All language subtitles for The Power of Music Editing- Part 3

you

you

here

Hello. Hello.

How are we all dear friends?

Can everyone hear me?

Great to great to have

you here on.

Number three the end of the trilogy the

musical boot camps part 3. So

yeah. I hope you're well. So thank

you for taking the time out of your Saturday or you

may be watching this on the recording but let's just

do a sound check a video check a

Comm check. How is everybody everyone

tell us where you're from so I can see everyone coming in

on the questions.

and then we can

we can get started.

Hello from Memphis our brilliant.

I've been to Memphis. I did a reality TV show in Memphis.

I loved it.

amazing ribs

who else we got here? Oh, yeah. Hey,

yes, we're going. Well things are all working,

which is fantastic.

So, let me just tidy up

a little bit around here and we will get started. So

I'm really excited about today's.

Boot camp it is part 3 we're going to go into lots and

lots of detail.

We're going to kind of bring it all together. We'll do some

recapping and reminding for those of you who can't remember

one and two or didn't see one and two we'll do

a bit of reminding as well about all that

kind of stuff. And of course.

You can always.

Give us a shout just type a question in here. Anyone

time we can we can answer

questions. I'm gonna sort of check in every

sort of four or five 10 minutes something like that depending on how we're getting

on but it's a very much a two and fro to and fro

for what we're doing here for anyone who hasn't been

on a boot camp before. Yeah. Wow.

We're all over the world, Canada Brazil, Florida

Vegas.

Vienna

Australia wow, yeah, Australia. Wow. Okay

must be.

must be

late at night, New Mexico Saint Louis

Saint Louis. Yes.

Brilliant, so we got we got

another Global audience. So yeah,

we'll do a

bit of recapping we'll do a bit of reminding we'll get ourselves in

character. We'll get into the mode again because we got

four hours today. We're gonna do it like a, you know, a nice

sort of 15 minute break about halfway through so don't worry about that, but

essentially

We got a double the amount of time that

we had on the previous two boot camps. The

two other boot camps were kind of like preludes. We

were looking at very very specific things which will

recap in a minute. And but

today what

we really want to do is we want to focus on we want

to bring it all together and we want to look at some kind of larger themes

as well and we're going to try and do some live cutting as

well. So we're gonna look at some content that is really

an illustrate many of the these

kind of high-end Concepts that

really put us at the top end of editing.

So yeah any point

just ask a question.

And got some funny funny people

giving us updates of what they were up to recently. Not

sure all of them were broadcastable, but

they look like a lot of fun. So yeah.

Okay, so a little bit of

a

little bit of a teaser first

just start for the bit of fun because you've got a bit more time.

Who has seen top gun Maverick?

I saw it. When was it last weekend a

couple of weekends ago. I was lucky enough to go to a cast and crew screening.

It is amazing. It is amazing. It's so beautifully

cut just type in who's seen

who's seen top gun Maverick. Let's have a let's have

a show of hands from around the world. Well, you'll

be pleased to know that for those

of you who listen to Once Upon a Time line the podcast and we

have last night. I managed

to grab Eddie Hamilton.

and the editor on

top gun Maverick and Mission Impossible five and

six and kickass one and two and X-Men

first Class and Kingsman one

and two, you know, he's he's done a lot

and he's an amazing editor. So

We recorded a nice big.

Yes, there's a load of people who've seen it.

Needs to be seen in IMAX very true. So we

recorded a special podcast episode.

We're probably going to be split into two but

Eddie goes through absolutely everything. I'll

give you a little sneak peek here. Look.

Here we go.

This the sequences are also intricate, you

know, they're they're like

really intricate tapestries of of imagery and

dialogue and sound effects and music and like graphics

and F-18 screens and you know,

especially in the third the third act mission where

we're kind of cross-cutting between all the different pilots and then,

you know, the aircraft carrier and the tomahawk missiles

and the Baddie, you know, fifth gen Fighters and

all that. It's just endless refinement to get

it to be effortless to watch, you know, which is the secret party.

As you know have to have the

audience just be on an emotional Journey from

the beginning to the end and not get bumped out by confusion or

problems with any kind of clarity or

not understanding the stakes of the mission or who's where

or you know

So yeah, that was really good fun.

And let me tell you he goes through everything like wow

over the whole sort of two two and

a half year project. So we're going to be cutting that over

the next week or two. So stay tuned for that. It's gonna

be a great great episode for all of you who love

I'm going to see it tonight with my family and IMAX. Brilliant.

Yeah for all of you who love.

Who Loved Once Upon a timeline but Eddie's the

first time we've had a return guest and he's such a passionate and inspiring

editor so yeah that's

gonna be a good session

so

Here we go. Then let's do let's just get

cracking then.

Let's get going. Let's start off with a little

recap about some of you know, four or five

of the kind of key things or interesting things that

we looked at in the last boot camp.

Yeah.

Let me stick my picture on

so.

This is really important because we just

want to remind ourselves. We want to just spend the first 15-20 minutes

getting back in character getting our head

into music getting our reminding ourselves

of some of the key Concepts that are that

are really fundamental to this part of our art form

because you know music is just

so so powerful. It's ridiculously powerful and

we want to know how to you know,

grasp it

to Bridle it to control it and to

pass those emotions really really really well crafted

emotions over to our audience. So let's

just take a little bit of a recap now of a couple things

any great detail, but let's just talk about a few

of these different things that we looked at. So we studied

the purpose of the score.

I think that was a boot camp one. We went into quite a

lot of detail.

As to what the purpose and the reasoning of

the score is for, you know, we are

here to illustrate with music.

what is essentially happening or

the within our

pictures, you know and sink are dialogue from

our characters and our images whether

that's b-roll or actuality or drama or whatever

it is. It doesn't matter.

So the whole reason about what we're trying

to do here with the purpose of this of the score

is the three basic elements

that we've got in anyone seen shots dialogue

and music. They kind

of act like a pie chart.

If you would imagine there's a hundred percent and each one of those is very

percentages. It's very very

rare that it would be 33% 33% 33%

based on the power.

And quality and

emotional level of each one of these

it's a balancing act between each one of the each one

of these three layers of grammar dialogue.

Music and and sync, sorry

and done shots b roll or whatever you you

know, whatever you're kind.

So that's a that's a big one. It's a it's a really

big one to sit there and think about the purpose of

the score. What is my intention for the

emotional outcome for the audience, you know,

most editing questions can come

back to that. You know editing is a succession of questions that we

ask ourselves.

So let's dig down further. We talked a lot

as well about Tempo tone and genre. So

after we've got a kind of idea about what this piece of

music is here to do.

Yeah.

We have to sit down and go. Okay. Well, what does that translate

into into Tempo tone? And genre

how fast is it? What's the kind of tonality and

you know even more specifically what genre would that

be would it be 1940s Jazz? Would it

be you know 1980s pop would it be

early 2000s indie or 2015 techno?

Whatever it is, you know, these are

the questions that we are gradually asking ourselves

as we move close closer into

auditioning and structuring music

around our rough

cuts.

Then we actually got into some really interesting kind of

mechanical details in in

boot camp too is we started looking about looping and

compressing and this idea that you

can take because of its cyclical nature you

can take musical elements and repeat

them. So you can repeat them, which isn't looping

them.

And you can compress them so you

can cut out elements to make a track shorter. So essentially you

can make a track shorter.

Are you sure that way or longer?

Yeah, and we really really need to do this. It was

really interesting talking to Eddie last night and

they had a music editor on there and he was talking about how in

the new Top Gun. They used a track

from the who you know, the classic

70s track Roger Daughtry and Keith

Moon, you know, very famous rock track which they all kind of

loved Terri bookcrime. I love it. Tom Cruise loved the

Eddie loved it and the whole kind of other, you know, the editorial team

and stuff like that. But as he was refining

and refining and refining this sequence that they put

it in there, you know, start up for 15 minutes and it went down

and then it was locked into about I think it was about four and a

half minutes and the who's of you know, the the who

track that they

used is quite a long track, but because of the

nature that the track has to be perfect the car has

to be perfect. So they had to re-engineer within the

kind of cyclical nature of the of the

track a perfect dur.

So this idea that you're going shorter or you're going longer based on

the cyclical nature of and the repeated

bars is essentially looping so

your sequence may be longer.

Yeah, and you then the

track so you want to Loop it or it may be

shorter than the track and you want to compress it?

Yeah, or there may be elements that you might want to hit certain

elements, you know certain parts of the track within this

so you may have to start duplicating looping certain

areas within the track repeating over

and over so that the key moments in the scene

start hitting the key moments in

the music. So that's another thing we look at

And of course, we looked at musical assignment.

Now musical assignment the basic

premise around musical assignment is that you are

taking certain elements within?

Your scene and you're assigning it to certain

elements within the music.

Yeah.

Let me check and see if there's any questions.

But yeah, there's a

couple of where it's more comments actually, so no, no, we're all

good. And so

a very specific thing which is great about musical assignment

is that we are associating

Elements within the music to elements within the actual sequence

now, what could those elements be? Well,

those music those elegant elements within the track could

be let's say we had a particularly nice flourish within

you know, or a piece of on the

beat or a piece of instrumentation like

a violin comes in at some point and we

would associate it with something within

the sequence now that see that that Association that

assignment could be something

Like a look from a character or it could

be a specific movement or it could be any of the elements that

you have that make up anything to do with our shots.

Yeah.

Could be a scream could be

anything really so there's lots of

different ways we can go with that. But this whole idea of musical assignment

is very very powerful. I will tell

you now where I first kind of got

this idea from and if anyone's ever listened to an episode,

And I think it's in the first season of

the podcast Once Upon a timeline and it was it

was a it was an episode called. How Darth

Punk.

taught me how to score

and we'll watch a little bit of it now because it's really really fascinating

and the one of the reasons is fascinating is because Michelle gundry

the director.

This was when Daft Punk was coming out, you know, they were getting

they were getting really big at the sort of mid to late 90s. I think

about 97 something like that.

And what Michelle gundry did is he?

The beauty of what he did with this music video is

essentially he built a massive Circle which

was there to imitate a record.

Yeah, like an old record player and then he

got lots of groups of dancers to come in.

And he assigned each one each

group of dances to a different element within what

was going on in the music and I was like a young I

was like 22 at the time something like that and I saw that and it

was like a light went off in my head. I could sit there and

take different elements within whatever I was

cutting and I could assign it to different parts within

the music because the whole point about it is is that we don't

want to just cut to the beat.

You know, even you know, really high-end documentaries

and dramas, you know, they occasionally cut

to the beat but we want variation and that's what a lot

of what we're going to talk about today. So we don't

want to just do that. We can assign different things different beats

different elements within

the music.

to you know different

Specific things within our sequence. So I want to just watch

like a minute of this. It's absolute genius this this

this music video

so there's the first assignment.

There's the second assignment.

I mean, it's really really clever.

The third assignment for Simon every single noise if

you take up the four five six different things that is

happening in a track.

He sat down and he's assigned different movements

different groups of

dancers to their to each one. Go watch

this video. It's really really cool.

And that

really was the key for me. And of course here comes the

the main vocals

And that was just you know, that was a that was a real.

A real wow eye opening moment for

me right there.

So this whole idea of assigning elements within

music to the fact that if you think about like

a timeline just think about the different elements

that are within a track. It doesn't matter if it's classical doesn't

matter if it's you know, you know

70s, you know 70s disco track.

It could be anything could be pop could be experimental could

be Electronica. It doesn't matter what it is. There will be

different elements and this idea that we can you know,

we looked at assignment of saying I'm going to put that specific

element onto here, but what we're

going to talk a lot more about today is if we

can hook certain things into certain elements within a

track the idea of not playing that over and

over again in terms of variation is really

pleasing for an audience member.

um, so

yeah what we got here.

Mariana said with Premiere Pro

now. We can also shorten some tracks. It's

not always perfect, but interesting tool to have

at hand.

and

yeah, I'm not really a fan. I

must admit. I mean, it's great. It's great.

But I'm not a fan for pro level

editing. I'm not really a fan of using anything automated just like

if you were a professional photographer you would never

turn on your auto white balance or your auto anything. There are

certain things that can save you time, but I think

there's certain things as well that it's like if you don't use

it, you'll lose it. So if we're relying on software to kind

of automate certain parts of editing

You know, we that's that's

a place where you're not growing. You're letting

the computer do the work for you. And actually if you don't, you

know, you'll get rusty and I think it's I think it's always better

to be a bit more complicated and go

the the deeper route because you

know the amount of reconstruction you

need to do. It's doubtful of software could do

that yet. Who knows though? We don't know. So

yeah, I tend to

stay away from Auto features within any

piece of editing software and because I don't really know any great software

large amounts of any software anyway,

and so

Those factors are really really.

You know, they're a great springboard.

for us this whole idea of

Purpose of the score what's it here to do emotionally the tempo the

tone and the genre the looping and the compressing and the

musical assignment.

All these factors are very very

interesting.

So

Let's look let's start looking at

some music tonality this idea of like let's just

play a couple of sequences to get us in the mood.

It's by

a couple of sequences to get in the mood to look at

the end result. I mean, that's what we're doing here. We're here

to create an emotional reaction.

With our viewers now the great

thing about music.

is the

there is a huge amount of elements.

and

creative choices that we make because we've chosen

this specific music. So it's like

the chicken and egg which egg which comes first, you know,

the music or the or the rough cut, you know, it's it's

a lot of people we disgusting I think on the last boot

camp a bit some people I like the music chat first and then build the

build it around the structure of what I'm trying to do or some people

are on the Other Extreme, which is I like to cut my sequence first

and then bring in the music and then some people

in the middle. I don't believe in any single one. I truly believe that each

sequence is completely unique. Some will be very

easy. The car some will be highly problematic and difficult

and some may have different variations in what you could do. So

I kind of take it on a Case by case basis, but

the whole point about music is that it can

drive so many of the selective process and

The Cutting Styles and The rhythms what you

choose what we choose not to have, you know,

everything down from camera movement to

shots to whether we choose.

You know fast movement slow movement cinematic,

whatever.

So let's just watch a couple of sequences to guess in that

zone and to look

and and see okay.

What is the tonality we're trying to drive here? You know,

what am I doing? So look at the music and then

look at the way the shots are are constructed.

Look what I've selected

and deselected.

And look what I've allowed in because

of this music track and not allowed

in because of this music track, you know,

and that's a that's a really interesting point.

So here's the first one.

Oh nine is David.

I'm a 61 year old man.

I'm living rough on the Streets of London.

I've been homeless since 1991.

A street life is not an

ideal life.

They're obviously is the good side.

You come into contact.

with some marvelous and wonderful people

There's also the bad side.

If not got, you know the Comforts of

a home.

You've not got the security which at home gives you.

You know, there's some crazy people walking about

and our society.

And because you're a single person you're on your own you

have to be constantly on your

guard.

against dangers which may arise

living on the streets

in any part of the country be at London Birmingham Manchester. We

all know it's not an easy thing to do, but it's also can

be quite dangerous.

We've had many cases of lenders being attacked for their

money.

We've had many many vendors that don't report the crimes but

come in been beaten up by by the general

public they get spat on they get

urinated on a lot. They get beer thrown over them while they're

sleeping in the doorways. There was a vendor

kicked to death in Bournemouth.

Even today as a vendor who was sleeping and somebody

pause some sort of substance into his ears

and now he's got an inflated ear drum

and some form of infection. All he was doing was just

trying to find a safe place to sleep a

big big percentage of basically Young

Drugs that are coming out the pub with a

skinful.

so

whoops

Let's dissect this.

Let's go through and see how

and talk through how.

this music track

suffered body. I think it's called by Fila Brasilia.

It's in one of my favorite movies the consequence

of Love by Palos Sorrentino.

So look, it's a it's a kind

of repetitive.

