Please look at the following workflow that I worked through for another user a while back....
The above was written in the time of Premiere Elements 11 Windows but is applicable to Premiere Elements 13.
Please review and consider, and then we can discuss this further.
Thank you ATR! I will experiment with this and come back with comments/questions.
Thanks for reviewing the suggested workflow.
We will be watching for further developments and can customize the details further to your situation working off the basic plan.
I just labored through something similar when filming all of my son's HS Varsity soccer games this past fall. I recorded each game, approx. 90 minutes each game x 30 games as AVCHD high quality. The resulting total size for all clips were about 700gb. This what I did to manage things a bit:
- First I created a parent folder called "2014 varsity soccer highlight video project" on my internal hard drive.
- After each game I had anywhere from 5 - 15 individual clips which I brought into my video editing software at the time (PowerDirector). The 90 minutes were edited down to just highlights (usually about 15 solid minutes). I then placed the original clips on an external hard drive in case I needed to reference them with a folder named appropriately with date and identifying opponents.
- I then exported the edited highlight video to a sub-folder of "2014 varsity soccer highlight video project" called "2014 varsity soccer highlight clips" under an appropriate name using date and opponent name.
- I repeated #2 and #3 after each game.
- Once I had all the games edited to about 15 minute highlight clips, I determined any audio I wanted to use which I stuck under the parent folder created in #1 in a sub-folder called "2014 varsity soccer highlight audio"
- I repeated #5 for any still images I wanted to use (stored under a sub-folder with same name except "stills")
- I then created a project in PE and from there it was very easy to bring in the exported videos created in #3 in a very organized and meaningful way. There was no loss of quality that I can discern. Your mileage may vary.
- I was able to create an amazing highlight video which I'm still actually tweaking.
- Make sure you back up the PE project file every night to an external drive when done for the evening. I do not use PE's auto-save, I manually save (often) and when I do I save under different versions (2015.02.23_01, 2015.02.23_02, etc) so I can go back to a previous one if I totally screw up and just want to start over. The most I lose is an hour or so because I'm in the habit of saving to a new version when I get done doing something substantial and I am satisfied with an edit.
I'm still learning and I'm sure there are 10 other ways to do this well, but I'd thought I'd share since I just went through the agony of how to organize many clips in a way that would help me keep my sanity.
Thanks again for the tutorial!
I have Game 1 all clipped up and named so I can identify the necessary attributes of the clip at a glance, See example below. I have Game Folders and Scene folders nested in the Game folders that contain the highlights.
- "G01 S01-01 14-01 S-2P-LU" = Game1, Scene1, Highlight1, Player#14, PlayerHighlight1, Steal-2Points-Layup.
- I probably don't really need all this detail, but I don't want to get 25 games into the project and realize that I should have included more detail.
- After I create a highlight, I use the duplicate command to create the next clip, which keeps most of the highlight name that I need, and also lets me continue right where I left off in the previous clip.
I think I am going to try to work on some transitions and effects and building of presets next and try to get highlights from Game 1 looking pretty good. One I am satisfied with the results, I will get back to cutting up and organizing the highlights for the rest of the games.
Thanks for your input Ralph!
My boy plays soccer too. I mostly just take photos of soccer. When I video, I find that I need to either zoom way out to see what's going on, thereby not capturing the emotion of the game, or I zoom in to get more detail, but then it's hard to follow the mechanics of the game. I'm curious what approach you take and what equipment you use if your willing to share some more.
Reviewing the workflow you used above, this is where my head was at before reviewing the tutorial that ATR posted. At a high level, ATR is proposing something similar except that it is all contained within the PE project. Advantage is that you only have to render the video when you create the final version, rather than rendering individual clips to save externally and then re-rendering a compilation later.
I have so much to learn and so little time to do it!
Yes, while I couldn't spend much time today at work reviewing the link ATR provided, at a high level I like ATR's approach as well, and it definitely is advantageous for that use case and rendering only the final product. My use case is a bit different. My son's high school webcasts each match which I then pull off their Youtube channel (with their permission, of course) and use their camera angles and their play-by-play guys commentary (again, with permission) to augment my video (which are closer to the action and much better quality than theirs, I must say). The kids get a kick out of hearing the play-by-play guy yell their name when the score or make a great play. So that is why I produce my clips separately. To me it is cleaner and I can store them for later use outside PE or any other project.
Anyway, regarding the actual shooting of the video. I've been doing this for awhile and there are two elements that are a must for any soccer shoot: a good solid tripod with fluid panning ability, and height. Getting above the action (like atop bleachers), for the most part, is an advantage most of the time. That is why professional sports are shot from above. While I do like to take a few minutes of every game to get on the sidelines and film at field level (this adds a bit of variety to the finished product, and you can't beat the ambient sounds you get when the players grunt and groan), you just can't capture the flow of the game from that angle.
