Escolar Documentos
Profissional Documentos
Cultura Documentos
Geiseler
No part of this book may be reproduced or transmitted in any form or by any means, electronic or
mechanical, including photocopying, recording, or by an information storage and retrieval system,
without permission in writing from Christoph A. Geiseler.
www.oneminuteacademy.com
O MANUAL 1 MINUTO
Nona Edição
Nenhuma parte deste livro pode ser reproduzida ou transmitida, sob qualquer forma ou por quaisquer
meios, incluindo fotocópia, gravação ou atraés de um sistema de armazenamento e de recuperação
de informação sem permissão por escrito de Christoph A. Geiseler.
www.oneminuteacademy.com
OVERVIEW by Christoph A. Geiseler
Every lesson in this handbook matches a one minute video on the One Minute
Academy online learning platform.
GETTING 1. Go to www.oneminuteacademy.com
STARTED
2. Sign-up
3. Create a profile
4. Watch lessons
COMEÇAR 1. Vá a www.oneminuteacademy.com
2. Registe-se
3. Crie um perfil
4. Veja as lições
1.1 Hi, my name is Christoph Geiseler, and I’m a one minute video expert.
INTRODUCTION
Whether you’re telling a story for the first time or training hundreds of people,
making a video can be pretty time consuming, but it doesn’t have to be.
I started out running a music company and making videos about musicians.
My videos expanded to include diplomats, CEO’s and travelers. I discovered
that, no matter what you do, everyone loves short videos.
This curriculum is designed for beginners, but if you’re a professional, you can
use these videos to teach large groups of students. Once you complete all the
assignments, you’ll end up with a professional-looking one minute video. Let’s
begin!
1.2 Observe how the music, images and voiceover work together to move the
CASE STUDY: story forward. After watching this video, try to describe the video to another
STUDENT person. How long is the video and how does the video make your feel?
SAMPLE
1.3 This video is exactly 60 seconds long, which is the same length as a television
KEEP IT SHORT commercial. _______ makes us want to watch more.
What three words would you use to describe this one minute video?
Would you say a one minute video is personal? Or, informative? One minute
videos are short! What’s another descriptive word? They’re short! And what’s
a third word to describe a one minute video? They’re short!
Just like tweets, commentaries, blogs, photos and music, your video
can be viewed, shared or remixed by anyone, so publishing videos is an
____________ to spread a message, but it comes with great ____________.
Always remember that your audience doesn’t have time for long videos, so
keep it __________!
TEORIA por Christoph A. Geiseler
Comecei por gerir uma empresa de música e por fazer vídeos sobre músicos.
Os meus vídeos expandiram-se para incluírem diplomatas, Diretores Executivos
e viajantes. Descobri que, seja o que for que fizer, todos adoram vídeos curtos.
Neste curso, partilho a minha abordagem para almejar um público, usando uma
câmara, filmar entrevistas, organização e edição de ficheiros. Cada lição tem um
minuto e pode utilizar qualquer câmara, smartphone ou portátil para fazer este curso.
Tal como os tweets, comentários, blogues, fotos e música, o seu vídeo pode
ser visto, partilhado ou remisturado por qualquer um, por conseguinte, publicar
vídeos é uma ____________ para difundir uma mensagem, mas acarreta grande
____________.
Lembre-se sempre de que o seu público não tem tempo para vídeos longos,
por conseguinte, seja __________!
THEORY by Christoph A. Geiseler
1.4 Video production has a lot of moving parts, which becomes time consuming
AVOID STRESS and expensive without a plan.
First, we need people to film and edit a video, which are the ____________.
Our staff needs ____________ and we need ____________ such as computers
and ____________. Someone has to make arrangements which is the
____________. We also don’t want to get hurt or robbed, which requires
____________. If you look at the first letters of these words, you’ll see that they
spell out ____________. Welcome to the club.
Our teaching curriculum matches the order of these three phases, which re-
quires pacing and a simple formula that I’ll explain in the next lesson.