Chord structure really just goes round and

round again. So that has an emotional meaning that emotional

meaning of every single day is

the same, you know, you could almost project a whole

load of descriptive things, which

you would talk about when you hear a track

like that.

Yeah.

So that's one of the big things that I I kind

of looked at.

Looked at when?

scoring this scene

So that's the first big thing. The emotion has to has

to be connected first. So what I

did was I was like, okay. Well, this is actually quite a horrific

scene in terms of like we're following a guy called Dave

who's homeless. We watch him at is where he's

sleeping at the moment. He calls it his home tonight.

And he describes what it's like having, you know sleeping on

the streets and stuff like that.

And then we get the people from the big issue magazine. This is one of the documentaries

I am that we have on inside the edit

on our master's

degree. So it's about

a week in the life of

these this magazine that that basically sells

that homes people sell in

order to get them off the streets or to have a kind

of good living and we're going to watch a few other sequences from it, but it's

A melancholic scene because it's actually quite

heartbreaking, but it can't be too fast and

it can't be too slow.

So if it was too fast it the

energy would not be there. We really want to have the audience resonate

with what's going on. So it's slightly melancholic

is slightly repetitive because of the

nature of the scene. So that's the kind of tonality around it. Now

look at how this is affected the

Jewish this stick another one how has

this track affected the duration of

the shots. That's that's another one.

So the duration of shot they are not short. They

are long.

And they are very kind of cinematic. So

each one of them is very very

long.

Three four five, you

know, these aren't this isn't a quick cutting sequence.

We've got a bit of a, you know, Paul focus on there.

My name is David.

So each one of these sequences each one of these

shots.

is

very slow. It's very, you know considered it's

very measured.

Yeah, which is

driven by the music. It's not necessarily driven by

the Beats of the music but it's driven by the tonality and

this is a very big thing to consider. We don't always have

to be cutting on the beat or off the beat or you know to a

certain element Within the Music sometimes it's just a tone and

a pulse that we're trying to create a you

know, you get a lot of drone use like tones

and drones within within high end stuff as

you may just want to get a certain feeling a subtle

feeling and that's what this good. This track is good about.

So the tonality matches the emotion of my

intention for the scene. My intention was it's slightly melancholic.

It's heartbreaking. It's slower. It's

got a sad kind of

bent like a sad tangent to it and it's

repetitive because it's repetitive life on the

streets. Yeah.

and

so then we had duration of shots now, then

it also let's look at the selection of deselection

process because this is heavily you influencing the selection and

deselection process. A third thing is how much camera

movement can you see in here?

And I would say apart from a couple of

the kind of you know, track type shots. There's

none. I mean,

none of it. There's no camera movement. There's no

crash zooms or anything. There's

no, you know, I mean, it's it's

hardly anything. It's static.

kind of oil painting type Cinema cinematic

shots

It's not an ideal life.

There obviously is the good side.

You come into contact.

With some money so all of it

and I've even stylized it in a couple of places as well.

So awesome crazy people walking about

what's he's kind of getting up and and you know

getting out for the day then I've done

a couple of jump cuts on the same frame on

your guard but it's it's a very subtle type

of stylization because you couldn't push

that kind of quick cutting stylization within the

framework of this track.

Have to be constantly on your

guard against dangers, which

may arise.

And then of course something happens in the tune listen to

this specifically so this is a bit of

musical assignment or connectivity right there. So I

noticed that there was a certain thing that happened in the tune that

when there was a change it went from

repetitious to adding another layer

and then it sounded like it was going up and I had this kind

of nice, you know.

Track tracking shot upwards. I had it at one of those little

them think DSLR things that you put

on you can you can do vertical and horizontal moves

which are kind of cute add a bit of production

value and

I timed it with the music.

ding ding ding ding ding ding

so

a lot of this stylization is

very very subtle. Sometimes you don't you only

need to do one or two bits of musical assignment

and connectivity but within a

sequence, but it's it can be really really effective. You

know, you don't have to have a heavy assignment on

absolutely everything. I'm gonna connect this to this and this to this and this to this

and this this if you're doing a high speed cutting Montage then yeah, it

will be nice but in something like this if you want

it to be very very cinematic less is more

Yeah, a lot

of slow-mo's I think was this one that kicked to death in Bournemouth

even today as a vendor who was sleeping.

Yeah, that wasn't a sign so there's only one or two assignments in

the whole sequence.

There's only questions on that how

we doing?

I think we're good. Yeah.

Everyone still going on about Top Gun.

So let's

look at

a second sequence

and we've looked at this one before I think we looked at it in the last boot

camp. But let's just let's just check in on this

and look at how the tonality created this

sequence the whole idea the premise around this

sequence is a romantic sequence that

we wanted with in cities

at dawn the other documentary that we that we use a lot

of in inside the edit. But this is

a romantic sequence. This is Tony the photographer and whole

intention around this is he loves

getting up at 5 am and going out into the Wide Open

City. So there had to be a kind of like magic like

a majestic kind of tonality to

the music.

here

why am I so into shooting cities in

the morning? Why am

I getting out of my bed leaving the house putting on

a heavy camera bag and going out and doing this?

It's not just to take pictures, but it's to have that.

experience of you know

peacefulness. It's very centering for me.

I'm out here in the big busy City.

Basically by myself no cars. No

people no noise.

It's like being out in the woods in the middle of a force

a calm peaceful.

And it's something that is a rare Moment

In The City.

I just like quiet.

I really like peace.

and serenity

you know give a chance to for your mind to clear

and to

to be able to thank

they becomes a very kind of personal.

emotional

experience

Rapture sometimes really is for

me.

You can philosophize about it all

you want but you know.

Beauty heals

so again tonality

Where are we?

my intention

Started off the selection of everything. So

again, let's break those factors down for tonality.

Okay, so he's talking about X Y

and Z. He's talking about Majesty. It's beautiful. I love

going out this time morning. So to me that inspires a

romantic a romantic

kind of structure or

feeling to the sequence. So let's

talk talk that through. What am I going to select and

deselect am I going to select loads of quick cutting pans

and fast cutting, you know sequences and

you know heavy movement observational

Style. No, I'm not every single

shot again. It's gonna be very considered if there

is pans or tilts. It's gonna be slow. It's there's

gonna be a kind of again a

kind of almost Regal tonality

to

it duration to it. So it's affecting again.

This music track is affecting very strongly

the speed of

the cuts. It's affecting the duration that

we're giving each shot. It's affecting the selection and deselection of

certain elements IE camera movement. I static

shots. I slow movement

instead of fast movement so you can

look at music and it's tonality as though it's

kind of like, okay, I'm seeing the world through the

prism of this particular music track and that's

what's so fascinating about it is that it can help us

design a cutting pattern slow

fast doesn't matter. You know. Now the

key moments is is that I'm actually going in

and you'll see the key moments when the music comes up.

you know here

here

and the idea is is that you know, those are

the key moments that I'm looking for to add flourishes.

I want to I want to connect them and assign

them assign the most beautiful parts and

most romantic parts of the track the

big kind of emotional chord structure flourishes. I'm going

to assign them to the very very specific moments

that are going to elicit

that emotion very very

Our Filly and of course.

The sinks backing all of this up so you

can see there is a kind of delicate balance

between each three, you know,

but can you imagine this this without?

imagine this sequence without the music

Why am I so into shooting cities

in the morning?

Why am I getting out of my bed leaving the house putting on

a heavy camera bag and going out and doing this?

It's not just to take pictures, but it's to have that.

Experience of you know peacefulness. It's

very centering for me.

You see it's nowhere near as powerful nowhere

near as powerful.

I mean, it's great. It's nice, but

You're not you know, your main veining

emotion, you're literally shooting steroids into

the kind of emotional power of the tonality

of a scene and the outcome for the audience when we

got this music on.

I'm out here in the

So here another great sequence to

get us into get us back into the kind of reminders of

the power of musical tonality. And of course,

there's this other one here that we looked at. I think

on the last boot camp. Let's just watch this.

And and we will see how this

is driving the tonality in a different

way and that's examine those factors as well. So let's

let's look at the the tonality of

the of the chosen music track.

Let's look at the selection of the shots and how

it either is selecting or deselecting to

backup the tonality of what we're trying to do with

the music and of course vice versa.

So they're all kind of feeding into each other the sinks feeding

into the shots and the shots feeding into the music

and the music's feeding into this sink and the sinks feeding

into the shots around and round and round they go and they're

all backing up because they're all essentially doing the same thing. Let's

watch this one.

This is different. This is completely new for me.

this kind of exposure

the most have ever had see a Show's gotta

be 200 people maybe 300.

over a month

I keep thinking.

Yeah, my panels are being same Packer station and it's

gonna look good. It's gonna look great and I'm gonna

see it finally up and done.

But I haven't really thought about this can be

thousands of people seeing it too and I'm gonna be

looking at their faces.

You know and watching their reactions.

Thousands of people are gonna see my work before 9:00 am.

What's the

worst thing that can happen?

I don't want to talk about worse things that could happen.

I'm a pessimist.

I'm not an optimist.

Now the worst thing that can happen is our I show up at 7:30,

and there's nothing there.

I'm not Irish.

I've been nervous about

And it's fine. It's gonna be fine.

Let's just do this and be happy.

It's like a dream doesn't exist until I see it.

Okay.

So let's talk through that because that's really interesting

as well. And then we'll

We'll put tonality to bed, but essentially this whole

idea about listen to this track.

so two minute

Music School

major key minor key.

One's happy once not quite right?

So anything when any Jeopardy or

tension is going to be in a minor key and the

opposite in a major key. So what we

essentially want to know from what we can

deduce from the emotion that that chord structure

is giving us. The the something's not quite

right this tension here.

now this has helped Drive the selection of

the shots the action

So I'm looking very very specifically for any

shots where he's tense.

Yeah, because this music track and actually I

cut this I chose the track first and then I

cut the track. Okay, then I cut the sequence after having

looked at a rough cut principally one of the major reasons I

liked about it was the fact that it had

this really big speed change

here in the middle.

Are not in the middle towards the end, but we'll get to that in a minute. So it

it affected you

the camera movement it affected

the duration of

the shots. Now. These are you know, there's a lot going on in these shots.

It's not super fast and it's not

super slow. It's not like any other two sequences. We just saw but it's

definitely at a higher rate of pace of

selection of camera movement of action playing

out in front of the camera. I mean look at it. This is completely

new for me this kind of exposure actually getting

up.

The most have ever had crazy shows gotta be

200 people maybe 300.

over a month

and there's a music assignment. There's our first musical assignment listen

to what's going on in the music and then I paired that

with the the hot water getting poured into the coffee.

It's like oh yeah, things are getting started. Now coffee wakes you up.

There's a kind of symbolism with that.

Zoom out, you know, I keep thinking really in

same Packer station. It's gonna look

good. It's gonna look like there's a lot of zooms. There's a lot of cameras and

finally that's a lot of action going in front of the camera.

but I haven't really thought about this can be thousands of

people seeing it too and I'm gonna be looking at their

faces again quick cutting and what sensual

actions

So this is more of an observational kind of

tense scene. I'm looking

to obviously tell the one long sort of pictorial Arc

narrative and but I've

deliberately chosen.

Shots that have got more movement, especially zooms and

pans and tilts and I've deliberately chosen faster moving

essential action because of the

nature of this track. Is it all cut to the beat and stuff like

that? No, it isn't.

We'll get to that kind of stuff in a minute, but it's definitely

not.

It's the tonality of this

that is driving the selection of what I want and

what what I'm gonna choose and pull out of the

sequence and construct into a kind of picture Arc.

So it's driving the duration shorter duration

more camera movement a bit

more tension any kind

of heavy action from the character and stuff like that. And then

the occasional just the occasional assignment

like I did with the coffee.

Yeah.

Subtlety, don't do it all the time. We don't want to do that if

we give less.

Directors and producers. They love this they're like, oh, yeah.

This person is creatively editorially mature

enough to sprinkle a small

amount a small amount of stylization on

this not going, you know Hog Wild on the

whole thing.

That shows real kind of, you know maturity because

you're not going, you know nuts on it completely.

Thousands of people are going to

see my work before 9:00 am so it

kind of goes, you know.

I'm keeping in all the zooms. I'm keeping the movement. I'm

keeping it quite fast-paced as we're getting

closer and closer and then

this whole idea here, which is really really lovely now as

soon as

Take that away. Just look what's going on here.

And the music is changing this cutting pattern completely because the

whole idea was right? I need a music

chat. This theoretically is Anthony's

Man cave you know, it's his almost his

womb. It's like his basement office. And this

is where he feels safe and all this kind of stuff. And as soon as he goes out to

the biggest exhibition of his life of his career.

It's stressful. It's tension. And as

soon as he steps into that car, I have yet chosen

to assign the camera movement the

camera the the cast lamb to this.

Very very high speed lots of

action. There's nothing going on here in it.

There's nothing not going on in any shop.

Every single thing fast everything will thing compressed

and look at the speed. Look at that compared to that and

we looked at that I think in the last boot camp as well and but

it's good to remind ourselves of a

lot of these factors because they do play a

part in, you know,

designing the tonality and it's good

to remind us. So let's look at these factors the key takeaways we

want to look at is that

music drives creative choices

Now what do we mean by that? Well, we talked about it. It's the selection and

deselection of certain shots. It's the

structure of the sequence the tempo of

the sequence and the emotional outcome of the sequence.

So

If we go if we work backwards and say right I've

got this music track and that I this is the

kind of scene. I want to create.

let's choose a music track that that really does, you

know show that

Signify that. Well what's really

great is that we can use the actual you

know?

Use the music to select and deselect

to say I don't want this. I don't want this type

of camera movement. I don't want to cut this fast. I don't want to you know,

there's an inherent structure within the music that is going to pull us towards

the tonality that we need to create longer

shots all static, you know, like the day

the homeless guy earlier or slower moves

or faster more observational more

action, and of course the duration of the shot. So the

tempo of the sequence it can drive that it can

drive the structure of the sequence as well, which we're going to look at a

little bit more now.

And it can drive the emotional outcome

and that's really really important. You know, I'm always

asking myself always always always.

What I want the audience to feel what's the purpose of this scene?

Because if you get that question, right everything kind of

comes from that, okay. Well, I want the audience to fill X.

Okay. Well if I want the audience to fill

X

Yeah.

What can I show?

Well, I can show these type of shots at this

duration and this type of sink.

And this is the stylization. Okay. What can

I not show? Well, I can't show this

this may be too fast or maybe too slow.

This would be too quick if I started putting lots

of questions in or you know camera movement and

fast-paced action. That would not be appropriate here.

I did an episode in the podcast. I think it was the last one. We did a couple

of weeks back.

and it was almost like this whole point around the

fact that you can actually

take a piece of paper.

And draw a line down the middle

when you're when you're selecting and this applies just as much

to music and the construction around the music

and say right well if I've got this type of scene, I want

it to be like X, these are the things I can show in. These are

the things I can't show in the raw footage. What's the raw footage you

go? Okay. Well, this will never make it in.

Number one number two number three number four number five number the

and that's solidifies your mind into knowing

how you're going to start constructing. Excuse me,

and how you going to start constructing selecting

creating the duration and bending

in shaping around the tonality of the music.

Yeah, if you want to ask any questions.

What do we got here?

Someone said Peter and Kevin the

older in this new footage. Actually, they're younger

because it was shot as a temp about six months

or a year before.

silly question

I see your using two tracks of

the music the dialogue. So my question is are using mono tracks

and build the stereo on the timeline. Yeah. I'm

just using mono tracks.

Usually yeah, I mean

it depends on how they come in. I don't really pay how Beyond you

I don't really pay much attention to any

that kind of stuff. I think it's probably left over

from my Avid days. You know, I use Premier

a lot more now, but you don't

really use it a lot in long-form broadcast.

