissolve to my clips, which never happens, to my ...

titles. I don't like cross dissolves on clips very much. Then that's usually where I pull from there. So I just like having my effects easy to access. Also things like audio, transitions and audio effects down there. Then I'm usually here on the source. Right now it's selected effect controls, but there's no clips in there. And then again, it's the same thing. So you're pulling it down here, and then you see it here, play back, okay. So what I would do is. So I've pulled up my folder here with all of the media from the session that we did. So I got the videos. So I'm just going to drag and drop this video over here into the project file, project tab I mean. And so while this is happening, the first thing that I do once I get all of this in here, is start interpreting the footage for slow motion. Alright, so that's in there. And I, you can see now I've got two projects. This is the one that I've already done before, and this is the one that we're working on right now. I'm also going to pull over the music that I've chosen. I'm going to pull that on now. You can, there's a media browser, in this little panel right here, and you can also go directly to where it's saved on the hard drive, through there, but importing them allows you to interpret the footage for frame rights. So I've got the music track in, and the other thing that I'm going to add is I have an animated logo, and I'm just going to just drag that in. So that that's there for when I need to add it at the end of my film. And then down here you can see there is a list view or an icon view. If I click on icon view, I can see a different view of the information. When I'm in the list view, I don't see any of the clips. I'll show you what that looks like in this. So in the list view, all I can see is the data, okay. So you can see, you scroll across, and you can see a little bit more information there. You can see the resolution, size, audio information, all of that. What I do first is I filter by, yeah, filter by the frame right. Then I go over here, and you can see that 24 frames per second comes in as 23.976. I'm going to take the 60 frames per seconds, which comes in at 59.94. I don't know why it does that, but anyway. I'm going to select it all. I'm going to right click. I'm going to go up to modify, interpret footage. Assume this frame right, 23.976, okay. So now everything that I have pulled in that has been shot for slow motion is now slowed down when I play it back, okay. I know a lot of people might bring it on to the timeline and then right click, do speed duration and change the speed that way. It's not my preference. My preference is to just have it all be interpreted to the frame right that I'm using for my standard frame right. Are there any questions so far? Oh really? I'll show you what I did. So just, I'm just going to show you on one clip. So right click, modify, interpret footage. You can also go back. So huh, usually it saves what, wait. Hold on, yeah, that's one that was already shot. Use the frame right from file. If you want to go back to that you can. So you can see it's pulled back. And then it's back. So now I'm going to sort them by media start, which is just going to make sure that timing wise it's in sequential order. So you can sort in the icon view. You can also sort by any of these things. I find the one that I use the most is the media start. You can also use this to make the icons bigger or smaller. When you hover your cursor over the footage, you can see, this is called scrubbing. So you can see it move through. It's a great way to just quickly see what's happening in that clip without having to add it. I'm just going to make this all big. I don't need to see a whole lot of the effects, so I'm going to bring that over. I really want to just be able to see my timeline. So I am going to, since I've interpreted these to 23.976, I can go ahead and drag it down onto the timeline. Also because I'm shooting a mark four, it's 1080P. If I was on the mark three before I interpreted, just because I don't want to get confused, I would go ahead and pull down a 24 frame right clip at 1080P first to set my settings first. Don't put the song onto the timeline first, it'll mess everything up. So pick a clip that is shot at 24 1080P, bring it onto the timeline, then you know your settings are good, alright. Another way that you can do it is go down to new item sequence, and then choose from this digital SLR panel. So under digital SLR 1080P 24 or 25 or 30, whatever. You're going to see when I pull this down onto the timeline, I'm just dragging it over. And I'm dragging the entire thing. From here, you can do it two ways. You can drag it from, straight from over here or you can drag it from the top. If you drag, and I'm purely doing this to create the timeline. So now you see all these bars. You see V1, V2, V3. Those are your video lines. Underneath it, there's two lines underneath V1. Two lines, A1, A2, A3. What do you think those are? Audio. So those are your audio lines. You typically want your video and your audio to line up with each other. So you would, if you had started building the film without any audio in the first clip, and you added the music, I usually add the music to A2. Just so that whenever I do start to add audio in with the film, there's a line free there. I'm going to delete this for now. I'm going to go over to my project. I'm going to pull my music down onto A2. (gentle music playing) Okay, so this is the music that I've chosen. It's called The Well by Sailor, licensed through Musicbed. And what we're going to do is we are going to, actually before I go into that, I'm just going to show you quickly the sequence that we've created. I really want to point this out because I think people get really confused about where the sequences end up living when they create it. They're like where did that end up going? And it's, you can see by the icon down here, this is a normal clip, this is a sequence. You can then rename this clip. I'll do it now, to the Mellis Family Film. Right, and then you can have multiple of these if you want. So when you are, to find a sequence, look for this little icon down here. That's going to tell you that it's a sequence. And this is going to tell you that this is a video clip, okay. So you can rename this. And you can see now it's titled for you. And this is cool to do because if you end up having, you know, a couple different versions of something, you can do it this way. If you find you're stuck and you're just wanting to trial different things, you can create a new sequence and practice, you know, create a copy of the sequence and practice a couple of changes if you don't want to mess up what you've done. So I think it's really valuable to know that you can have more than one sequence. And you can also copy and paste the clips that you've added to one sequence to another sequence, okay. So I'm going to pull this down. What I'm going to do next is we're going to listen to the song, and I'm going to listen for the music phrases in it. And I'm going to mark where the next phrase comes in just so that I know because I want to know in advance where the next musical phrase is going to start because it's probably where I'm going to change to my next scene. So I'll play this. Actually I'm just going to open this up. You can see the wave form. And these are, the louder parts of the music is where the spike is. And that tends to be on the beat, but it's not always necessarily the down beat. You just have to really listen to it and watch that. Before I do this, I'm going to press M to set the marker, okay. So when you see me doing that, that's what I'm doing. Pressing M on the keyboard. (gentle music starting) ♪ You are the rain ♪ ♪ You are the sky ♪ ♪ You're yellow rays and burning fire ♪ ♪ You're every song that fills my mind ♪ ♪ You're the temple full of holy wine ♪ ♪ I'm going to love you til the well runs dry ♪ Okay, can you hear the difference that's just come in there? ♪ You're every song that fills my mind ♪ ♪ You're a temple full of holy wine ♪ ♪ I'm going to love you til the well runs dry ♪ So I'm snapping the beat. ♪ I'm going to give you all I have inside ♪ Three, four, one, two, three, four. ♪ I'm going to love you til the well runs dry ♪ Two, three, it's actually three, four. No, it's not. ♪ If heavy doubt of clouds arrive ♪ That's another phrase. ♪ If heavy doubt of clouds arrive ♪ ♪ And we get hard to recognize ♪ ♪ I'll be the first one there to fight ♪ ♪ I won't stop reaching until I find the light ♪ ♪ I'm going to love you til the well runs dry ♪ There's the next phrase. ♪ I'm going to give you all I have inside ♪ ♪ All my days for all of time ♪ ♪ I'm going to love you til the well runs dry ♪ Okay, another phrase. It's just repeating that phrase. But it's significant to know that I might want to change there or not. ♪ All the air in me ♪ Where he comes back in. ♪ Breathes for all of you ♪ ♪ The caring of your love looked through my eyes ♪ ♪ Twisting like a stone ♪ ♪ Taking all of me ♪ ♪ Words will always be intertwined ♪ There. ♪ Taking all of me ♪ ♪ Words will always be intertwined ♪ ♪ I'm going to love you ♪ I'm going to delete that one. It's kind of really just ending that, so. ♪ Take in all of me ♪ ♪ Words will always be intertwined ♪ ♪ I'm going to love you til the well runs dry ♪ ♪ Holding your hand until we close our eyes ♪ ♪ All my days for all of time ♪ ♪ I'm going to love you til the well runs dry ♪ What do you think about that song? I think that's going to work for them. The lyrics especially, I feel like it really works. It's also one that I think is easy to hear the beat in, which makes it, I really wanted to have something that would be easy to teach that. So this last little section right here, I need to make sure that I'm choosing footage that's going to work in that ending, right. So I know that from this marker, that's where my ending's going to start. So knowing ahead of time and planning it out really, really helps because it's very easy to look at the first section of footage that you have and overdo it. Use too much of it. Then you run out at the end. And then you're like, oh, I need a longer song. And then you're starting all over at the beginning again. Or you're like, crap, now how am I going to end this? And then you're redoing from the beginning. So if you do this in advance, it's going to help you kind of know, alright, well another change in the music is happening. And I think that might be a better way of thinking about it than phrases, especially if you're not a music person. Listen for a change. When a change in the music is happening, that's a really good indication that it's a good time to move to another scene. And it's okay if a change happens and you don't move to another scene, that's fine. I'm not saying every time there's a change, you should have a new scene, but it helps you to see that in advance on the timeline with these markers, to know what's coming up for you, okay.