1.5a A one minute video is ____________ one minute, ____________ one minute.
VIDEO Adults find this really difficult to understand. Let me show you how it works.
STRUCTURE
Before we start filming, pick a ____________ and trim it to 60 seconds. Music
sets the ____________ and the emotional feeling for a story. After the music,
we write and record a ____________ or an interview. We don’t want to hurry
our audience, so ____________ fit comfortably within 60 seconds.
We reinforce the power of our words with secondary footage, which is called
____________.
MUSIC (pulse)
0:00 1:00
1.6 Observe how the images reinforce the words spoken in the voiceover. Can
CASE STUDY: you identify the problem at the beginning of the video?
BUSINESS
PROMO
1.7 Most adults have not learned how to make videos in school, and many
VIDEO schools still do not teach it to students. If we work together, we can change
LITERACY this. One minute videos are easy to teach because we can film and edit them
in 24 hours.
Finally we have ____________, which is sharing a story that can change other
people’s behavior, like citizen journalism or social advocacy.
MÚSICA (ritmo)
0:00 1:00
_________ __________ significa ser capaz de falar sobre um vídeo com fluência
técnica e filmar e editar uma história básica com um começo, meio e fim.
1.8 Sometimes a story does not need any words to send a powerful message.
CASE STUDY: What do you think of the music in this video?
SOCIAL IMPACT
1.9a Profile photos help identify more than 2 billion people on social media. What
PROFILE VIDEO happens when videos start to define us instead of photos and what will we
make videos about?
____________ are great places to make short videos and we can share artistic
pieces, or ____________. Videos like this one are ____________. Has anyone
tried making a ____________ video or to seek job ____________ with a video?
And the internet is defined by ____________, so why don’t we just share our
own?
If you look at all of the first letters, they spell out ____________ ____________.
Now and in the future, a profile video is our digital business card.
1.9b • PRODUCT
PROFILE • REPORT
VIDEO • OBITUARY
• FUNDRAISING
• INVITATION
• LEISURE
• EVENT
• VIGNETTE
• INSTRUCTIONAL
• DATING
• EMPLOYMENT
• OPINION
TEORIA por Christoph A. Geiseler
1.8 Por vezes, uma história não precisa de quaisquer palavras para enviar uma
CASO DE mensagem poderosa. O que é que pensa da música neste vídeo?
ESTUDO:
IMPACTO SOCIAL
1.9a As fotos de perfil ajudam a identificar mais de 2 mil milhões de pessoas nas
VÍDEO DE PERFIL redes sociais. O que acontece quando os vídeos nos começarem a definir ao
invés das fotos e sobre o que é que serão esses vídeos?
Draw a circle in the center of the page. Inside the circle, write ____________
____________. Draw lines outwards from the center of the page. Write
down all the places where you can share your profile video, including digital
platforms, devices and physical locations.
Take a photo or screenshot of your video map and upload it to this platform
as your first assignment.
In the next section we’ll learn the basics of video pre-production, which is
everything that happens before we start filming.
TEORIA por Christoph A. Geiseler
Tire uma foto ou captura de ecrã do seu mapa de vídeo e carregue-o para
esta plataforma como o seu primeiro exercício.
2.1 Once we’ve picked our purpose and embraced the one minute video format,
INTRO TO it’s time to make a ____________.
PRE-
PRODUCTION ____________ is everything that happens before the camera starts
recording.
In the next series of videos we will learn about gear care, setting up a room,
asking for permission and making a shot list. We will introduce technical
vocabulary and show you how to speak about your production with other
people in a professional way.
My colleagues Alan and Anouschka will act out the educational material and
then I will return to give you your first assignment.
2.2 The online video industry seduces us into thinking that the number of video
PICK AN views is the only metric for success. This isn’t always the case.
AUDIENCE
Do you really want a million people to watch your video? Or, 10 people in a
room? When you’re deciding what your video is going to be about, there are a
few things that you should think of.
What kind of ____________ would the target audience want to listen to?