So, you know in in Avid, it's always two tracks

two tracks two tracks. Everything's two tracks.

And that's just you know, if you look at the design of how I

usually put my my timeline.

It's just methodical. I know exactly where everything

is, you know, obviously V1 V2 V1 is

usually my might be roll.

Sorry my interview sync.

You can see where they was taking over this.

V2 is my b roll.

A one and two obviously sync from the interview A3

and 4 is my b roll sing at five and six is my music

then I'll put like voice over a sound effects anything underneath that but that's

I kind of stick to that a lot really and it

really really helps. But yeah, it's usually two tracks for everything probably

left over from my average days.

So yeah, those are the key takeaways we want we want to

refresh ourselves music drives creative choices selection deselection

of shots.

Helps us structure the sequence the tempo of

the sequence and the emotional outcome of the

sequence.

There we go.

So

any questions

No worries.

Let's move on.

to the next section

Here we go cutting up.

musical structure

So let's go a bit deeper into this. This is really really interesting.

So

when

When I'm looking at a new track.

Yeah, so we designed we've kind of we've had

a good idea about the emotional design of the

sequence. I want to create a romantic sequence. So

I'm gonna look for a romantic tune because Tony is talking

about the glory of this time in the morning blah blah blah,

whatever. I'm gonna create a heartbreaking.

Slightly melancholic tune sequence. So

I'm going to choose a slightly melancholic tune, which is going to drive all the

things all the factors we talked about.

But what I'll start doing is I

will start actually and we looked at we didn't really

look at this in the last one. I didn't think but I will start doing I

will start imagining.

and looking at the musical structure

of the track

yeah, so

It could you know all music is sick cyclical and

repetitive it's kind of like a bit of maths actually.

One, two, three, four, one, two, three, four

or one two three, one, two, three, whatever.

But I will start classifying.

And cutting up and using the music.

as a narrative

so the changes within the music and the compart mentalization

within the music is

a really you don't have to do all the time. Remember, there's

no hard and fast rules in editing. It's all in the

state of flux, but if you take a music track

and you start looking at how it structured

you can start assigning certain

elements within your sequence.

To certain elements and structures within the

track. Now the way you do that of course is compressing and looping and

stuff like that that we looked at in the last one. But this takes it a bit

further. This is a bit more of a high-end kind of thing. And this

is the way I would I start having a creative imagination

structure in my head.

You know, I start playing around going. Okay, that's one chunk. This

is another chunk. This could be for this that could be for that

almost like your mathematically painting.

You know, you kind of, you know areas within

the track. I'll tell you what I mean by that.

so

let's listen to this track. It's just I don't know. It's like

45 seconds.

Here so

it's

a lovely little track. I really like this one. It's it's

a kind of like

I think it was offered sort of but it's called Lost in Suburbia.

It's it's like a kind of dramedy like

Track I think it was often album called.

a library album from Universal called had a

great name like

Everything was going great until something went wrong.

I'm like, okay. I know what that album's

about. So

it's got a nice tonality to it.

And let's just look at the structure.

So

Two three one two,

three four, then

it changes.

Four three four. Okay.

We've

got a Sprinkle in a kind of flourish there.

So this this Mark out some of these interesting things

that are going here.

That's interesting to me.

Right there because that's where the key changes or the note

changes or whatever.

here

And then that's where it gets interesting again.

Let's make that different color.

And then we got a classic scenario here. Now. This is this is a

really interesting scenario. So obviously look at the shape of the waveform. It's

a very different type of the part of the track. And then

again this chunk here all

mathematically and cyclically, correct.

These are three different parts of The

Narrative of this track. Now I could start

this is a really good way, especially in

documentary in reality TV in entertainment

shows in corporate films,

you know, these little flourishes online content

and stuff like that light-hearted news pieces

pretty much everything even drama can

have this kind of start. This is

a start and stop. I'm going to stop I'm gonna say

something and then I'm going to start a start and

build up again.

Put a different one on there, which we use an orange.

There you go.

There's three really nice interesting areas of this. There's

a kind of initial area here. Then it

changes key here or changes the chord

structure. I should say here.

And then it changes again here.

And then it does a classic kind of a classic

kind of I'm going to stop have a

few Beats.

And then when it comes back, it will come back

a lot stronger. This is Classic. This is a very subtle wet

and subtle way of explaining but this is classic trailer territory

promos and trailers are all

about this type of stuff and we're going to look at some more of these kind of tricks in

in a bit.

violins come in

It's really building. The tune is building. This

is giving me a reason to do something and build something

stronger. So if I had movement that suddenly

comes into my scene, this would be where

I'd be putting it. So I'd be taking the structure of

this track from an emotional and a temporal

point of view and I'd say, okay

well everything in my track I could use this track to

structure my sequence and that's one of

the really powerful ways that we can get into.

Creatively for for high-end

work. I'm going to actually use this track.

To you know, I'm going to use the repetitive cyclical mathematical

structure of this

track. One, two, three, four. One, two, three,

four. One, two, three, four, one, two, three four Bang.

One two, three, four, one two, three four, you know and so on. So

I've almost got like three parts of the track here.

I've got this part here. Then I've got this part here. Then I've

got this part here. So this triggers a whole bunch of interesting thoughts

in my head. It's like, okay. Well this 15 seconds

here. This could be My Scene setup.

Yeah, this could be okay. I'm gonna establish

this the wherever I am the location the thing the

whatever I'm doing it doesn't matter what it is, you know, it's all structures.

Now after I've done that this area here might

be an area I could introduce a character talking.

Yeah, and this area here. Okay, the

action could start if there was something

along that basis, you know.

So these are three really interesting parts to me.

And they trigger in my mind a potential way to

structure raw footage. So if I've got 20 30 40

minutes of footage, I'm not okay. What's going on? What's the Arc of

what's going on in here?

I'm going to use the music to do all the heavy lifting

for me.

Because maybe the music's not that great.

Sorry. Maybe the track the the

Raw footage isn't that interesting or stuff

like that? And I may want to overcompensate with with the

music and give it meaning even the most boring music. Sorry

for which could be cool in.

If it's cut well and we look at that we looked at I

think in the first boot camp with the paper Printing we'll look at that sequence again

and go into it more deeply because there's

a lot more stuff that we didn't go

into on that that really illustrates

this point.

So as an editor

who loves music, I'm looking at key

changes. I'm compartmentalizing and

breaking this down into three and I'm looking at, you know

specific things that I can cut this to.

So let's go a bit deeper.

so

I've actually put in some title blocks.

Now this is one way this is a kind of graphical.

a graphical illustration of how

you know, my mind works with music and how a lot

of editors minds work with music. Let's watch

it.

Or watch it just like this then we'll watch we'll watch it full screen

first.

All of these are possible edit points.

Blah blah

blah blah character sink starts talking here.

Classic documentary or drama structure here and here

comes some b-roll or maybe some actuality.

You say

so I'm using and

that was a key one there. I wrote character sink

short end lined facial expression. So what

does that mean? Well when you're going on one of those like outs,

Where the music Don't stops and then you start let's classic trailer

territory. You want a short pithy line

a short funny line or shortcut line or

an angry lion or you want a short line that sums up

the emotional intention of the scene could be angry could be sad

could be Jeopardy could be whatever could be a facial expression like

a reality TV show like

Then you can start again, but that's a classic way

to think about it right before that structure in the end.

Get something short.

Yeah, now look at let's just look at it again. But this

time let's look at it.

Let's look at it.

on the timeline

section 2

Section 3

section 4

section 5 the character

sink blah blah blah blah blah blah blah blah.

Now you can have the character talk and notice

as well. I use the music to

do the change there when the actual chord structure

change.

should be a

market here as well.

Let's make that that weird color wherever those.

Yeah, that doesn't show very well. But anyway, you know

what I mean?

Let's make it a little let's make

it.

Red again. Why not?

here so

that is a really good way to start

cutting up and Imagining the musical structure

and how it's going to fit around your sink your

images your scene introduction, you know,

it could be fast could be slow all of these things

don't really matter in terms of Beats and stuff like that,

but it's overall narrative structure. So we're

going to set up the scene gonna have a character come and talk then we're gonna embellish

it more and then maybe depending on what's going on

in the music and depending on what's going on in the scene. Something will

trigger the next stage a change in

the music a change in the

footage

yeah depends on what's going on. So if I look through my

raw footage and I say I cable I've got all of this stuff here.

And there's a definite Arc to this or I have to find an

arc.

I will start grouping together certain elements and putting

them for you know, within certain elements

of the track and aligning them but creating little

mini arcs in each one of these to use

the music as

narrative as narrative structure

music has its own narrative and there's a very very

kind of in this track bump. So

it's very pleasing to the ear.

Yeah, it's very pleasing to the air.

So what would this look like if I was going to

cut it? Well, I I've cut a version of something here.

Let's look at it.

Actually, let's get rid of that.

Right 5am Vauxhall in

London. This is where our main Hub

is for London the southeast

vendors we turn up to help unload in

a minute.

hopefully fingers crossed

you don't want to film that. It looks like it's a posh carbon. It's a piece of s***.

so

Look at that structure.

that is

using

the musical structure

of this particular track

to create order

a narrative within the structure

of the shot that I mean. That's it's it's watch it

again.

Just put that

in I was kind every two two one

two, one two.

Right 5am. There's our soul in London.

There's our character sink.

And literally when I was prepping this I did this

first I went right? Okay, I'm going to use this

I didn't do this. I didn't cut it like this and then work backwards.

I actually right I'll just find a piece of sink

that's like this and it's that duration because I'm using the music to

do that to create the structure. Not

the other way around.

Rise 5am Vauxhall in

London. This is where our main Hub is

for London the southeast

B-roll, b-roll. B-roll vendors will

turn up to help unload in a minute.

Hopefully fingers crossed and there's your short one line

film that it looks like it's a posh carb. It's a piece of s***. That's a

comedy one liner from Pete Posh carb. It's a

piece of s*** and then you can go into a big high then

that's when the movement comes in.

So this is when it will go into a whole section there where

you know, they'll they'll unpack it all and all

this kind of stuff. I think we use it. We use a bit of this later we

get time we're gonna do a live cut with all this kind of stuff.

but essentially

that's that's the kind of key things we're looking

for.

when we start breaking down a track

and use the track.

As the structure so that's just let's look at

those key takeaways music is cyclical. It

goes in Cycles repetitive cycles and

it may go up and down and change from minor

key to Major key or may slow down or may

speed up doesn't matter. It still goes

in Cycles.

Music has got that mathical mathematical.

Structure which is really really important to

us. It's this ability for us to you know,

like we looked at in the last

Boot camp you can pick up this.

You can pick up a bar structure. One, two, three,

four. One, two, three, four. One, two, three, four, one, two, three four, and mathematically.

It will be the same to the frame.

If you pick that up, or if you duplicate it command C and V

and just duplicate it can't paste across

the timeline unless you unless you've got the actual frame

wrong.

It is mathematical. So it's like it's

gonna be so, you know nine seconds and 12 frames and

then the next one is nine seconds and 12 frames

and nine seconds and 12 frames if you want to compress or you

want to Loop

But the really good idea for this is to start

looking at tracks.

Music tracks like a narrative itself. I often

find out it again. It doesn't happen all the

time.

It's very important to make this point you don't have

to do everything like this.

And but variations on

on this kind of theme of really really

pleasing. Why is that why do audiences love

this well audiences love this primarily because

the

sense of order

that comes about through music is

so much stronger than the sense of

shots and camera movement

and stuff like that. There can be just as powerful

but there is an inherent kind

of like pleasing nature that we really really

should obey and and just piggy back

off the back of it, you know, hijack this it's use

it now like anything we're gonna talk about this idea of

variation. We shouldn't be doing it all the time if you're

talking about long form and say, okay, I'm gonna

do every single scene like this. No, you do like one scene one

scene four see nine seen

14 13 something like

that. So this idea of variation. We want to

very the roller coaster that we're going

to go through because when we're designing stuff across a

whole

You know 10 minutes 30 minutes 60 Minutes 90 minutes

of hour and 20, whatever.

There has to be variation in that.

so the you know, the thing I always say is like

he wouldn't put too fast moving tracks dance music

in a montage next to each other. You wouldn't do

that.

You would.

You would change tone and

change tonality usually.

But we'll get to all about all that in a minute. So

this idea then that

we're stealing the narrative structure.

of the music

to

really build the scene around the

music is incredibly powerful, you

know the structure it can structure the scene elements

that look at the scene elements. We've done here.

So this is the setup there.

This is the sink.

There this is the b-roll there. This

is the the sink again and

the pithy19 and the comedy one-liner and then you're into

you know, you're into the movement. So we

got the heavy movement when the track goes up each one

of these divisions each one of

these changes each one of these elements within

the music is very much based on.

This one two, three,

four five.

Yeah, each one of them is based on.

The idea that there is a narrative building within

a music track. It's going up and it's going down

and it's stopping and you know,

and that is incredibly pleasing for the audience.

So let's watch this one again because it's a good one to watch.

I'm looking for yep.

here

Right 5am Vauxhall in

London. This is where our main Hub is

for London the southeast

vendors we turn up

to help unload in a minute.

hopefully fingers crossed

you're doing a film that it looks like it's a posh carbon. It's a piece of s***.

There we go.

Don't forget ask any questions if you

want.

Excuse me. I am just having some water

there.

so

let's just do a little recap so far we have talked about.

The tonality of our music track the tonality

of Our intention.

Yeah.

the tonality of Our intention based on

the emotional outcome of the

what we want the viewer to go through, you know.

If we set a destination we can work our way

towards that goal. And that's really really important.

And it drives everything really

does Drive everything from shot selection to

shot deselection to duration of shots to you know,

all of stuff we talked about the fact that whether it's

got camera movement in or whether it's not got camera movement in and

stuff like that.

Then we looked at this idea that

actually, you know music can create

the structure so many people.

I put my hands up here.

It so many editors really do

let the the music Drive the

structure of the actual scene and that's incredibly important because

we are in this cyclical nature. We're in this mathematical equation

where we can pick things up and identify things

and duplicate elements within the music so we

can compartmentalize stages within

the narrative. Yeah, and that's really

really important.

now

when we get into like, you know certainly like

B-roll, sorry, like trailer and

promo territory.

This is where it becomes really really interesting because

We're looking at.

Quick moving elements really quick

moving elements and changes of Direction.

So if you let Ted classic trailer a classic trailer is

all about changing the music and getting as many

of these different emotions is a condensed version or promo of

something. It's a condensed version of a

longer outcome.

and so one of the things we need to do there is it's very

very likely that

you know the music track.

Will not sustain that many changes of directions.

Yeah, so you want to go from Fast to slow you want to go from slow

to medium or medium to slow or medium to fast or whatever

you want to change direction this whole idea of variation and

keeping the audience guessing is very pleasing

for for that.

So one of the key things that we like to do is we

like to

and we like to

change tracks mid-seam

Now this is a really really nice way of.

showing again

some high-end techniques around kind of creative maturity when

it comes to music if we can.

Change tracks mid scene. We are actually really

really creating this idea of a roller coaster.

We're going whoa up and down then changing direction

going slow for a little bit then climbing up

like that.

And this idea is very very powerful. So.

We need to know how to have the ability to change

tracks midsane

to completely change a direction and there's

a couple of different ways we can do that. So one of

the first ways is what we call the long dissolve.

in the in the audio

in the music Sorry, so let's look at

this.

Now I just done a tiny little reversion of

what we just see but you'll notice.

The I did it underneath his sink and this is

the idea of distraction distractions a major

part of what we can get. You know what we can do.

so

let's look at it and I'll talk through this.

Right, it's 5am Vauxhall in

London. This is where our main Hub is

for London and the southeast.