The purpose of your video will dictate your composition. Are you trying to always focus on one player (one particular forward, back, midfielder or keeper) and get their every move (for the purpose of say, college recruitment purposes), regardless of where the ball or action is? If so, you'll want to stay tight on them, but not too tight - know where the action is and use the rule of thirds here with your subject player always in the left or right most third. Let the action, in this case, the ball, enter from the opposite third your player is in to allow the viewer to see a glimpse of what led up to your subject being engaged with the action. If your subject is a keeper, that is the easiest position to focus on of all. When filming just a keeper, I like to set my tripod up along the touch line about 30 yards from the goal line (again, elevated if possible), compose the shot using thirds again so as to let the viewer see the passing action as the goal is attacked. Its great to get a clip of the keeper making a save, but it can be much more impressive and entertaining to a viewer to see how it all unfolds and the choices the goalie has to make to be in the right position to make the save.
If your intent is to film the action where the ball is, regardless of the player or team that has the ball (like most professional sports coverage), it is much better to cast a wide composition. As you mention, it is difficult to find that sweet spot between being too far out and missing the intimacy, or being too close in and simply giving the viewer a headache as the shots zip around as you try and follow the ball. I've found the sweet spot for me is to shoot always keeping a quarter of the pitch in view. This allows for tight enough composition to keep the viewer engaged with the action, without having to jerk the shot around so much as to make them throw up. Soccer is quite fast paced at the high school level and there is quite a bit of "switching the field", where a wing will lob the ball completely across the width of the field to the opposite wing. If you are in too tight, you'll have to pan very quickly to the receiving side, and if done a lot, will not make for very entertaining viewing. There are other examples of why you shouldn't be too tight, but you get the idea.
I've probably written too long a post as it is for this forum, but I hope I've given you some things to consider on your next shoot.
Good health to you!
Good morning All,
I have followed the link that Romano suggested and I am still a little confused. I have the short highlight clips saved to project assets. However, I can't seem to be able to save them other than the project itself to my hard drive in order to be used later in a final project. McMurphy mentioned above using PowerDirector to edit just the highlights to be used later in his projects. Is there a way to do this step in Premier instead of using a second editing tool. Seems like all this should be able to be accomplisged in Premier? Other editing software makes these much easier to accomplish. What am I missing?
Thanks for the follow up.
For a given project, you can export your edited Timeline either all of it a portion of it using the Publish+Share section of the program with a choice consistent with your workflow project settings.
If you want to do export just a segment of the edited Timeline and save to file on the computer hard drive... two essentials
a. Set the gray tabs of the Work Area Bar to span just that portion of the Timeline that you want to export to file saved to the computer hard drive.
b. In the export area setup, be sure to have a check mark next to "Share Work Area Bar Only".
The following points to the critical points for selective export of the Timeline. This is for version 10 but the principles are the same. For 11, 12, and 13,
Share is now called Publish+Share. If necessary, I will update the screenshot for your Premiere Elements version. This is just a quick look at what I had already.
I do not see why you could not use Premiere Elements for what you want to do.
Example for format for export....if your workflow has 1920 x 1080p30 source, then use 1920 x 1080 p30 project and export
Please review and consider. If you need clarification on any of the above, please do not hesitate to ask.
I can't seem to be able to save them other than the project itself to my hard drive in order to be used later in a final project.
I skimmed over ATR's method. I think she avoids output rendering and is trying to do it all in one project.
McMurphy seems to be completing sections and, not saving as a project, but outputing (Publish&Share) to completed video files. He later uses those as primary assets. He writes, "I then created a project in PE and from there it was very easy to bring in the exported videos created in #3 in a very organized and meaningful way. There was no loss of quality that I can discern. Your mileage may vary."
His point is that the footage in the final product has been encoded or "rendered" twice and he didn't find the effects of compression loss to be objectionable.
Thank you Romano,
I was missing the save to computer part. Once I did that I was able to use the existing project highlights in a new project which I can combine with others later. So thank you. The only thing I am having problems with now is just saving short clips to be used later. Seems like I just have to save each as an individual project and then export. Seems like a long process which use to be so much easier in GoPro studio.
Thanks for the reply.
Please interpret the methods first hand in some mini tests runs and go with what works for you. You can mold the suggestions into your own workflow.
Lots of suggestions to consider. In 2011 at another forum, a Premiere Elements user who does sports videos professionally entered a thread to guide a Premiere Elements
user successfully through a workflow for this purpose. It is a long thread.
Just focus on post 35 and afterward principles (Disneyzell and Capt. Joey) if you think you want to explore some more ideas.
My original work
was customized as an overall approach to the title and worked well for the user who asked me to explore his project organizational needs.
We shall be watching for your progress when your schedule permits.
Sorry, I didn't mean to give the impression that Premiere Elements couldn't do what I did with PowerDirector, which is export just the highlights of a 90 minute game to an 15 minutes condensed version (AVCHD MP4 file) so that I could put them all together later. PowerDirector was simply the editing software I had at my disposal at the time, not PE. You don't need anything but PE for this simple workflow.
Note: I didn't have to save the games in individual projects. I would open a new PD project, edit down the game to just the highlights I wanted, add in all the overlay webcast commentary and footage, and exported to .mp4 all in one session. I then just cleared out the media from that game and brought in the media from the next game, rinse and repeat. When I was done with that editing session I just closed the "temp_game_for_review" project after clearing out the media and reused it for the next editing session.
As a point of reference (if ever needed), the following is the link to your original thread which pointed you to the thread that we are in now.
I have also cross referenced this thread that we are in now to your original thread on the topic.