What is the ____________ wearing and who should that ____________ be?
Are there any ____________ that would make your story more compelling?
Let the images tell ____________ and your story will have tremendous value
when you share it with the right person at the right time.
PREPARAÇÃO por Christoph A. Geiseler
Quem é o ____________?
Não tente fazer com que o seu vídeo se torne viral exagerando a sua história.
2.3 When we walk through the world with a camera, people become instantly
GEAR CARE envious and they’re going to want to know, “what’s in the ____________?”
My approach is to be discreet.
It’s all about traveling ____________ and not attracting ____________ to myself.
If somebody says, “but what if I don’t want to buy all this gear?”
Third, reduce ____________. Like that shirt on the doorknob, or the box with
the logo on it and the random light reflection in the mirror .
Take care of these three things and your life will be a lot easier in post
production.
PREPARAÇÃO por Christoph A. Geiseler
2.3 Quando caminhamos pelo mundo com uma câmara, as pessoas tornam-se
CUIDADO COM O instantaneamente invejosas e vão querer saber, “o que está na ___________?”
EQUIPAMENTO
A minha abordagem é ser discreto.
Cuide destas três coisas e a sua vida ficará muito mais fácil na pós-produção.
PREPARATION by Christoph A. Geiseler
Start with a really ____________ conversation about why are you making a
video. How you are going to ____________ it and who is going to see it?
Print out your forms ___ _________. If it comes time to film and you don’t have
forms on hand, __ __________ and ask your subject “may I ___________ you?”
If the reply is yes then this counts as a form of ____________. There are
international laws that govern the rights of children.
If your subject is under the age of 18, get permission from their parents or just
make sure you don’t use their ____________ in the shot when you film.
If you wait until after the camera is turned off to get this information then this
job is even more difficult.
2.6 Watch how music can be used to create the effect of ____________
CASE STUDY: in this one minute video. Do you think the video would feel different with other
TRAVEL VIDEO music?
PREPARAÇÃO por Christoph A. Geiseler
Caso a resposta seja sim, então isto conta como uma forma de ____________.
Há leis internacionais que governam os direitos das crianças.
Se esperar até após a câmara ser desligada para obter esta informação,
então este trabalho é ainda mais difícil.
2.6 Veja como é que a música pode ser utilizada para criar o efeito de
CASO DE ____________ neste vídeo de um minuto. Acha que o vídeo ficará diferente
ESTUDO: VÍDEO com outra música?
DE VIAGEM
STORYBOARD by Christoph A. Geiseler
2.7 Every story from the beginning of time has featured a ____________ on a
HERO’S quest. When the hero gets challenged in pursuit of the quest, we’re sitting on
JOURNEY the edge of our seat wanting to know if the hero will overcome the challenge
or be destroyed by it.
This is called the ____________ ____________. Let’s tell one story in two ways.
In the first story you have the famous football player Lionel Messi running
down the field, and running down the field, and running down the field; he
kicks the ball and scores a goal. BORING.
In the next version of the story, Lionel Messi has the ball, circles around the
defender, then he gets tripped from behind and falls! Oh no! Is he hurt? He
springs up and dances around the defender, kicks the ball with one second
left on the clock and scores. GOOOOAL! This story is better because it has a
____________, ____________ and ____________.
The beginning of the story is called the ________ which is where we give the
audience everything they need to know about the ________ and the ________.
The next section is the ____________ or the challenge, which is when the hero
is confronted with a challenge that keeps the hero from getting his goal.
Finally we have the ____________ of the conflict or the “____________” and the
video ends like right now.
2.8 A camera works just like the human eye except there are a couple limitations.
HUMAN EYE
When we see things in real life we have two eyes, which gives us
____________ and ____________ ____________.
When we use a camera we only use one eye. Unless we take the necessary
steps many of our images might turn out flat or just not as interesting as when
we see them in real life.
Practice, practice, practice; and the great part of this is that now we have an
excuse to watch movies. Study the great ones.