Lenders we turn up to help unload in a minute.

hopefully fingers crossed

you want to film that looks like it's a posh car. That's a piece

of s***.

Right. So do we see do we see that? Let's just analyze that

because this is a really nice way that basically hides.

The idea that you've changed to track.

we're going to come back to this factor of

the idea of

Resting the ear. I think

we mentioned it a little bit in the in the last boot camp. I can't remember we

just touched it. But the idea

of resting the ear is really really important.

And the best way to rest is to take

out if you're going to change the direction in the music track zoom

in on this a bit more.

One of the great things you can do is you can

hide it underneath sink. So the

long dissolve is a really really nice way

of.

Hiding change now. Let's just solo this

now.

As I said coming in here.

right

So what have I done here now? This is quite interesting.

Again, there's a bit of assignment here. There's a bit of resting the

year. There's a common there's a couple of different factors

here which are really kind of nice and worth studying. So I

take in a long duration. I mean, what's the

duration of this this here? We've got

what

Five seconds five and a half seconds somewhat. Well

the six actually bit longer

because we've hidden Epperson b-roll about seven

seven and a half seconds something like that now,

if I put this in

and I do as long slow dissolve.

The subconscious part of the audience's Mind Over

a long period of time and in what's what's the dissolve on

this? What's this? I don't even know what just really long. It's like

yeah, I mean I could probably put it even here. This is

like a five second dissolve. So five times 25.

What's 125 frames dissolved if you're working in power?

Now that is such a gradual decline.

That the audience is it audiences don't like shocks for

a reason.

Unless it's a horror movie or you're starting a new

Montage or something like that. If you can have a shock design it,

there's gonna be a reason for it, you know, like yeah

in a in a horror movie or something like that.

and

it's funny actually because my son when we watch a movie.

He's like nearly 10. And the first thing he asked me

is.

Is there straightaways he calls them straight aways and they're

like, okay. It's like when a monster comes out or

something like that because he doesn't like straight aways.

So it's interesting watching him where

there is a straight away. I don't do any nasty straightaways.

By the way. I don't put any like, you know, it's age appropriate

but that's the way he classifies it

in his mind, which is really really interesting which is a shock. It's

a it's a quick change to the subconscious to

create an illicit a specific dramatic

outcome.

Yeah now the opposite of that.

is

A gradual change in fading out

over time and that's what we like and it's

not actually that long look at it.

It's like five seconds six seconds. So the

mere fact that we're gradually going out. So what's

what's going to go on in the audience's mind here? Well, first of all, the audience is

gonna not hear this music track gradually gradually

gradually every like 150 frames

and Pete or the main the characters

voice is becoming become

more prominent and a classic thing is to leave

at least

You know two or three seconds where they

can't hear anything.

So you've got a resting of the ear. This is a resting

of the ear space here. Yeah.

now

those are the components that made up so one a very long slow

Fade Out a long dissolve long cross

for whatever you want to call it dissolve Fade Out blur, you

know all means the same thing.

So

that's the first component.

It can't be you couldn't do this.

See how jarring that is. Let's watch that right? It's

5am Vauxhall in London.

This is where our main Hub is

for London the southeast

now here's the thing you do get get that

on YouTube documentaries and some of

the kind of cheaply shabby put together kind of cable stuff.

A cinema documentary drama high-end

reality editor will

not change music that quickly.

It's too too distracting. You do see it

in a lot of low rent television.

Late night staff cable stuff from

from editors who are coming up and they

don't understand the kind of you know, the feature film

type or high-end documentary type structure

of when you would cut how you would cut music

like that. So it's much more pleasing much more

busy, you know, one of the things you see on YouTube. I see often

sometimes I'll watch I was watching a boxing documentary.

About who's it was about Sonny Liston or Muhammad Ali and

it was this obviously this fan-based, you know,

it's an amazing archive.

But it was this fan-based structure. It

was about 20 minutes long and and it showed and had

loads of really good archive and stuff like that, but it was obviously done

by someone who was okay editing but not like a

pro, you know hadn't it was not doing it

for a living but it was okay and this is what YouTube is full of

and what happened was they changed music

all the time like this.

And then what that did is it gave no sense

of punctuation of starting and ending,

you know, you can't say the same thing over the

same time in the same tonality for going on all the time. It's the

this is the vocal equivalent of what they're doing because then after

a while that's a bit much.

You know stories and arcs or all about going up

and going down about speeding up and slowing down like

a roller coaster. This is the best way I can describe it

and music theory and the structure of Music Theory

is no different it really is and that's what

different you're going watch some some, you know, admirable attempts

on YouTube and and

cutting a kind of long-form documentary

or maybe a longer promo or something like

that or a kind of local branded content thing and

it will not have these elements in they won't know how to

start and stop and go up and down and and use

some of these techniques how you know that you

would find in the Pro world that you

don't get that a lot. It's just okay continuing continuing

and then I'm gonna change direction and then I'm

gonna change direction and I'm gonna change direction and change tenpo and change this

and that and it's just that after a while you do

not have that cinematic feel and that's what we're

trying to do here. We're trying to create that cinematic feel.

You can have a cinematic feel in reality TV.

Because it's well sharply designed in

its breaks in its patterns and

it's roller coaster nature.

So yeah, it's a really interesting discussion actually,

so a long slow dissolve and then what

you can do, so that's the two so that's the two components underneath sink.

Sink is great because it's so you know, you wouldn't

just put it down underneath some b roll.

Because you're distracting a lot of what editing is about.

Is like a magician? Hey, everybody. Look at this while I

do this while you're focusing on this everyone. Look

at this the rabbit coming out and then I've got this and

true because you're not looking there, you know.

So this idea of that is is

the fact that because the audience is is gradually

more intensively as

the music goes out in their Consciousness Pete dialogue

is becoming more of a factor

in their consciousness.

then it's going to be you know, it's going to be

it's going to be easy easier for us to quickly

drown out and rest the

ear to rest the ear and you

want to rest the year for you know, at least a

second maybe a second and a half and then probably not gonna for

London they're not here Hub is

for London the southeast now so that's

number two number three underneath sink long slow dissolve

and a nice

resting of the ear space what you're

coming in. There's there's a fourth thing we can do that just

to punctuate it really really well and that is find something

that you can hook the next piece like

an assignment you can assert you can

hook the next piece of music to come in so it comes in

strong with really big strong connected

nature between what's going on in

the sink and pictures and that's what I did here. Look at the beat track go

into the clunk this lorry.

Then going down for a

timed it in with that.

So, you know, this is this is stuff that she's you

see all over television all over Cinema all

over drama all over music videos and

stuff like that and it's a combination It's

a combination this idea of assigning

and I've actually done these the blah blah and

I timed that

with the

with the zoom out lenders will

so look at the different tonality in these as well.

Two three four bum nice

and light sort of Pixie cartoy

type thing.

Slow down different genres different Tempo different

key but the combination of

those factors where we can go in and go right long slow

dissolve fade it down underneath sink not b-roll.

Do a really long dissolved there.

Keep at least a second or second and

a half of ear resting space

so that the tune and

it doesn't have to be long you have to be like three or four or five seconds. Yeah, you can

do that break it up and stuff like that, but that's a different thing. But this

is the bare minimum that I would say.

To to kind of attenuate the year to silence for

a short beat and then after you've done that just to

put the, you know, really nail it what if

you can come in afterwards and do some

kind of connection to create Visual

and musical grammar straight away. That will

be even more pleasing to the audience.

As we turn up to help unload in a minute. So let's watch it

again from the start because this is a nice one.

Here we go.

or watch it full screen

Right 5am

Vauxhall in

London. This is where our main Hub is

for London the southeast

as we turn out to help unload in a minute.

hopefully fingers crossed

doing a film that to look like it's a posh car, but it's a piece

of s***.

well

Yeah.

those people are

Setting messaging and saying they're in stitches with Pete going

don't want to film this is a real proper Cockney.

What is your let's have a

look. What is your reasoning for choosing to have music behind

the sink?

That's a good question. But essentially

If I've got music behind the sink, I've kind of

probably got a bunch of action. I it's

a combination of a lot of different factors. First of all, what's the emotional

I want to elicit

secondly have I got a lot of

action going on in this scene is

a lot. Pictorially I have to get through. So in this

scene I'm setting up there's a paper delivery

and they're basically gonna go and do so

it's like half an hour 40 minutes of filming and the

whole point is they got a you know, they got a get the

get everything unpacked and then the Lori's gonna drive off.

It's like this military operation every Monday morning at the

big issue magazine.

the papers come from the printers and the the homeless vendors

come in and so

the whole point about having Heavy Music sequences

that allows me to compress.

Through the use of maybe Montage

but not necessarily Montage just that a a

it moves things along. You know, it's like

you know Alfred Hitchcock said

Dramas, I might not

be a hundred percent. Correct this quote but I'm paraphrasing drama is you

know life with all the boring bits cut

out.

Well, a lot of seeds are like this as well. They're like You

Know music allows us to cut the boring

bits out and compress down an enormous

amount of action over a period of time that would

otherwise be quite boring. And if we sat and watch the

the actual raw footage of you know this scene

everyone would be falling asleep.

Even in the most amazing high-end kind of documentaries and

Oscar winning this that and the other and you know bafta or

you know, Emmy award-winning,

you know, entertainment shows exactly the same so music

is something which is so pleasing that

we like weaving it underneath and going

up and down up and

down music and then you mix it down for sink. I just

do it really roughly. You know, I'm an

offline now, but essentially I will have the

when when there's b-roll and there's no one talking it will

be like minus 25 to 30.

DB roughly

when and you know this can vary two or

three DB or 4 DB either way when someone's talking I mix

it down to minus 15.

Or minus 12 something like that. That's basically a rough mixer

then I cut.

If there's someone talking I'll get the blade out or the ad edit depending

on which program you're in and I will just you know, it's just assume

that that's there.

I will take that down to minus 27

and then I'll adjust.

Apply it usually like a 30 frame dissolve.

So smooth blah blah

blah blah blah blah blah.

Yeah, and these ad edits are going

to be obviously timed.

To the interesting stuff that's going on in the music. So I'm

just going to add them in randomly. I'm going to

assume them to the duration of the actual.

track

hopefully fingers crossed

you're doing a film that to look. Yeah.

We're still coming up to the two hour mark. But yeah,

I hope that answer your question.

The air resting

space could also be a couple of bars from the

outgoing music with them.

I wanted off silence.

yeah, I mean the whole thing is is that

what you can do here sometimes as well

as if you've got a specific amount of

you can actually

do that as well.

Hub is for London the southeast

So you've still got some silence there, but you're

bringing the track in earlier or this one in later. The

whole point is you rested the ear?

Yeah.

And there's a gradual slow dissipation of

this particular element, which is

music which is very powerful in the consciousness of the

audience. So you could go down like that

take out and depending on what's happening in the tune.

I mean, it could be something crazy could be like a fast beat in

here and it might be a bit too much. So each track will

have its own kind of identity and you can play around with

that. But essentially, you know, it's what you like this right? It's

5am voxel in London. This is

where our main Hub is for London the

southeast

and that's quite nice because it's only a

if we just listen to that.

What we're doing?

Yeah, if you

Now that doesn't sound great. But if I put a dissolve up there.

It sounds like it's building game because don't

forget he's gonna be talking at the same time. So that actually could be quite nice

right? It's 5am Vauxhall in

London. This is where our main Hub is

for London the southeast

So yeah, you got some wiggle room

there with what you're doing at least.

You know might be nice to come in depending on what's going on. But it

also might be nice to just come in crash in on a

beat based and make

sure it's timed.

Yeah, it's nice.

What do we got here?

We got any other questions.

I think we've answered them actually.

Not a lot of questions today.

So we can head into a break now.

and we'll come back and do some more in a bit, but

This idea that music is cyclical

that music is mathematical that

we're looking around to create structure within

the music like a narrative

is really really powerful.

And it can structure scene

elements, you know with the music so it's

a very very high-end way

to look at tracks and divide them up and

going okay.

What's changing here? What's flourishing what's

going up? What's going down and are there associations within

the structure of my raw

footage that I can place each one

of these in so I'm compartmentalizing certain pictorial

arcs within the footage and

then trying to match them into areas

in the in the

track

so yeah, it's a really really.

It's a really really lovely way to start doing it. Now.

We're gonna look at some other ways to change tracks mid scene. There's a

couple of other things that we're going to look at that after the break. But

yeah, well we'll do a should we

do a where we 447 should

we come back just after five London time.

So in about 15 minutes, how does that sound with everybody any

other questions? Let's have

a look if we've got any final questions everyone's

Normally have hundreds and hundreds of questions, but everyone seems to be silent today.

That's okay. You can answer them all in a bit. But yeah, we'll

call it a break there for about 10-15 minutes

and I will see you soon. And we got loads of cool stuff

coming up in a bit. But if you feel free to answer and ask

as many questions as you want. All right, I will see you in

a bit.

okie dokie

There we go.

We are back. Ladies and gentlemen.

I hope everyone's having a good time. So we

are here for part two.

of the

masterclass

and

let's see if we've got any.

chats

not a question, but more of an anecdote. I worked on

an MTV reality show where the music track would change

about every 15 seconds or so with

small breaks of Silence in between good.

I suppose this is because a lot of was happening

was emotionally in the scene, but it

was stressful to score. Yeah, I

bet it was and but also as well I would say

this is a good question around know your

audience. MTV is very very young audience.

So there makeup is

going to be very much like the the way they watch stuff

is very kind of like condensed and it's like it's like

really high octane.

But yeah, you'd have a little break of Science in

between to just reset the year and then go bang onto something else.

But yeah, you really are funneling.

And force feeding emotions with with

with shows like that with especially

with with broadcasters like that. They the

attention

You know span is very very small in younger people

and the older you go that

you know, the the more you know.

The less music or the less emotional music or the

high speed and all that kind of stuff. So there's a kind of direct correlation in

a lot of different factors.

Around camera movement speed

types of music and stuff like that and the ability

to you know cut.

Much much more depending on who you're

audiences. I mean, I think I talked about this on

the last Boot Camp or on a podcast saying but I

remember seeing someone had actually charted.

Gone through and like charted the

average amount of films Cuts per

film.

Going back a hundred years and it just went like

this.

Right up to you know, it's just like a

kind of real kind of linear

curve strong linear curve that the faster, you

know, the the every year we get faster and

faster and faster and the music gets faster and the cuts get faster and stuff

like that because the attention because we're taking in so much stimulation.

Yeah, I mean I wasn't really

I was too young for the original MTV generation, but

you could see the speed and kind of action and

and and it was a real challenge to to

mainstream broadcast TV, but that was

before my time in the in the 80s.

So yeah all very interesting stuff.

Great, everyone. Sounds like they're having a good time. That's

awesome. Fantastic. So let's let's carry

on we've got another couple of hours and I

want to go through some other some other cool

stuff with you a lot of other cool stuff. Let's look now

at where were we so we did the long

dissolve and we did that kind of like, let's bend it down. This

is how we can change direction that is classic trailer.

A variation on this

this cutting pattern this technique is you'll find

that in a Marvel trailer, but one liner

boom, let's change the music.

Music Fades down or comes to a crescendo Bank goes

into a music. Now. This is the key thing about cutting

pants. And this is a really interesting thing to kind of come back to is

that we may see this in a

documentary on a reality TV show the combination of

what we just looked at there.

This slow fade down over sink leaving

a space and then punctuating a shot

afterwards. So it kind of

establishes visually in the mind that you

could happen to it could be in a Marvel and it could

be in a an indie film a Marvel film.

It could be in a promo. That is a cutting pattern.

That is a paradigm which all you

have to do is change the music to faster to slower

to medium change the

character turn them into you know, superheroes and super

heroines or whatever and doesn't matter. It's the

Paradigm that matters.