Class Materials

Bonus Materials with Purchase

Shot List Worksheet Template
Shot List Worksheet Example
Ideas for Your First Film
Discount Code

Ratings and Reviews

Adam Nicholls

Worth a watch! Courtney provides a clear and organised class, she is also very passionate about what she does which is always nice to see. She has a great back story which is fantastic. This course is good for beginners who have some knowledge in photography and want to learn more about video. I would recommend that people do not refer this class to the bible of filmmaking as I feel you can expand further on what Courtney teaches. Some useful tips for beginners but some methods I personally feel can be taught differently. I feel a gimbal is a useful bit of kit if used correctly. You can still use a gimbal when in manual mode providing you follow the basics rules! Obviously if Courtney prefers not to use a gimbal then that's also fine but I wouldn't discourage students from exploring useful filmmaking tools. Slow motion can be achieved with 50/60fps however I feel other frame rates should have been discussed like 120fps. I liked that Courtney engaged with the students as it gets them involved and will help them remember what they have learned during the class. Thank you for taking the time to share some of your knowledge

a Creativelive Student

Courtney's work is absolutely amazing and inspiring. I feel lucky that she has chosen to share her process and that this class is available! After watching all the videos and trying my hand at this video thing, I am feeling really encouraged and inspired to do more- both personally and professionally. I appreciate the way that she breaks things down in the video and that she shares her thought process. A really great course!


Courtney’s course completes me! I have storytelling “holes” in my film previously, but this course helped fill those holes to create a flow and a film with emotion. Not only is the course wonderful (and well worth every penny) but Courtney is wonderful as well! I had such an amazing experience at Creative Live!!!!

Student Work