STORYBOARD por Christoph A. Geiseler
2.7 Cada história desde o início dos tempos destaca um __________ numa busca.
JORNADA DO Quando o herói é desafiado na perseguição da busca ficamos empolgados, a
HERÓI tentar saber se o herói superará o desafio ou se será destruído por este.
Isto designa-se pela _________ ________. Contemos uma história de duas formas.
2.8 Uma câmara funciona tal como o olho humano, excetuando o facto de haver
OLHO HUMANO algmas limitações.
Quando vemos as coisas na vida real, temos dois olhos, que nos dão a
____________ e a ____________ ____________.
Quando utilizamos uma câmara, só utilizamos um olho. A não ser que tomemos
os passos necessários, muitas das nossas imagens podem não ter camadas ou
simplesmente não tão interessantes como quando as vemos na vida real.
Pratique, pratique, pratique: e a ótima parte é que agora temos uma desculpa
para vermos filmes. Estude os maiores.
STORYBOARD by Christoph A. Geiseler
Next we have the ____________ ____________, which starts as far away from
the scene as possible.
The ________ ________ brings us closer to the action and the people involved.
2.10 Now we’ve learned all the basics of pre-production like surveying a room,
ASSIGNMENT #2 asking for permission, picking an audience and creating a shot list.
3. What is the best music for our target audience? Use song titles or descrip-
tive words, like upbeat electronica with swooping violins.
6. What three images would best bring the story to life? Use vocabulary from
our shot list.
Upload your assignment to our platform and now we’re ready to start using
our camera.
STORYBOARD por Christoph A. Geiseler
2.10 Agora que aprendemos todo o conteúdo básico sobre a pré-produção, como
EXERCÍCIO N.º 2 analisar uma sala, solicitar a permissão, escolher um público e criar uma lista
de cenas...
6. Que três imagens seriam as melhores para dar vida à história? Utilize
vocabulário da nossa lista de cenas.
3.1 The viewer has no patience for ____________ camera footage. The moment
HOLDING A they see shaky footage they will turn your video off.
CAMERA
Use a ____________ or monopod. And if you don’t have one of those lean with
your back against a ____________.
Put your elbows on a solid surface and use that as your support structure.
When we are holding a camera we want to put the camera strap around our
____________ so our camera is safe in case we ____________.
We don’t want to hold our smartphones vertically with just one hand.
Stand with our feet ____________ ____________ and solid on the ground like
a tree trunk. Keep elbows close and tight against our bodies as if we are
pinching ____________ under them.
It might feel tense and awkward at first; but how do you think a tripod feels?
Footage at the front and the back of the shot allows us to ____________ and
____________ in post-production.
No sudden movements. No shaky camera. Now you are ready to start winning
awards.
USO DA CÂMARA por Christoph A. Geiseler
3.1 O espectador não tem paciência para filmagens com a câmara ____________.
SEGURAR UMA Mal vir a filmagem tremida, ele desligará o seu vídeo.
CÂMARA
Utilize um ____________ ou monópode. Caso não tenha um, encoste as
costas contra uma ____________.
Pode parecer tenso e estranho de início, mas como é que acha que um tripé
se sente?
Sem movimentos súbitos. Sem câmara tremida. Agora, está pronto para
começar a ganhar prémios.
CAMERA USE by Christoph A. Geiseler
3.3 We can use a smartphone and still give the impression that we’re using a pro-
CAMERA fessional camera.
MOVES
Once we have our camera steady, we can ____________.
____________.
____________.
Remember to tell the driver to go ____________ because the viewer can’t pick
up visual information as fast as a car is normally going on a highway.
3.4 When we are making videos, we need to be aware of the distractions that
DISTRACTIONS could undermine the professional look and feel of the stories that we are
trying to tell.
____________ from the shirts that men often wear cause little wiggly lines in
the frame.
Did that company pay you for that free ____________ that you just gave them?
Get rid of ____________!
Take a picture of the area that you want to film, look at it and quickly remove
any distractions that you see before it is too late.