So you can speed this up or slow this down you can

put in really famous people or observational

kind of you know,

like like this like this documentary about the big

issue the homeless magazine in in the

UK and all around the world. Actually. It doesn't matter we

created a paradigm. So the whole point is is

that we want to create that parrot that we want to keep that that kind

of technique in our head and we can apply that to

anything we're cutting. It's a really nice pattern it

goes the same with all of this stuff. All of these techniques can

be used faster slower certain

types of footage faster footage

lower footage camera movement non-camera movement characters who

are well known characters who want shot day shot at night. It doesn't

matter. This is just the structural paradigms and

that's what's really really important. So when we look at

a technique like this don't imagine it like, oh I

can only use it when I've got this type of footage that's you know,

kind of crazy really

are looking at techniques and paradigms to

find similarities in whatever we're cutting, you know,

it was very confusing once when

I was talking to a production manager who you know production managers in

television are usually the people who

put your CVS in front of the director.

And they were saying to me. Oh, okay. Well, you know

have you cut this type of shirt have you cut have you seen

this show?

I don't know. I haven't seen it. But you know.

It's fine. Just you know, just send me a copy of it, but if you haven't if

you've

If you haven't seen it, how do you know how how to cut it us? Well, you

know editing's a paradigm your your

creating.

Stylizational narrative based technique-based

structures to

a bunch of raw footage. But essentially the raw footage is

very similar wide shots medshots close-ups

pans left pans rights characters talking characters getting

an emotional characters getting this characters talking slowly character talking

fast.

What makes editing editing is the

assignment of our particular narrative

structure now that includes music

and includes all the stuff we're talking about here. We have to start looking

at these as the as they're kind of like templates essentially

that we can replicate and and

And and throw out

into any kind of firm film that we're doing the highest. I've

used techniques musical techniques

in reality TV. And the cheesiest type

of reality TV. I've used the same Paradigm in

a really really high-end, you know, multi-million pounds

feature length

documentary for you know a big Studio.

You know and that's what we can all do so don't don't feel

intimidated at all by the fact that you know,

it's the footage that we're cutting is not

as expensive as you know, as as

it could be, you know.

What do we got here? I hope

I had one of the just I thought sometimes on production

music sites you can get.

Music with stems which is cool for

Designing the score any thoughts on that.

Yeah, I mean stems are

nice because you can take the different elements. It depends

stems a great because you can you know,

you can take a chord structure and you

know, we were talking about it. I was talking about it with any

last night about Top Gun is that one of the things they

did is that you know, there's the very

famous track in, you know,

the very famous track in the first danger zone and danger

zone on the first movie and

what they did was they slowed it down and

orchestrated it and just pepper that throughout certain elements

within within maybe

some of the dog fight sequences. So that's

that's an individual element which you can take out

of the whole just to kind of give it a chord-based structured

signature.

And you can return to themes and stuff like that. So stems are

good. Yeah, I like stems but

you know it all you know depends on how

much time you've got and stuff like that and you know, you got to look look

at your schedule but stems are great because you know

a lot of the leading and

a lot of the leading

Production music houses libraries they're very much.

Like they're putting them on there. They're putting

individual elements because people want a very things or they want to come

in with just the strings. So we've designed a sequence

earlier on and it's the full track but then

in four or five scenes time, we might want

to come back with just the strings for that or just the beat for

that or just one of the elements. So that's why the individual elements

are really really nice. So, yeah, it's it's always good.

And there you go.

So cutting patterns. Let's look at

another one. So

long dissolve is a good one. Let's look now.

at

A loud noise or an action? So we looked

at this sequence. I think a couple of boot camps ago. Let's look

at it again. How do we change without doing

a long dissolve? Well, there's a number of different ways

to do it. But let's look at this one.

Can't wait to get outside. Can't wait to get outside.

so

what's going on here?

so the point of transition

I was just like, okay. Well, I want to change this but I

want to change from you know, listen to the tempo. These

two tracks are completely different.

So the key thing for me here.

is

If I'm not going to use a slow dissolve, I maybe I

haven't got any sink at this point in the sequence.

I can actually do a pretty harsh cut.

And do it based on a loud noise

or a big piece of action within

you know?

Within the sequence so it could be someone clapping

or Screaming or anything like that or a car

crash or you know in an action move you're saying but

I did it particularly this watching slow mode.

I did it here.

So what's going on here? Well, I identified this so

we've got two completely different tonalities here.

Very fast Bam Bam Bam Bam Bam promo kind of

sports cut. Now look again. This is the Paradigm thing.

We coming back to look at this. This is a just this is

just the guy

who is photographing but the

high octane, you know, this is a photography thing.

It looks like a sports.

And you know Sports promo.

So this high this high octane thing again. It's

like, you know, it's a paradigm. So we've

got to get that into our minds.

And then we've got this click.

Now so what's what's that's the triggering point

that I'm using to.

Change the track. So there's a number of different factors that are going

on here. Now. Let's

just mute this.

So number

one.

Triggering point you need a loud noise

or a piece of action now, it's not really a big piece

of action. I mean look at it. It's tiny.

So I've ramped it up. You can see the audio now. I've just

really taken it up and it's a click. It's a short noise.

It's not a big long noise. It's a short

noise. That's quite small and crisp and

clear but it's loud and it's short.

Yeah, so that's the first thing I'm looking

for something that can be like bang like a finger click.

You know, that's how you change something quickly now,

that's the first thing that's what you have to find. It doesn't

always work.

Principally because you have to be very

very clear. So that's that's fact one. It'd be very very clear about.

What's going on in the music?

So let's just listen to what's going on in the music.

And here we get into the cyclical nature of the track.

Let's just

count. Let's just count on a kind

of

the bar structure why 2 3

4 1 2

3 4 1

that's what's happening. So it's coming in on

the one. It's the the first frame.

of this new track

and it's the start of that roof that that kind of refine in

the track will be coming in.

on the absolute last frame before it goes

back to

The new the new one two, three four, you see

so it's the very end. So let's just check that you see

So it's the it's just about to start the new

one, but it goes into this this.

It's just about start another bar, but it goes into this new track. So

if we match framed it you would

see you would absolutely see that.

loud anyway

So you have to the whole point is?

Is you have to obey the structure

of the music underneath the

click?

Let me say that again. You have to obey the structure of

the outgoing and incoming bar structure

while you're doing the click because

there's no where to hide with this.

It's like a there's no fig leaf.

You know, we're not distracting the audience with.

you know with

getting someone to talk. There's absolutely no way

to hide. So the music has to be perfect underneath.

Listen to it again.

and that's the way you can look I mean

you've changed key you've changed tone. You've changed Tempo. You

could get two more opposite tracks, which is the lovely thing about

this but because even though you really really

changed and gone for a completely opposite

track. The reason it works is because you've

you've obeyed the musical structure.

You know, it doesn't always work, but it's a very

very powerful one if we can get it work and then we want

it we want to do it.

Underneath a clap or something short that

we can get away with.

Yeah, that's what again.

And a camera click was perfect.

Can't wait to get outside. Can't wait to get

outside.

When I'm out alone shooting loneliness is not something

I've ever crossed my mind.

I like that feeling of isolation.

There you go.

So

just summarize that if you're gonna use a loud

noise or an or an action.

Make sure it's shorter.

And make sure you obey the

cyclical nature of the bar structure

in the outgoing in the incoming one, two, three,

four. One two, three cut.

not one two cut

there has to be you have to let the phrase go to the

end. That's the most powerful way to do it. That doesn't sound like

oh actually it sounds deliberate and it sounds

we've been you know, pretty brave in the way that we're gonna do

that which is very very cool.

And so yeah, I really like that one. It's really

good. Now. Let's just again keep an eye

on our tonality and keep an eye on the differences

in between how this musical

structure these two musical structures have driven

the actual type.

And choices across so many different things within

the music so actions now

it's

not all on the beat. It's not all on the

beat at all, but you can see that it's it's a lot

quicker.

And I'm going for essential action

here.

So everything there's no fat in the bone at all.

Something's going on. It's either movement or something's moving

across frame or there's a move up to some action

or something like that. It's very very action or

essential essential action

or camera movement or cut heavy.

Because it's driven by the structure of the music.

And you know this idea let's get back to this idea of variation

again. So variation is very very important. We don't

want to cut all the you know, if we were doing so this

is part the same documentary.

Where are we?

You know look at this.

Really on the nose really on the beat.

I am not going to introduce a scene like that again for a

while. If ever I will

do some variation on that. Absolutely. I

will not do this again. So I

always look about it. Like I've done

that now, I've only got one chance what next am

I gonna do, you know?

so yeah, it's like

don't give the don't show yourself to be

a one-trick pony, you know as they say we

want to be.

We want to have variation and of

course we could we've got lots of different variation in the music

and the way the music's designed. We've got lots of different elements within it

within the shots. We've got the speed of the cuts. We got the camera movement

we can cut on and off the beat we can cut

with movement no movement and stuff

like that. So

All of these factors because this is so high octane

this sequence here, even though

it's like really kind of like cinematic slow

shots, you know.

It's it's what's going on the speed

duration action and

camera movement that makes this sequence because we

are using the track to elucidate and

structure that whereas what's coming up here. Look what's

coming up next. Is there

any movement? No, how long do the shot when

I'm out alone shooting loneliness is not something I've ever

crossed my mind.

Okay, that one's cut to the beat but barring that it's not.

I like that feeling of isolation. So what

he's saying is triggering.

in me the emotional

construction of the music. I'd like to see

And that in turn is triggering the duration of

the shots.

the amount plus or

minus of camera movement plus or minus

of

Any element, you know?

Pans, whatever zooms so that's a really

good dichotomy. That's a really good kind of, you know.

Signature of what?

And how we use music to drive the

elements within what we're selecting in deselecting.

You know, we're then within a narrative structure.

Which is very cool.

So there we go. Number one the loud noise. Number

two the sorry number one

the long disorder number two the loud noise or action. Of

course we can it could be anything but we've this particular case

we chosen a camera click.

Let's move on to another one.

Number three is what?

We call Ace what I call a sink interrupt.

Now we already saw this in the in the latter part of that other

sequence that we looked looked at, but it's a it's

a quick cutting in.

Of some sink and it's usually got to be fairly short.

So let's watch it.

A sink interrupt and look at the music change.

When I'm out alone shooting loneliness is not something

I've ever crossed my mind.

I like that feeling of isolation.

And I think it resonates

with me due to my past.

As a young boy.

I had lots of time.

out by myself

It's really exciting.

here

So, there we go.

Now what makes this one work and not work?

Well, let's look look through it.

again to a certain extent we are

Obeying the laws of the music but let's

just look at the look what's going on here. First of all, it's very

very quick. Now, this is really good promo territory

if you like working on promos or trailers, it's really

exciting.

Just look at the transition out by myself.

It's really exciting.

So this kind of Acts really?

As a six base like

we looked at before but it's different because we're

not actually going in and we're interrupting

straight away with sync. So it's a

fast car and it's a hard cut. It's a harsh cut and the

reason it works is because a is short

And it's like a kind of slap around the face to the audience that

wake up.

and B again, we're listening to the

we're listening to the

structure of the music. So let's just listen to that.

I'm expecting

to hear change on the next frame.

Just like we were on the previous one. Something's

Gonna Change. So it's almost like I'm taking you

right up to the edge of the track and then just as it's just about to cut

I'm gonna go back to something else.

So again, we are looking at

the logic of the music the cyclical nature

of the music and going there there boom kind

to something else change direction and we're using

a sink interrupt a small piece of sink

to change that.

And allow for that punctuation, so there's

two factors there. The second fact the third factor

I would say is based around what music track

we're coming in. We're not going to come in.

On a sink interrupt scene with something. That's really

like

Slow and kind of like hard to establish and

stuff. Like it's got to have some kind of element in it, which

is quite forceful.

You know, you couldn't do it with the the subtle body

track that we had, you know way back

here.

That's just

too subtle.

It's more of a drone.

so

it's a big strong start. So you

kind of like slapping the audience around the face a couple of times

excuse the expression, but you're going

it's really exciting you

see.

So let's watch it again one more time, and then we'll see.

look again, and let's pay strict attention to

Tonality any kind of assignments you

can see any kind of durational factors

within the difference between the music any kind of

camera movement. You can see any kind of

zooms crashes all that kind of stuff. So

let's look at it from a kind of hole and look

at the effect as well keep paying

attention as well to the cyclical nature of the

music because right at the point of the cut when we do the sink interrupt

Bang,

It is going is the next frame is going to be the start of

the next bar the start again of the bar of

the music.

When I'm out alone shooting loneliness is not something

I've ever crossed my mind.

I like that feeling of isolation.

And I think it resonates with me due to

my past.

As a young boy.

I had lots of time.

out by myself

It's really exciting.

So we can see some assignment work there. We

can see, you know, the speed

of the cuts. We can see the difference

between the two and how the tonality is

created across these

two very very different style of cutting but also

we can see the the music comes

to an end is just about to start again and then we have

a forceful beginning here with a stronger

cut and you know, what's this duration here? I mean, it's nothing,

isn't it? Was it for the sink one second

the four frames absolutely nothing. So it's

really really good and we like that.

And I would always look for a short

pieces, you know go and look at your documentaries go and look

at your promos go and look at you know, some good primers

going to look at some reality TV shows go and

look at some trailers. A lot of them will be based

around changing direction with short pieces of

sync and stuff like that.

You know, it's really really interesting to look at.

Let's watch a couple of sink interrupts. Actually. I've got

one from the Tyson documentary.

Which I want you to look at. So we've got

a sink interrupt in between two, you know,

the whole the whole point of this was of this the last

part of this documentary was that

You're having to we were having to you know, the whole

race of this pigeon documentary starring Mike

Tyson. It was like competing against

three or four different other. He had Mike Tyson

had his team then he had this other team and this other team

and this other team and they were having to

it was the big race day after the whole show that done all

the training and stuff like that and it was you know, it was basically this long

Action sequence and it's like if you show this long

action sequence Let's Go full frame on this

but if you show this long action sequence and you

don't vary it and you don't stop and pause. It's

just going to be like a 15 minute action sequence

and that would be too much for anyone to take even if

it's shop beautifully, even if it's you know, the angles are

great and the sink is great.

The audience will not like that.

You never see that in really good action movies. You've

never see this in really good documentaries, certainly

action-based documentaries, you will stop and slow

down and pause it out. And this goes to

the whole thing that we were talking about.

Around this idea of variation, you know when I'm looking at

a score for something.

Yeah, when I'm looking at a score and designing a

score over 60 or 90 minutes or 30 minutes

or even 10 minutes, you know, you know, if you're doing like a corporate

film or stuff like that.

You need to fit the whole idea of I'm going to

start off with it with one kind of tonality and introduce the

subject and then I'm going to come in here and I'm gonna either

go up. I'm going to go down but I'm never going to be the

same. I'm constantly going to be moving around all the

time. So that the audience feels like there's

something fresh feels like there's something new and the stylizations

are use and the techniques are

use

to cut are going to replicate that that idea of

variation this roller coaster and we'll

see some of that one. We're going to look at some scene Transitions and

variations in a bit. So how do we come out of

one scene and into another you know and and

things like that but this scene here,

you know, we'll look at

a couple of different parts of it, but you'll see

that what I've done is I've created a you know,

a structure around the three or

four compart mentalized.

Scenes of broken down into many scenes over one

scene. I've compartmentalized the action that's

going in across each one of these

and then I've diver done a scene into a sink interrupt

or a loud noise or action down or something

like that or a long dissolve or something like that to break it

up to space it up and to launch into a new one.

