Graphics Reference
In-Depth Information
across the landing a little more. Press E to append Scene 14 Slate 41 Take 2 to the end of the Primary St-
oryline and play back the section to see how it works.
3.
The only option we now have available is to cut back to the wide master. We have two takes of this, and
we've already used a section of Take 3 for the start of Katie's approach. Let's look at Scene 14 Slate 47
Takes 2 and 3 again to see what they offer in terms of the next part of the scene. The part that we're most in-
terested in is when Katie reaches the end of the landing and looks over the banister for a second time.
Re-
member:
We have a point-of-view shot of the hallway below (Scene 14 Slate 44 Take 2) that we can use for
the look over the banister, so let's watch the takes with this in mind. We prefer Take 2 in this case because
Katie's lean over the banister closely resembles the camera movement in the point-of-view shot. Set the
Event Browser's Filter pop-up menu to Favorites, select Scene 14 Slate 47 Take 2, and press E to append
the clip to the end of the Primary Storyline.
4.
Play back Scene 14 Slate 47 Take 2 in the Timeline, and look for a good place to insert the point-of-view
shot. Katie begins her lean over the banister at around 54 seconds and 6 frames, so position the playhead at
that position. Switch the Event Browser's Filter pop-up menu back to All Clips, and select Scene 14 Slate
44 Take 2. Press W to insert the clip into the Primary Storyline at 54 seconds and 6 frames. Play back the
last three clips in the Timeline to see the result. When we cut back to Katie after the point-of-view shot, we
still see the continuation of her first lean over the banister. Because this action is a repeat of the camera
movement shown in the point-of-view shot (which is representing Katie's view), we need to trim the start of
the clip so that the flow of action makes sense. Select the In point for Scene 14 Slate 47 Take 2 (the last clip
in the Timeline), and ripple to the right by 20 frames (see Figure 11.11). Play back the edit to see the result.
Figure 11.11
Rippling the edit point by 20 frames.
5.
The sequence ends with Katie sitting on the steps, winding her camera. We could continue using the mas-
ter to cover the rest of this action, but we also have a closer angle that we can use as well. Select and play
Scene 14 Slate 48 Take 2 in the Event Browser. The clip begins as Katie sits down into the frame, which
gives us some motion to cut on for the edit between this clip and the master. Select the Favorite section for
Scene 14 Slate 48 Take 2, and append the clip to the end of the Primary Storyline.
First we need to find the point on both clips where Katie connects with the floor as she sits. For the wide
master (Scene 14 Slate 47 Take 2), this is at 1 minute, 1 second, and 5 frames in the Timeline. Place the
playhead at that position and press Option+] (right bracket) to perform a Ripple edit to that point.