USO DA CÂMARA por Christoph A. Geiseler
____________.
____________.
Este princípio de avançar lentamente aplica-se a seja o que for que fizermos
com uma câmara.
Aquela empresa pagou-lhe por aquele ____________ gratuito que lhes acabou
de dar? Livre-se dos ____________!
Tire uma foto da área que quer filmar, olha para ela e remova rapidamente
quaisquer distrações que veja antes que seja demasiado tarde.
CAMERA USE by Christoph A. Geiseler
3.5 There are a couple rules of ____________ that help us take beautiful shots.
AESTHETICS
The first lesson is the ____________ ____________.
A mistake that beginners commonly make is that they put the head of their
subject in the ____________ of the frame.
3.6 Natural light is connected directly with the sun, so the ____________ the sun
NATURAL is, the brighter or “____________” our image will be.
LIGHT
The ____________ of the day and the ____________ of the day provide the best
natural light, which is called the ____________ ____________.
The golden hour is one hour after _________ and one hour before __________.
The hour after the sunset is called the ____________ ____________, which the
French call “l’heure bleu.”
This is when the sky has a dark blue hue and the orange sparkle of the street
lamps creates a brilliant ____________ in our image.
Avoid shooting at noon when the sun is directly above a subject because it
will cast dark ____________ under our subject’s eyes.
Take still images with your camera the day ____________ a shoot at your
location so you can take note of the best time and location for natural light.
USO DA CÂMARA por Christoph A. Geiseler
3.5 Há um par de regras de ____________ que nos ajudam a filmar cenas bonitas.
ESTÉTICA
A primeira lição é a ____________ ____________.
Siga uma destas espirais com os seus olhos até aos objetos de interesse.
3.6 A luz natural está diretamente associada ao sol, por conseguinte, quanto _____
LUZ NATURAL ______ for o sol, mais brilhante ou “______ _______” será a nossa imagem.
Isto é quando o céu tem um tom azul-escuro e brilho laranja dos candeeiros
de rua cria um ____________ na nossa imagem.
Tire imagens estáticas com a sua câmara no dia ____________ a uma filma-
gem no seu local, para que possa tomar nota da melhor altura e localização
para a luz natural.
LIGHTING by Christoph A. Geiseler
3.7 Working with professional lights requires a lot of experience and practice.
PROFESSIONAL
LIGHTS Let’s get started with lights that we have in our house to set up a simple
____________ ____________ ____________.
Position your subject or find the reflection from a distant window that makes
dots in the eyes.
____________ in the eyes attract the audience’s attention to the subject’s face.
Take control of the lights you have lying around to bring your images to life.
3.8 A microphone picks up any sound in a ____________, and there are a lot of
AUDIO different options to help us capture the best sound.
Before we press record, ask your subject or the band playing live on stage
to play their ____________ note so we can regulate the input volume on the
microphone.
Avoid ____________ and audio peaks. Direct ____________ into a mixing board
provide the best live sound. At the end of the day, if we’re happy with our
sound, then our audience will be too.
ILUMINAÇÃO por Christoph A. Geiseler
A _________ _________ não deve ser tão forte como a __________ __________.
Assuma o controlo das luzes que têm à disposição para dar vida às suas imagens.
3.9 We get the best one minute interviews when we tell our subject in advance
INTERVIEWS to only give us ____________ ____________ ____________.
This is a good time for us to clean up the space, adjust the ____________ and
reduce background noise.
Place your subject in the __________ or the __________ side of the frame. The
___________ of the shoulder and the ___________ of the head touch the frame.
Don’t put your subject in the ____________ of the frame like target practice.
Keep the eyes in the TOP third and the titles go in the ____________ third in
the empty space.
Your subject may want to know where to look. If a subject stands on the
___________ side of the frame direct her eyes over your ___________ shoulder.
If a subject stands on the ____________ side of the frame direct her eyes over
your ____________ shoulder. If your subjects get nervous, remind them that
they’re beautiful.