You know, it's like

you can't do a hundred meters Sprint for two

miles, you know, you just fall over you go

to 100 meters Sprint and you're gonna stop and you got rest you

go to another 100 meters Sprint, you know that kind of thing, so it's

about

Knowing when to do that and how the techniques

that we use. So let's you look at

sink interrupt for for the

scene here.

And it's coming up right here. What's your full screen first after weeks

of training and please excuse the rough voiceover to

those who didn't see here this explanation. This

is an offline cut. This is unmixed and

it's got the director's voice in it. So it's

it's rough, but we're offline so we don't care

about that at this stage. That's all online and done all

later.

After weeks of training the most

pay attention to the music nearly arrived.

and seconds

There you

go.

75 pigeons are flying 130 miles

for many of the young birds. This

is the furthest they will have flown.

Race deadline is in just three

hours time at 11 o'clock.

The winning times will be decided by the fastest average speed.

of first three birds plot by each Loft

what I hear them Birds got away. It's gonna

be a bad day for us. No, no, right.

As young birds confront the elements.

races battle with their nerves

so

let's look at that in more detail.

How did how did I structure this? Well, let's look

at the point of change. You know, that's always that's always a really

good one and we get rid of these tracks, so

first three birds

This is what I hate. I hate these damn Birds Gotta Wait.

So let's look at the obvious stuff that's going on in the

pictures.

We're coming to the end of this. So visually three

birds. I found a nice.

Well, it's not exactly a close-up but a zoom out

to give some scale because we've seen a lot of the close-ups here.

But the last shot of this mini sequence before the sink interrupt

is you see them. We see

them from there for Mark from our our helicopter where it

was and we zooming out so we get some real

idea of the scale of how far they got a CO.

yeah, and I've timed that with it that

three birds not by each Loft

and then we're doing the exact opposite. So

we're cutting. We're in this green area here and then we're

in at the top of we're going to zoom in to Mike's

lot. Here's got

away.

It's gonna be a bad day for us. No, no, right and

luckily enough.

Okay.

He wasn't saying any of this obviously. This is the audio I've stolen underneath

here, but that Mike is on the roof and luckily

he's looking pretty stressed. So that was a bit

of nice timing there.

And of course, he didn't say anything stuff.

And he didn't even say this either as well.

I just cut it in here.

I can't see his face move at all. So this was all constructed

heavily out. Nothing.

I think this may even been after the race had ended.

I'm not sure I can't remember but none of

this. This was all created as a paradigm structure

for me. So by me.

So zoom out

to wide shot to see scale finish music.

Stop pause insert the

insert the the next

shot wide shot zoom in so

the complete opposite zoom out zoom in wide shot

to White shot bit unconventional. But the the reason

I like it because it's so completely different. Look at that.

Almost like Countryside Suburbia Urban, you

know really kind of like industrial as

it were like industrial States and all

this kind of stuff. So they looked different enough for me to

cut like that. And then of course I zoom in

And all of this is heavily constructed. I've just butchered

it out of nothing and used it as

a sink insert.

But listen to the music, right? I'm bringing I'm

having that what two seconds.

Maybe two seconds of sinking to UPS attenuating the

ear to silence and then I'm doing a slow dissolve up

like I did with the with the last one when we changed that variation

and I'm bringing the slow dissolve up in here.

To bring the next track in no, no right into

that. And again,

what am I coming in on just to add that

punctuation? I'm coming in on a strong piece of

sink. Oh, sorry strong piece of music a beat

in the part of the music and a very strong.

A very strong shot. You know, we're we've got

that we use the same technology on this show that they used in the planet

Earth Series. So it just come out that point. So we

were you know, we were almost could see the pigeons faces which was

pretty amazing when we got the right. I got the Russian spouse. Like wow, this

is really cool because you the technology was pretty amazing. So

in order again to reinforce the

musical and visual grammar in between

the sink insert, so the

sink interrupt I came back in very very strong

on a very strong piece of and the

start again. We're paying

all the laws.

One track ending or appearing to end sink into

in sink interrupt and then big strong

change to a new track.

and

you know impressive.

Impressive. I definitely save this.

This specific shot for that point to have it. It's most

impact there. That's just watch that transition Again by the

fastest average speed.

First three birds we watch

it on the full screen.

The winning times will be decided by the fastest average

speed.

of first three birds clocked by each Loft

What I hate I hate these damn Birds got away. It's gonna

be a bad day for us. No. No Mike I

young birds confront the elements

Here we go.

So there's a really nice sink interrupt.

Let's just review the factors at play.

Ending one track if I can get some kind

of visual connection between the outgoing and

the incoming and in this case. This is perfect zoom

out to zoom in.

Then I connected the emotions of the sink interrupt with

what was going on on the on the on his on Mike

Tyson's face with his

hand movements in this gestures. So that's number one

number two.

Obviously, you're putting a short piece of

sink in there. It's what how long is it this time?

It's quite long eight seconds. So it's like a mini break

in the scene, which is nice, but I did end the

track, so I ended the track.

And it bleeds into there. Then you

got the sink into wrapped and then comes in

about here. The music track comes in around there.

It's gonna be a good and of

course the strong track that comes in and the

impressive shot to really really emphasize the

change in Direction.

Yeah, so yeah.

Really nice way of doing it.

Again, look at the structure of what I've done here. This

is all built around the structure.

But I added some extra layers around here the musical structures. I

added some extra layers. I did a kind of countdown and

I also did a kind of I've got

some drone in there just weeks of training the

moment has finally arrived.

I got 10 seconds 9 8 7

6 5 4 3

2 1.

So that created a cutting pattern we obviously

got a bit of a golden gift there. The guy started counting

down from 1098. So that's great to

check in with all the different players got

this guy. This guy you got these guys. You got

the pigeons. You got them. We got on

you got people looking all going, you know, everyone's checking

in. So you're going back and forth around

in this circle to just see

and obviously what am I choosing because the music is is

tense because the whole scene is supposed to

be tense and because it's a big moment. I'm choosing

shots.

The the Mary with the music I

stressful tense looking around

what's going on? Even the pigeons I

try to get pigeon shot.

where they were like

all that, I mean they got those weird kind of beady eyes.

So they always look kind of like what's going on.

after weeks of

train finally arrived. I got 10 seconds 9 8

7

6 5 4 3 2

So every shot has meaning every shot has

meaning in there based on the musical structure and based

on the intention of the scene.

Again a little break.

So we've got the strength of the the the 1098765 all

321 and then little break little like a half a

second and then bang straight in again.

But that what we talking half a second 17 frames.

Yeah, just over half a second.

There you go.

Right. Let's look at another one. So you see the

factors that are a play there.

The three four factors that are at play now. Let's look

questions. Someone's asked.

Do you link sings together using these techniques or do

you need more punctuation between scenes as

a good question and I would say very it.

Very as much as possible because the

more you vary it the nicer it will be and it

won't be the same thing over and over again. Like I've

seen this before.

And that comes into scene transition

and variation.

Which we'll look at in a bit,

but let me let's have a look at one more of these.

Let's look at another sink interrupt.

So this idea on a longer set

of duration. If you've got a set of action which goes on for a

while break it up with a short piece

of sink because then you can change direction you can change cutting pattern

you can change and the music is going to be a big driver of

that music music music music music slow music slow music

or medium music and you can actually go fast

to fast in extended cutting scene,

but you're going to have to change the music dramatically.

So you may not change the tempo. You may go

slightly up but you'll change the key. You'll change the

orchestration and stuff like that. Like what we do here. So let's

watch this one through it's only about 40 seconds.

That's the young birds confront the elements.

races battle with their nerves

It's like an adrenaline rush. I can't

stay still I put the chair there, but I can't sit in the chair.

The only flyer his car is Joe Green. He's got

a secret race day.

I don't eat until the birds arrived.

So it does me good. I stay more Focus.

My mind is more. Well, he's

going

So that's a nice piece in

there. Let's look let's look at the construction around that which is

really really interesting.

So on a race

day up, he's quite heavy

track, you know, it's like heavy on

the drums really heavy on the drum. So I need something. Let's just

look at the musical taste between them now so the only

fly his

Just like a Joe Green. The reason I chose this track,

but it's confront the elements.

It says battle with their nerves.

It's like it's got this kind. The reason I chose this track

was it was it was a kind of like mechanical like a force of

nature pushing on like boom boom. It's

like an engine and the birds are moving closer and closer and

closer bam and nothing's gonna stop them. You know,

that was the musical intention around that come

on bang bang. It's like an unforgive,

you know, unforgiving or unrestrictive

force that is moving closer

and closer to the Target. That's the pulse that goes through it punch

punch punch. Listen to that. I can adrenaline rush.

I can't stay still I put the chair there, but I

can't sit here and then we're cutting to

the beat here and doing a bit of assignment as well, but I

can't sit here.

The only flyer whose calm is Joe Green. He's

got a secret tact.

IC so I bolted the end on there boom. So

it kind of ends I don't think

it ended like that in real life. I just I basically looped it

or compressed it to find the ending so there was a

that we've ended it and then

we can come in for a short piece of

On a race day. I'm fast. I don't know.

I don't need it. So the birds are right, but can you hear the music?

I'm bringing it in now, so I'll tell

you how I did this.

I'm bringing in the music now. But again, I'm

coming in on the fast Beat Again the big strong B, the

two piece of music are very aggressive

and kind of you know, promo e

and action-based but they are distinctly different.

But look what I'm doing here. I'm feeding

it in there over a little bit of b-roll. It

does me good. I'll stay

more Focus my mind even here building

and building.

What is going and then

that's when the beat comes in. So essentially what I did was.

I got his piece of sink. I got the beat and

the music where the beat the music came in and put it in there and then

peeled it back and did a long slow dissolve

upwards until the beat comes in.

Does everyone get that?

So what he's gone, there's the

beat the beat comes in there. Yeah, whoops.

So I'm coming in on the beat. So I've inserted the

track there, but then underneath I will pull the

music pull the

The track back and it won't have a beat in it because I've started

on the beat. I'm gonna work backwards and then put a long slow dissolve.

And introduce it halfway through his sink interrupt. So

let's watch that.

On a race they are fast. I don't know.

I don't either till the birds are right.

It does me good. I stay more

focused.

He's going.

Young birds have been flying.

There you go.

So a nice set of

a nice set of techniques there the long dissolve.

Giving us the the resting here.

The loud noise or action?

Yeah.

Whatever sure.

and the sink interrupt

So we've looked at Short we've looked at medium terms

but the whole point is is what really makes

all of these work is what is the logic is

that is going on at each one of these

times with the music because a lot

of them you have to obey the cyclical nature

of the bars of the music and if

you don't get that, that's why it doesn't work in nine times

out of 10.

I would say.

and it's you know, it's it's

it's a really nice way to

Really show off to be honest you if you're doing promos, if

you're doing trailers and stuff like that and change direction. But

also you use it in long form as well all the time. You know,

it's it's really really nice. So if you've

got extended action going very long period of time you thinking oh

man, this is just getting a bit too much change direction change

music, but make sure you you've got

a piece of sink in the middle or you you know,

and you're obeying you're either ending the outgoing and

the incoming or starting on something new that's really

really strong and you've got a big arresting kind of

shot or

thing that you can link to the first beat.

Remember when I did that scene, I just the guy

This scene here. Where are we?

Yeah.

So I timed that Southeast.

Hub is for London the southeast

I know. When was it. There's the next one this one.

Sorry.

Right 5am Vauxhall in London.

This is where our main Hub is

for London the southeast

And that change of a direction is really really strong if

we can link it in some way and assign it

to something strong within the within the

elements of the shop.

There we go.

How we doing for?

Yeah, let's answer this question. Do we link scenes together using these

techniques or do we need more punctuation between the

scenes? Well,

Let's look a scene transition and I

kind of look at these this idea.

We're reinforcing again the idea.

Of variation. So let's just I will take

opposing types of tracks.

You know because the difficulty is when you're doing a trailer or you

know, corporate things a couple of minutes long you may have one

track and that's it. But you may have a

couple of different tracks in there and you maybe going if it's longer if

it's a 10 minute 15, 20 30 60 90

to our whatever.

and the difficulty is is that not only do you

have to find a music track with all the right kind of bells and whistles and

changes and starts and ends within one track that's going to

fit this but it also has to

be like a it has to fit like a domino or

a kind of you know, like a piece of the you know,

a kind of what would you say like a you know,

it has to fit perfectly.

With the next track and when I say perfectly it can't

be too similar. It can't be at the

same two Tempo structure or it can't be

the same kind of tonality or chord structure

or stuff like that.

So there's the difficulties that pulling in and

out over and over time is really really

important. So here's a nice little

thing I put together.

end of scene

So can we see we can see those two

really go together?

Ones are kind that's just describe them. So, what's this?

It's kind of friendly, it's nice.

It's got a little bit of a melancholic tone around it, but it's

kind of cute. It's not sad. It might

be a little bit retrospective.

Yeah.

stop pause

now something something is different. So something's moving.

Something's changing. There's a

there's a difference in the tonality and there's a difference

in what I'm trying to design there. So I'm going from

sort of pastoral kind of slower kind

of tempo with this first

track then don't don't and I'm

coming in with a much more kind of

like, oh something new is starting now, you know listen to that.

That sounds like something new is happening something intriguing something

interesting could be anything like sciency. It

could be a cityscape, but

we're learning something new. So it's

not a reflective scene whereas this is a reflective scene.

So it's not just the tempo tone and genre. It's

the intention and meaning, you know, because this

sounds like a kind of retrospective scene to me, then it

may not be retrospective but something like that if you know what I

mean.

Q could be a little family scene, you know a mother

put in a child to bed or family out having a picnic

and a really nice time like a family kind of

piano-based

and you know

a really nice wholesome kind of experience and then

all the next one they get up. Maybe it's

the one of the family members one of the kids exams

all they're nervous, you know early start

going down getting their breakfast. I often do this kind

of visualization, which is really handy, which is you you

start structuring stuff in your mind.

And you go how you start listening to tracks in your mind you go what

kind of scene with this be nice to what kind of the transition you

know, so say it's a family film and and

I would just I would do that. They go out on a Sunday.

And they have a nice family picnic. I've just made the sub. I didn't think

about it before and it's really nice. It's really

sweet and got some nice pictures of them the kids playing around.

You know with butterflies in a field or something like that

and they're eating food and mums there and Dad's there or whatever.

And then they walk off last shot into the distance and the

sunset.

But the next morning is the teenage girl or

the teenage boy is it's there

exam.

You know, so there's three kids one's four one's

eight and one's 14 and that

was the family thing and then mum and dad but next morning, you

know Claire has to get up or Ben or

whoever it is the 14 year old and I have their exam.

to establishing shots morning

Wide shot of Claire's bedroom she gets

up.

Checks the date checks this checks that you know, and it's like it's that

kind of visualization in tonality

about what would work here. What

could I what kind of scene with this be good for?

You know and then of course you're doing it backwards. So

you're planning the transitions between scenes. So

if I've got this here and this here.

What are the intentions of the scene so you're not only have to think about this intention

and that intention and that's going to construct, you know,

drive all the construction choices around there and then here but you

also go say, okay. Well, what's

what's the transition in between these two

musically because the the musically

will be one of the biggest drivers of that.

I just did a little.

Structure that we what we did on one of the previous

ones just to just to give you an idea of how I potentially cut

this up.

Think dip down.

So you can see what I've done there.

I've created The Cutting pattern and the potential content that

could go in in here just off the top of my head not

unlike they do pre-visits for

Action sequence in films.

you know for Action sequences and films with the specialty big and expensive,

they'll do it all in, you know, pre-vis beforehand whether

that's live-action previews or or

You know kind of you know

cgi-based previous, but

I'm just putting in titles here.

You know because this would create the kind of cutting pattern so

that there we go. It's a b-roll of the kids playing around

in the family eating their food.

