Cut-ins and cut-aways rarely add dramatic content, but usually control the pacing of longer scenes, introduce new elements to the main scene, or emphasize elements already present. For example, in the scene of the two people shaking hands, a possible cut-away might show other people entering the room. For example, if your main scene involves two people shaking hands, a possible cut-in might be a close-up of the handshake.Ī Cut-away is a cut away from the main action to other simultaneous events. A Cut-in is a cut that shifts from the main subject (A-roll) to an event occurring inside the same scene. Cut-ins and cut-aways are often used to show an event occurring alongside the main action of the scene. Both techniques are related to the primary focus or action of a scene and can be used to enhance the meaning or alleviate the tedium of long scenes. Cut-ins and Cut-awaysĬut-ins and cut-aways are instantaneous shifts in the framing of a shot. In dramatic work, the B-roll might contain additional angles on the main subject or secondary subjects present in a scene. For example, in a documentary production, the A-roll would contain interview footage and the B-roll would contain exteriors, establishing shots, or footage that describes or illustrates the topics described in the documentary. In an edit, B-roll is used to add or enhance the meaning of the main footage or to cover the removal of unwanted or error-ridden material. The terms A-roll and B-roll describe the primary and secondary footage shot and used in video and film productions. This type of cut forms the basis of the continuity editing style, the goal of which is to create a seamless and non-jarring change. This relationship can be based on screen position, similar movement or color value, or a wide variety of other criteria. When working with a cuts-only editing approach, the editor attempts to find a match cut, in which different scenes, people, or objects share a similar visual relationship. In traditional film and video, continuity editing makes use of very few transitions, and the straight cut is the preferred method of getting from one scene or shot to another. If you have not already done so, please review these instructions before starting this lesson. The Starting Up section at the start of this book provides detailed information about loading lesson files, resetting your workspace, locating missing media, and opening the files in CS5.5. Make sure that you have loaded the prlessons folder onto your hard drive from the supplied DVD. In this lesson, you will work with the project files from the pr03lessons folder. Now that you have learned to organize your project, in this lesson you will discover how to edit clips on the Timeline. An editor arranges footage to create a coherent story paced to appeal to the audience. Video editing changes the arrangement and duration of video and audio clips to craft a narrative. For more Adobe Premiere Pro training options, visit AGI’s Premiere Pro Classes.Īdobe Premiere Pro Tutorial: Making the Cut in Premiere Pro It is the third lesson in the Adobe Premiere Pro CS5 Digital Classroom book. This tutorial provides you with a foundation for working with cuts in Adobe Premiere Pro. What you’ll learn in this Premiere Pro Tutorial:
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