3.10 Before we move on to post production, our next assignment is to set up a one
ASSIGNMENT #3 minute interview, which can be about any subject.
3. Put the eyes of your interviewee in the top third of the frame
4. Position your interviewee to the left or the right side of the frame.
6. Ask your question, hit record on the camera and then don’t interrupt or say
anything for 60 seconds. If your interviewee speaks for less than 60 seconds,
just stay silent and let the camera keep recording.
7. Stop recording, upload your interview to the platform and get ready for
post-production.
ENTREVISTAS - 60 SEGUNDOS por Christoph A. Geiseler
Antes de começarmos, deixe que o seu indivíduo utilize a casa de banho para
____________ ou retocar-se diante do espelho.
O seu indivíduo pode querer saber para onde deve olhar. Caso um indivíduo
esteja do lado ____________ do enquadramento, direcione os seus olhos
sobre o seu ombro ____________.
6. Faça a sua pergunta, prima gravar e, de seguida, não interrompa nem diga
nada por 60 segundos. Se o seu entrevista falar por menos de 60 segundos,
fique apenas em silêncio e deixe a câmara gravar.
4.1 The post-production process begins the moment we stop recording on our
READY TO EDIT camera.
Now we have to take all of the photos, videos and audio that we recorded and
put them in an editing program on a desktop computer. But what’s the best
approach?
Get situated in a room with soft light, a neutral ____________. Use comfortable
headphones and remove ____________ from your desk.
The next series of videos will teach you all the basics of file organization,
project management and editing tools so you can get your video ready for
prime time.
4.2 Let’s start by creating a root folder on our desktop and lets call it
FILE ____________ ___________ ____________. Inside of ____________ ___________
ORGANIZATION ___________ we have a ___________ and a ___________ ___________ folder.
We distribute contents from our cameras in the appropriate folder and make
subfolders in each one for the day the content was produced.
4.2 Comecemos por criar uma pasta raiz no nosso computador e chamemo-la de
ORGANIZAÇÃO _________ _________ _________. Dentro da __________ __________ __________
DE FICHEIROS temos uma pasta __________ e uma pasta __________ ____ ________.
A nossa pasta ___________ ____ ________ vai ser uma espécie de congelador
da nossa cozinha. Assim que os ficheiros originais entrarem na ____________
____ ________ eles ficam para sempre lá. No interior da ____________ ___
_________ crie uma pasta ____________, ____________ e ____________.
4.2b Set up a ROOT FOLDER on the desktop or external hard drive called
FILE ONE MINUTE ACADEMY which contains two folders.
ORGANIZATION
(CONTINUED) HARD DRIVE FOLDERS
FOLDER SUBFOLDERS
RAW MEDIA
SUBFOLDERS SUB-SUBFOLDERS
AUDIO YYYY_MM_DD_city_project_aparatus_initials
eg: 2020_10_01_new_york_job_interview_h4n_cg
....001.wav
....002.wav
PHOTO YYYY_MM_DD_city_project_aparatus_initials
eg: 2020_10_01_new_york_job_interview_iphone_cg
....001.wav
....002.wav
VIDEO YYYY_MM_DD_city_project_aparatus_initials
eg: 2020_10_01_new_york_job_interview_1dx_cg
....001.wav
....002.wav
ORGANIZAÇÃO DE FICHEIROS por Christoph A. Geiseler
4.2b Crie uma PASTA RAIZ no computador ou disco rígido externo designada
ORGANIZAÇÃO ONE MINUTE ACADEMY que contém duas pastas.
DE FICHEIROS
(CONTINUAÇÃO) DISCO RÍGIDO PASTAS
PASTA SUBPASTAS
SUBPASTAS SUB-SUBPASTAS
ÁUDIO AAAA_MM_DD_cidade_projeto_aparelho_iniciais
ex: 2020_10_01_nova_iorque_trabalho_entrevista_h4n_cg
....001.wav
....002.wav
FOTO AAAA_MM_DD_cidade_projeto_aparelho_iniciais
ex: 2020_10_01_nova_iorque_trabalho_entrevista_iphone_cg
....001.wav
....002.wav
VÍDEO AAAA_MM_DD_cidade_projeto_aparelho_iniciais
ex: 2020_10_01_nova_iorque_trabalho_entrevista_1dx_cg
....001.wav
....002.wav
FILE ORGANIZATION by Christoph A. Geiseler
4.2c In the ONE MINUTE ACADEMY folder, set up subfolder for projects, which is
FILE where project applications will be saved.