And then you know mum says, oh we had such a

lovely day right before the exam tomorrow morning. It

was so beautiful that we could all come together.

And they walk off with a sun going down there in

silhouette Fade to Black.

Location wide shot the

house. Maybe it's a big aerial shot at dawn.

Maybe so this the big area shot the city.

starting the scene

Then the wide shot of the house they're in

so more detail.

Again, this is all getting created by the structure of the music.

Right see one shot. That's maybe her getting up.

That's another shot of her getting up or getting out

the door.

Detail shot maybe looking at something telling me

something key about the scene.

You know, maybe that's she's got up a bit out of bed and

she gets her piece of paper out that says exam 9

am.

I'm really nervous about the exam today. I've been studying for months blah

blah blah blah blah.

You see and that is deliberately that

is the and here we come to the kind of.

Let's come to the cheating factor of this in that.

A lot of editors a lot of editors myself

included use music

as a structure.

For a lot of their scenes because

it's easier and quicker now when

you're in a Relentless march to get through 100 hours

of footage in you know, five or six

weeks and come out with an hour-long documentary or show

whatever, you know, or an entertainment thing or whatever.

You are looking to cut Corners. So you're looking to

you're looking to really really

use any opportunity to make

scenes be constructed quicker. And

that's why a lot of editors use

music like we've

been kind of, you know talking about gradually over the over the

course of the boot camp today is they

use Music structure more than

anything else.

to help Drive the structure

The Narrative within the music and

That's a classic one that we just seen there, you know

a really really classic one.

Play it for full screen.

it

You know and some variation on that is what you

would find in a very very very high percentage

of reality shows documentaries.

entertainment shows

corporate stuff lifestyle branding videos

online content really good

high-end stuff will be we'll look at that scene transition. Here's

a culmination or a building up or a

crescendo something or a resolution of something.

And then let's change direction and go somewhere else. You know,

let's look at another one.

This one's kind of in progress. I was going to maybe do some

cutting.

With this one here.

So this is again about the big issue film.

And it's introducing some of the the homeless characters.

Who sell the big issue magazine the magazine that

the home itself? So I was just sort of going through

a lot of this and using the music

again to illustrate the construction of where

I'd Place stuff. So I wanted to show you a kind

of a Half Baked one.

And and the transition between the two I

feel

better now, I'm selling the issue. At least I ain't got all going Tesco's and

they could choosing sandwich well.

But one thing

I do will say to you. Yeah.

I don't care about making a sandwich at Tesco's

because they're not gonna miss the island. Yeah.

People can look at the homeless and just see sort of a mass

expect. You know, everyone's got drug problems. Everyone's got alcohol problems. Everyone's got

mental health problems, but underneath all that. There's many many Fantastic

stories that come out.

That's what I like. I like the meat in different people every day. I

like listening to their stories, you know and and interact

with Mom that sort of person

It's a challenge, you know every day as a challenge, you know,

you've got guys that come through have got low self-esteem. You know,

they've got nothing they're on their ass. They haven't you know, they've got the clothes they

stand up in so that's the challenge. That's the challenge of motivating them

keeping them on board and that's what all the staff do.

I think is that it's the greatest job in the world.

So

This is kind of like half baked. I basically created

the structure within the music.

and then I started putting pulling

out some selects of Pete with

various members of the of the

of the homeless team, but let's look at what we're

doing here. So this guy here, he's a

kind of like, he's a cheeky chappie. That was the whole

point because he makes a joke. So it was the end of this scene and

it was

I don't show the music's. All right, but it's good for a temp is

temp at the moment. It has to be high octane to low octane

because we're going into two different tonalities here.

So the tonality is kind of

fast and kind of like, hey jokey and stuff like that because

he's makes a joke about how he's going to go into he you

know, now that he's selling the big issue doesn't have to go and steal food

from a supermarket.

But then he makes a joke, you know.

Tesco's which is a British Supermarket if anyone who doesn't

know.

You know.

But I'll tell you what, they wouldn't miss it because they got

loads. So he has the you know, you cut you it's the

it's the cut. It's the kind of you know.

The classic joke that he likes to say and you at the end and we will

always looking for a place to end and punctuate it

with the music on a one line like that. That's

great. And then

So very quick cutting around the

transition to accentuate the choice

of the music and the choice of the music is, you know

reflective of what's going on in the scene and then it

stops Fade to Black. I mean, we probably could

even try without Fade to Black actually.

And look at the distance look at the difference as well.

You know look at the difference in the establishment there.

In what we tried to do with

the with that's driving the tempo and driving

the scene transition because we've gone from kind of

like funny call-ish.

Tongue in cheek fast-paced to Sentimental, you

know, we want to get this we got Peak coming

in now and it's one of the resolutions to his motivation and

he's like look not every homeless person is full

of drink and drugs and and all this kind of stuff. It's a

hard-hitting documentary which we cut for inside

the edit.

And he's like, no, you know.

It's his reasoning about why he why

he does this incredibly difficult

job where they often get threatened with violence. And

you know, there's a lot of people like Soldiers with

PTSD and people with mental health problems

and stuff like that and the whole the whole documentary is

about a week with these men and women who are

on the front line dealing with the the volatile

homeless people in

London who pretty much everyone else

has you know, wash their hands with you know, the government

has the councils have the police have the homeless

Charities have and stuff like that. So they're kind

of like we're gonna do the job that no one else wants so that requires

me to think and go. Okay. Well, I

need some emotional music that's gonna allow

me allow the audience to connect with

this character. So a

best way to do that a really good way to do that is

a big transition.

into

sentimental room, you know sentimental and

heartfelt music

You know, we do this a lot in cutting patterns as well. Is that a good

way?

To really juxtapose. Something is to

show massive change at the point of impact

that point massive difference at the

point of change.

You know, so let's just watch this again. We

do it with pictures, but we can also do it with music as well. You literally

going from one extreme to another and really taking

them down like from fifth gear to first gear.

Or what s*** full screen. I feel

better. Now. I'm selling the issue. At least I ain't got all going Tesco's

and Nico cheese and sandwich well.

But one thing I do will say to you. Yeah.

I don't care about making a sandwich at

Tesco's because they're not gonna miss you are like yeah.

People couldn't look at the homeless and just see sort of a mass

expectant of everyone's got drug problems. Everyone's got alcohol problems. Everyone's got

mental health problems, but underneath all that. There's many many

Fantastic stories that come out.

That's what I like. I like the meeting different people every day.

I like listening to their stories, you know and and interact

with him on that sort of person.

It's a challenge, you know every day as a challenge, you know,

you've got guys that come through have got low self-esteem. You

know, they've got nothing they're on their ass. They haven't you know, they've got the clothes

they stand up in so that's the challenge. That's the challenge of motivating them

keeping them on board and that's what all the staff do.

I think

is that it's the greatest job in the world.

So there's that kind of transitional point

and that's really really

You know, really really important.

you know look at

Where do we look at? Yeah, look.

So we kind of touched on it. I think in in a previous

boot camp, but let's just reinforce that now look at this. We've

done it with pictures here. Luckily. We've

got a change in the music track, but

Look at the speed and tempo of Tony getting

up here that I've crafted.

And then he gets out but there's just this one

long shot and

then a musical assignment.

Slamming at the door to the changing of the music and then this creates

a new cutting pattern.

Yeah, that's a dramatic reason now. This is

a really interesting. Let's just watch this because it creates a and

it's important to watch the timeline.

What's the worst thing that can happen?

I don't want to talk about worse things that could happen.

I'm a pessimist.

I'm not an optimist.

now the worst thing that can happen is our I show up at

7:30, and there's nothing

I'm not Irish. I've been nervous about

so that is another way a kind of variation visually and

what we what we were doing just then which was

Showing extreme change at the

point of extreme difference at the point of change

now. We did it with the music but look we

did it with the pictures here. I literally stayed on this one shot.

situation

For 11 seconds, and then went into a succession

of shots that were you know, very short one second one second

11 one second six. So

you've got like 10 times longer literally

and that's a kind of a key

thing that we can use visually

And we can also use it musically.

Because it's it's a key fundamental Paradigm

within editing which is at the point.

Of change show extremes that could be

on duration of shock could be there's no camera movement in that car

shot. There's no camera pointing down there.

You go. There's no camera movement there.

It's a static shot and I'm left it long for 11 minutes,

and then I've used.

the

Slam of the car door.

as the reason to start the music

but there's extreme change there 11 second

shot to one second shot over 10 times longer.

And you know,

you can see understand now the theories around what you

would do in the music, but this is not a music change. It is a

music change, but it's a music change within the track which is

so interesting and that's primary one of the reasons I chose that

track because it did actually change. I was

like all this starts off, you know in a kind of

minor key in a little bit awkward and it doesn't feel nice but then it

goes wow into this big Crescendo, which is great.

So whether you bolt together two more tracks or whatever. It doesn't

matter. It's like it's the intention of what you want to do

musically, which will then drive The Cutting

of the images.

so that's a

picture-based version that's backed up by the music

but a picture-based version of

well, where are we what we

got here, you know extreme. I mean, it's pretty

extreme here.

Wow fast car

but one thing I do will say to you. Yeah.

I don't care about anything the sandwich at

chess guys because they're not gonna miss the island. Yeah.

We could even try to dissolve there. We could just try we try

hard cut. Let's see what happens if we like it.

Yeah.

See what you like type in and tell us

what? Yeah, so we like the first version or do you like this?

or version 3

Dissolve nice long one see what we like see are

like, yeah.

Which do you like? Let us know?

We got any votes.

Yeah, we got quite a few on well, all three sides. Actually. I'm not

a fan of cross dissolves. I

must admit. I don't like him. I'm not a fan of them, but that's

just me. Maybe I saw some.

Awful film when I was a kid and it imprinted.

In print to too many, you know dissolves on

me like all I don't know maybe watching too many John Woo movies

in the in the 90s.

every single shot at a

And it dissolving it didn't it was kind of crazy.

I kind of like that one actually. Whoops.

Yeah.

Yeah.

anyway

What else we got here?

I stick to the first never a fan of dissolves, but I

quite like the punctuation of the first option number two.

I like number two like the first version. Yeah, it's quite broad

range.

What else we got that?

Do you structure your doc so that sequential scenes have

a different tone so you can add variety.

Sequential scenes have a different tone. No,

I don't think sequential or non-sequential scenes.

You know my more reflective scenes.

Have a different tone. I think the

the tonality is based on

the content of the scene as opposed to the way it was

shot.

You know, you could have two sequential

scenes backed back to back.

He certainly get that in a lot of observational documentary.

And one could be shot very very different.

It could be shot really really fast and there's a lot of action and

stuff like that, but the next scene will be

a sequential scene

But it might be a lot slower.

So I'm driven usually by the intention of

the scene the scene for me is all about

what's truly going on here.

And what is the best way

to portray that?

So firstly more than usually I'd

say a very high percentage of the time I'm looking

at music.

You know, I'm looking at the music which is

going to really personify this.

Having come up through reality TV. I probably

rely on music like a lot

more than because it's all about music in reality

because in a lot of reality TV, not a

lot happens. It's pouring so you over compensate

with the music.

And so yeah, I I

really I'm really driven by

by music and and it's

actually quite hard for me when I made the transition

probably about as it was probably about 15 16 years ago

in from reality to

documentary.

Because it was so, you know, hey, I'm gonna

spoon feed and really shovel the emotions down

your throat as an

audience member.

and that transition of about a year

was all about whoa Paddy a

lot of the the kind of

Feedback I got was you don't need to play music here or

you don't need to go so far still, you know, just calm down

on the tonality of the music bring it down. Just it

needs to come in the background you're too in in the

audience's face. So I was using reality TV

techniques within documentary, which is it was

just a bit kind of tabloid really and certainly documentary

or drama and stuff like that and drama

docks and stuff like that is it's subtle if

you're going into high end. It's subtler and tasteful,

you know,

The low range you go the less subtle it

is and the less ambiguous and the less

tasteful really so it depends on where you

want to go and what you want to what you want to do.

So yeah.

Good question, though.

so

yeah.

big Transitions and differences in between

changes take me up Take Me Down.

You know, if you're gonna cut something in one style at one end

use music to reflect that and then as you go

into another scene take me and show me something different. Keep

me guessing keep me interested, you know,

because we are dealing with hundreds and hundreds and channels and Studios and

streaming services and YouTube and God knows

what else we have to be intelligent in

how we can do that music's a massive part of that.

What else we got here? We've done

that one in progress. How we doing for?

time

we got about 35 minutes. So let's look at some more real life

examples.

One from the Tyson dock again and let's just look through what's

going on in these this is I just want to look at a couple of different things

from a couple of different things that I shot.

And let's just look at the punctuation Within the

Music. Let's look at the changes. Let's look at the

tonality. If there's any association, it's kind of bring a lot

of this stuff together and look from all

of the things that we've looked at over the

three boot camps and look at the totality. Look

at the you know, all this kind of stuff and let's see

how we can spot that. I'm doing this stuff

and obviously so then you can go off and do it.

Birds and one for the fastest speed

of the club. So good luck.

And made a best man win.

So what's going on there? Well.

We have the end of a end of a part before the

ad break for the commercial break and I've used one

particular track birds and one for the first this speed of

the club. So right there we

got sink interrupt haven't we? So we got a slow dissolve

down the speed of the club. So good luck.

And made a best man win.

And then we bring in the final remain revealing of

the same tune and drag it over the end and then

the graphic to this thing that comes out. So they

go to commercial break made a best man win.

And of course it's time for the graphic, but of course, yeah again, this

is that idea of variation but punctuation as

well. So music is so good at

adding the extra full stop, you know period

Point as you say in in the US, I

think that's what it's called, isn't it? So

I you know your user a

tracker tracker track, you know coming towards the end of the scene, especially

if there's an end of a part and you'll slowly

dissolve it out put a sink interrupt and then that

will allow you to skip to the end of the track and do

the final refrain of the track.

As as a good buyer to the scene and and in this

case a goodbye to the part.

And then it's race

day.

So this is all good. What's going on here? Okay, so I've got

some assignment musical assignment instrumentation

here in the first shot with this. What

is it a hornet or

what's this instrument?

Okay, so timed it with.

the sunrise

nice bit of visual connectivity

Show me another one.

And then I found this is that

the it's not the Chrysler Building is it I don't know what which building that is

in New York, but I found this because we

went out and shot a dawn in these helicopter

shots. So because

it was race day for the Tyson film.

So I didn't cut to the beat or anything for the second.

I waited to the third to do another musical assignment or

half.

you are

In New York and New Jersey all the competitors for

Mike Tyson's charity race are up

early.

Today the big day for the race everybody prepared. I'm

prepared to do every awesome day.

We got the criminal criminal races here.

Ricky race day, baby race day

we get

Ricky made it today. Yeah. All right

coach Vinny

Tory has arrived.

On the right roof.

So what's that? So there's a couple of different things there

subtle and connectivity. But

also we've used a sink interrupt and

it's actually to be fair to voiceover interrupt as well as you

can see but

because this is such a long day with

lots of different.

Scenes in it where they you know that the progress it

takes about a huge amount of time for the whole for the

whole day the whole day in in the actual film. I think

it's a whole part or something.

but

I needed to change the music but I couldn't I wanted to step

up a little bit but I couldn't step it up too much

because we're coming into the race. So the race is gonna be high octane

and there's going to be some prep before the race. So we're down

here. So I started off really low and I can just go one

notch up and you can see from the tonality that

it's it's up.

When we start moving into the Aerials around the bridge and then what

bridge that is in Jersey, I think it's Jersey. I can't remember whoever's in

New York can tell me.

But I needed to step it up, but not

too much. So I put a voice a piece of VoiceOver break in

there and then the sink interrupt from

everybody prepared from the coach. I'm prepared

to go get awesome day.