ORGANIZATION
(CONTINUED) FOLDER SUBFOLDER
SUBFOLDER SUB-SUBFOLDER
PROFILE VIDEO
4.2c Na pasta ONE MINUTE ACADEMY, crie a subpasta para projetos, que é onde
ORGANIZAÇÃO as aplicações do projeto serão guardadas.
DE FICHEIROS
(CONTINUAÇÃO) PASTA SUBPASTA
SUBPASTA SUB-SUBPASTA
VÍDEO DE PERFIL
Volume indicator
timeline, video always ap-
Editing tools
Indicador de volume
das pastas para a linha de
tempo. Na linha de tempo,
Pastas Linha de tempo o vídeo aparece sempre
no topo e o áudio aparece
sempre em baixo.
Adobe will match our sequence settings with our ___________ settings.
We use the same file organization system inside and outside Premiere to
streamline video editing.
4.4 Adobe provides us with a set of basic editing tools that work like every other
EDITING TOOLS editing program.
The shortcut for the black arrow is clicking “_____” on the keyboard.
Our ___________ is like a many-layered tiramisu. Select a file from your bin
and drag it into the timeline. ___________ files appear on the bottom half of
the timeline.
VIDEO files appear on the top half of the timeline and have audio attached to
them.
Drag a clip to a different track; slide to the right and to the left.
The ________ ________ tool allows us to slice a track. Select the black arrow
tool to separate sliced tracks. Select one and hit ________ to make it go away.
To regenerate a deleted track, drag from the right side of the track like a liz-
ard’s tail.
ADOBE PREMIERE PRO por Christoph A. Geiseler
Arraste um clipe para uma diferente faixa; deslize para a direita e para a esquerda.
A ferramenta _______ permite cortar uma faixa. Selecione a ferramenta seta preta
para separar as faixas cortadas. Selecione uma e prima _________ para excluí-la.
Para restaurar uma faixa eliminada, arraste do lado direito da faixa como uma
cauda de lagarto.
ADOBE PREMIERE PRO by Christoph A. Geiseler
4.5 Let’s get started with our audio track to set the pacing and feeling of our
AUDIO story. Grab a sound file from the audio bin and drag it into A1 where the green
CONTROL rectangle appears.
Hover the black arrow between A1 and A2 and let it turn into the flat line icon.
Pull down like a curtain to open the clip and view the ___________ __________.
Push the white line up or down to change the volume. Don’t let your volume
go beyond -6 into the red zone of the volume indicator
on the right side of the screen.
We can fine tune our audio with the ___________ __________. Create little dots
on the white line and push the middle ones down to create peaks and valleys.
In the lower left quadrant, open the “effects” panel and select “audio
transitions.”
Grab the “___________ ___________” effect and drag it into the beginning or
end of the clip to create seamless beginnings and endings.
4.6 Video editing works just like audio editing. We grab a video from our bins and
VIDEO drop it into the ___________.
CONTROL
Use the same arrow and razor blade tool to trim, slice and delete our clips.
If we stack two videos on top of each other and add a film dissolve to the
uppermost one the two clips will ___________ into each other.
Close the window, drag our new title from the projects box into the video
timeline.
Puxe para baixo como uma cortina para abrir o clipe e veja as ________ ________.
Empurre a linha branca para cima ou para baixo para alterar o volume. Não
deixe o seu volume ir além de -6 na zona vermelha do indicador de volume
do lado direito do ecrã.