We got the creme de la criminal races here.

Okay race day, baby race day.

Here Ricky made it today. Yeah. All right,

baby down

coach Vinny Tory has arrived.

on the right roof sink interrupt

comes in

race sex really nice Aerials. It's driving

the birds a hundred. There you go.

So that's that's a nice stuff in here. You start to see these patterns,

you know, this is the thing. These are all the pro level

patterns or transition the pro level

back patterns of structure that the pro level patterns

of changing stuff mid-scene of using

the musical track to drive all the

choices at the hundreds dozens of things that we talked about throughout all

of these sequences. Let's watch another real life experience before we

get into some other stuff. How am I half an hour left? How

are we doing on everybody here?

Great. So this is documentary.

I think I shown

it's some of you guys before it's about the

space shuttles last flight and it

was for who's in four channel

four in the UK co-production with I think it was the

Smithsonian Channel or Discovery in the US. I

can't remember.

I think it might be actually the Smithsonian. Yeah.

Really nice working for those guys really really awesome.

So let's look at what's going on here. Let's look at transition points. Let's

look at assignments. Let's

look at musical structure. Let's look at it. All story of

the shuttle is the story of a dream and

let's look at tonality as well. Of course

how we change from one tonality to another make space

travel affordable with an economic reusable spacecraft

most fantastic day

in my entire life was first day the shuttle lifted

off.

In its 30-year career NASA's Flagship has flown

more miles completed more missions and delivered

more Hardware than any other space vehicle

in history.

When I first saw space shuttle, I thought there was

no way anything this big will ever get

off the planet.

The shuttle has helped transform our world.

From mobile phones and communication satellites to

the humble barcode the shuttle

really was revolutionary.

But success has come at a tragic cost.

14 astronauts have died on its missions you're

accepting.

the reality that

he just saw a crew die.

Told by the men and women who built it and flew

it.

This is the story of a dream to create

a reusable spacecraft.

And why that dream ultimately failed?

you

launch day at Cape Canaveral on Florida's

Atlantic Coast.

Thousands of space enthusiasts and Patriots to send on

the town of Titusville to witness the space shuttle

blast into orbit.

Battle is the most sophisticated and complex.

There we go. So you can see the transitions

you can see the musical

transitions this shot assignments.

You can see the changing in The Cutting pattern.

And why that dream listen to that I failure.

so everything about that transition is changed everything

is very very different and we

wanted to create a you know, the tonality this

is Champion kind of like amazing feat

that they built the Space Shuttle

with all the kind of selection shots and all the the brave

men and women who went through that process over

34 years or whatever it was and then

we're you know, it was a real kind of

celebratory moment of 40 years

that 35 years at Nasa then we're

coming to a crescendo and we stop and

we change Tempo we change key we

change tonality and we're just

about to see you know a

a liftoff

so that's another key one.

So these are all.

Really good ways that we want to design

the ups and downs of

this roller coaster really really important ways. If you're

up take me down. If you're in the middle take me up

a bit or down a bit or show me something different or change the

tonality of the track and therefore the cutting

pattern at the point of transition, maybe go

extremes like we've looked at or maybe make it more subtle,

you know, we did some subtle stuff around. Where was

it like this?

Just it was we had

a sub one, didn't we?

That was a subtle.

up

hobbies for

Rise 5am Vauxhall in

London. This is where our main Hub is

for London the southeast

so Midtown tonight, you know stuff like that.

Now let's get into our final subject today.

and this is all about

shot elements and be structure

Oh wait, let's go up on this.

And we're going to look at this sequence again from the printers, which is

really really interesting in terms of

what we're trying to do. Let's go back to full screen

here now.

This idea around randomizing.

And so we've learned a lot about how you take an overall

score on a on a

different trajectory. You know, you you basically look

at the point transitions. If you're going to go here, then you

go there, you know that that whole kind of roller coaster that you're going up and down and

up and down which is really good but

Let's look at it in a more condensed way and you can take these

theories and you can kind of filter them out

anywhere, but they again they like we talked about before again.

They are, you know, they're pretty, you know

omniscient. They're everywhere.

and one of these key things is around the

idea that we're randomizing complex cutting.

cutting elements

So what do we mean by that?

Well, let's look.

Let's just play the sequence again. This is this rough title sequence

that was for for the big issue homeless film.

And we'll play it will play and it's more

of a month. It's a montage but these element these

when we dissect it from this direction, it's it's you

can take these elements and take these techniques

and you can apply to anything not just montages.

it

right

So this is really really interesting. Let's look and

break down the elements of what's going

on here, and we're going to we're going to kind of

Look at it through these factors.

So the key takeaways we want at this.

When could we cut this is the big question when can

we cut well thinking back to the Daft Punk

video and imagine it a cut or an assignment was

each one of those particular things

then therefore if we've got this

track that has four or five or six or seven different

elements. You got the percussion you might have the violins

you might have the if it's a dance track you might have the Baseline and

then the drums and then whatever it is, each track will

have certain elements in it. It will have a constant B, but it'll

have other things that are going on within it. Now the

the obvious ones to do

obviously the on the beat and the off the beat

Yeah.

Now that can be pleasing and it's nice to do that, but

we shouldn't be doing it all the time.

So what we want to do is look.

A bit deeper a lot deeper and we want to start breaking

down assigning assignments to

musical elements firstly.

camera movement

to certain elements within a track all of these

things can be done to a certain.

Element within the music track or action or character

movement.

yeah, so if you're just going to cut on

the beat you're going to be like

but I want to use other things within I

want to be a bit more intelligent.

And I want to use other things like the camera movement

or the action.

Of a character action or a character movement. So let's

see if we can spot some of these.

By analyzing this sequence a lot more.

Cut to the beat Cut to the beat.

Okay not cut to the beat but

sort of.

Now I've used this as a kind of like I did

a little, you know a little animation here.

So this is camera you classify this you could classify this as camera

movement.

And the camera movement ends on

the beat and that's a really important point.

The camera movement ends on the beat. So that's number

one that animation ends

on the beat doesn't start on the beat it ends

on the beat.

Again, I haven't cut the beat there.

I've cut off the beat.

And then I cut back on the beat again. But but this time

I've also done a slight zoom in because it's I'm

zooming in as it so it's because they're quite static

shots.

I'm going from Fast to slow now, and I'm using

the musical beats and the different elements not

cutting just not cutting as simply as on the beat and off

the beat, but I'm cutting off different beats within a

different elements within the track. So let's just watch

that again.

And because that cycle has started again, I've done

another animation, but I've done it instead of

horizontally. I've done it vertically. So again,

I'm varying again varying not

playing the same thing over and over again.

and I'm doing the same cutting pattern, but it's

different enough in terms of

ending that animation on the beat

and that is just a jump cut. That's a jump cut one long

shot.

You know, so that's a little mini sequence that has its

own identity within this one short bit of

the music.

You know, it's one long shot and I'm jump cutting one

long shot. If you get a very long shot a very anything it's really

nice to jump cut it especially when your stylizing

the music.

And now we get to some interesting stuff in here, right?

Now we've got action playing out that has

been assigned to the music track to

the musical.ly.

So jump cut there. So you've got a you've got

this crane thing going going by you've got

this metal these metal things that are

the same duration.

Of what's going on in the music track,

but then jump cut it to the beat as well.

And again, I've cut this down like a

kind of sequential nature and each one

of these is

Assigned to a different part of the music. So I've come

in again. I've broken down

the music even though it's a repetitive dance track, you know,

even though it's a really repetitive dance track.

The the problem with the repetitive dance track is it's a

repetitive dance track might have a lovely chord structure like this.

Didn't digitalism or someone like that. It's really

nice. But

the problem is if you don't vary what you're

cutting and how you're cutting around.

And start breaking up the track into

easily identifiable mini stories.

Then it's just going to be dull. You know, it's gonna be very very

dull. So you want that again. This is like

the idea of there of the roller coaster variation in in

a microcosm. This is a more

extreme version of it, but we can take all of these kind

of elements about how you you can start action

on the beat or you can end action on

the beat or you can end action off the beat or you

can end action or start action or start

camera movement or anything any of these

elements on the beat off the beat or to a

certain element within the actual track. That's not the beat.

You know.

so you see that has its own

little identity that little place there that

let's give it a little added it there use that

to get it precise.

So and then before it was

this nice little section here.

and again

that has its own little identity. I varied

The Cutting pan. I varied the what I'm

cutting to how I'm cutting why I'm cutting

the whole lot. I've even cut very the action

and the camera movement.

And then

I've gone back into this new section here, which is

Jump cutting again because I saw a long piece

of action. So again varied it. This one

is all about matching action within

the beach structure and

Elemental structure of the track to the action within

the

And the actual shot now, we're going

back to one two, three four. So I've

done one two, three four, and as the

is the refrain comes to a

resolution then in then I've used

the piece of action at the end.

Of the guy dropping it as a punctuation mark

and it's timed.

Not over the second one over the

first one to dum dum.

and jump car

again, jump cut there

to the new one. So there's a constant state

of not sticking to the same beat or the

same element.

Again, this move into this so we're moving into

the the magazine getting actually printed now.

And that's all

that's another section there.

That I kind of left alone.

That was just like cut cut.

No, big stylizations because we're going to go into a big one

here.

It's very mechanical and kind of moves very

much to the beat.

So let's watch it again because it's really it's really

nice.

it's a really nice watching full screen, but

let's look for

listen to the elements within the track like Daft

Punk like Michelle gundry.

Excuse me.

Listen to the elements within the track.

Look at the camera movement.

Look at the animation movement. Look

at the the style of the shot. Look how

different elements within each one of these

the action

That's playing out the camera movement the character or

whatever. There's no characters. And this is just you know bunch of you know,

printing but look how none

of it is repeated or

if it is if there's something a similar style that's repeated. There's

usually a bar or two in between where another

cutting pattern will be established.

Yeah, cutting pattern change it

cutting pan change. It cutting pan combine the two cutting

pattern. Don't do a cutting pan, you know.

Show one long slow shot.

Then cutting pattern do a really fast one. So this idea

of like constantly, you know, this is like a microcosmet as I said

of a whole film

Which is really really nice. So on

the beat off the beat assigned to

a musical element within the track.

Camera movement off the beat camera movement on

the beat camera moving finishing on the beat camera

movement starting on the beat jump cutting.

Yeah action or camera

character movement as well. So look at

this idea of this. I know we've only got a few minutes left

now, so

This idea of the compartmentalizations really really

important and you can take these. This

is a really fast moving Montage with

music that has been heavily assigned and

heavily structured around this particular track, even though

it's a repetitive track, but you can take all of

these theories around finishing music on

the cartridge all the things we just listed and

you can take that slow it down.

Use a completely different track user to completely different

type of music user completely different style of shooting and

just apply this paradigm.

You know apply the idea that you're going to have the mechanical nature

of a character Maybe.

Finishing a big long run in a shot and coming to

the end of it as the beat comes in as opposed to some, you

know, printing stuff here, but think about it in those

terms.

Let's let's watch it again full screen.

And look at the compartmentalization and all

the variation.

Look at these factors here.

you

There we go.

So

we have randomized the

Complex cutting pattern we've taken all

of these single elements within shot

structure.

shot speed of the cut on the

beat off the beat camera movement action

Character movement camera character action, whatever's going

on, you know, all the hundreds of different things you can

do and we've assigned them and varied them

while structuring the different parts of our

track.

Yeah, I mean this let's go back to this which is really really nice.

You know go back to this which is this whole

idea of compartmentalizing.

Blah blah

blah blah blah. This is the same thing, but this is

drastically slowed down.

very very similar

very similar, but

We would use all the same tricks on that. We use

all the same tricks, but it might not be so in your face obvious.

But look at the structure of that is very very similar.

And of course what we looked at?

with

this one here.

If you wanted to be really on the nose like we did

that with Pete on this one.

You know the music is so strong here. It really

let that adds for that. But you could definitely take

maybe four you could maybe do two.

And four and cut off the beat.

You know.

So you could cut two three four one

two, four six

eight. One, two,

three four.

And then offbeat one, two, three, four off

the beat like that.

Right, it's 5am voxel in

London. This is where our main Hub is

for London the southeast.

Vendors we turn up to help unload in a minute.

hopefully fingers crossed

you're doing a film that it looks like it's a posh carbon. It's

a piece of s***.

So there we go. We got a couple of minutes left. Let's just

check on the last questions. Do you

ever Focus the other two focus groups with

different tracks. How do you know that others will have the same emotional

response to that track you do?

Do I ever do focus groups sometimes if

I'm in a facility, I might if I

want to know how this impact is going to go. I will sit there

and I'll watch I'll get

a production assistant in and edit assistant and ask

them to watch something and then look at them.

You know do the classic.

Look in the reflect don't look at the screen look in the reflection of

the screen at them and watch their face.

But then ask them some kind of questions but you

know, I really really, you

know went crazy on music my whole life. I'd studied

a lot of music when I was a kid. I'm a methodical methodical.

I was

until like the streaming services. I was a methodical collector

of soundtracks and Analysis

of wife certain tracks work

and what doesn't and the speed and variation and the

whole big thing really was about the roller coaster but then, you know

caught you recognize a chord structure. I'd pick out chord structures

that I knew were really beautiful. We're really heartbreaking or

really Jeopardy or really tension and I'd be

constantly asking myself, you know, we've come to the end of you know,

the three children, you know, the three-part Trilogy of

this and we've covered a lot of ground but the key thing is really

if you want to really heighten your

percentage of

employability you have to get good at music and the

It is one of the most requested if not the most requested things

in editing. Are you

good with music, you know, it's so good when

you're climbing the ranks. Yeah, when you get to Eddie Hamilton's level

you've got music editors are going to do this stuff for you a really really good, but

believe me a pro editor like

Eddie has done thousands of tracks as he's worked his

way up and reconstructed. They've

really sought out the tonality of

the track. They've reconstructed the track which irrational mechanics

they with compressing and looping and

stuff like that. They've learned musical assignment and how you

cut up a music track and

use them the track as the kind of main structure of

a scene and not the other way around

or they've actually looked at how you transition out of

one seed to another scene, you know, all the stuff that we've

done here. So I think music is

probably one of the most important if not the

most important things that we can learn as editors.

Yes journalistic structure all that kind

of stuff pacing timing very very important. But the

problem is of course, they're all intertwined. So you can't really talk about pace

and timing without talking about music and stuff like that,

but

You know as we've come full circle on on the boot

camp and you know, we've got loads of more cool boot camps happening throughout

the year, but I really hope that that you've learned

to look at music in a very very different

way in a way that you know, you look

at a track you connect with a track you can

cut up a track you can structure a track

you can drive the scene around the track and the track and

have a massive influence. If not, then be

the main driver of The Cutting pattern and how you change

throughout a scene and how you

do that over the course of a longer long-form

piece.

And so yeah, I hope you've really

really enjoyed it. Have we all enjoyed it how

we all doing?

I've been using the theories of Music editing from the previous boot

camps for my social media edits. It does make a massive difference.

So thank you for another amazing boot camp

as it was answered some of the questions that came up during my

edits, Mariana.

Hi Mariana, great and there's a whole bunch of

others, but we are running out of time. Oh my God, we are.

Thank you wanna know I really hope you've

had a great time and you know,

stay tuned new podcasts coming up new boot camps.

It's all going to be happening here on inside

the edit and I just want to thank you. I hope you got a lot of

it. Send us an email get in touch with us on social. Let us

know how you thought about the boot camp. We want

to constantly do much more for you guys for our team for

our inside the edit community. So yeah. I

hope you have a fantastic weekend. I will see you very

very soon go out cutting start putting some

of your cuts and music edits on and showing us and on social

and stuff like that. But yeah. Thank you so

much, and I will see you later. Take care. Bye.