4.6 A edição de vídeo funciona tal como a edição de áudio. Pegamos num vídeo
CONTROLO DE dos nossos contentores e arrastamo-lo para a ___________ ___________.
VÍDEO
Utilize as mesmas ferramentas seta e lâmina para cortar, fatiar e eliminar clipes.
Feche a janela, arraste o novo título dos projetos para a linha de tempo do vídeo.
4.7 A powerful editing program like Premiere allows us to bring still images to life.
PHOTO
CONTROL Grab a photo from the photo bin to drop it into the timeline and then highlight
the clip. Move the cursor over the photo in the timeline so that it appears in
the preview window.
Move the cursor in the mini-timeline all the way to the left.
Click on the triangle next to motion. Click on the ___________ to lock in size
and position. Move the cursor in the mini timeline all the way to the right.
Return with the cursor to the preview window to resize and reposition the
photograph.
Move down to the main timeline, and move the cursor to the beginning of the
sequence. Press space bar to play and watch your image come to life.
4.8 When you’re happy with your work or so exhausted that you just want to fin-
RENDER ish, it’s time to export your video as one single file.
AND
EXPORT Drag your cursor to the beginning of the timeline and press “i” for “________”.
Drag the cursor to the 60-second mark and press “o” for “___________”.
You can skip the many export options and retain video quality by clicking on
“___________ ___________ ___________”.
Pick the destination of your saved file by clicking on the yellow or blue
“___________” hyperlink.
Go to the [PROJECTS] folder and save your video in the [MP4] folder.
The most important thing is that we end up with a .MP4 or .MOV file.
4.7 Um programa de edição como o Premiere permite dar vida às imagens estáticas.
CONTROLO DE
FOTO Pegue numa foto do contentor de fotos e largue-a na linha de tempo, de
seguida, destaque o clipe. Passe o cursor sobre a foto na linha de tempo de
forma que apareça na janela de pré-visualização.
Desloque o curso na mini linha de tempo até mais à esquerda que puder.
4.8 Quando estiver satisfeito com o seu trabalho ou tão exausto e a querer
PROCESSAR E terminar, está na altura de exportar o seu vídeo como um único ficheiro.
EXPORTAR
Arraste o cursor para o início da linha de tempo e prima “i” para “__________”.
Arraste o cursor para a marca dos 60 segundos e prima “o” para “__________”.
4.9 YouTube enables us to upload and share our videos very easily. Create a new
SHARE IT YouTube account with a Gmail address. Click on “___________ ___________”
WITH THE as “Private”, “Unlisted” or “Public”.
WORLD
“___________” means that you need to have the exact video address and a
password to watch a video.
“___________” means that you can only watch the video with the exact
address and you can’t find it with a simple web search.
“___________” means anyone can watch it and anyone can find it with a web
search.
Use “___________” to begin with, and then when the video is ready, make it
“Public”.
Our titles and descriptions get better search rankings if we always start with
the same word such as company name, location or event. Pick a thumbnail
that YouTube provides or upload custom thumbnails with a verified YouTube
account.
4.10 Our final assignment for the course is to make a profile video about ourselves
ASSIGNMENT or someone else that is exactly sixty seconds long.
#4
1. Download a copyright free song from the internet, import it into the editing
program and trim it down to sixty seconds.
2. Add your one minute interview to your timeline and trim it down to 60
seconds.
3. Balance the volume level of your soundtrack so we can hear the interview
clearly.
4. Add the name and title of your interviewee in the lower third of the frame
when he or she first appears, even if it’s yourself.
Finally, render and export your one minute profile video and share it on this
platform.
REDES SOCIAIS por Christoph A. Geiseler
“___________” significa que só você pode ver o vídeo com o endereço exato
e não consegue encontrá-lo com uma simples pesquisa web.
4.10 O nosso último exercício do curso é criar um vídeo de perfil sobre nós ou
EXERCÍCIO N.º 4 sobre alguém, com exatamente sessenta segundos de duração.
3. Equilibre o nível de volume da sua banda sonora para que possamos ouvir
claramente a entrevista.