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Directed by Bernard Ong, the video for Gemini Club’s “Can’t Believe You Said That” was shot on the Red Epic by Jon Bingham. Coat of Arms edited the music video in Premiere cs5.5, making the 5k R3D files more manageable. Premiere does not require conversion of R3D files, unlike Final Cut Pro 7. Times are changing in the world of professional editing software. So, to prepare for the inevitable industry move from Final Cut Pro 7 to Premiere, Avid and/or Final Cut X, Coat of Arms has added these alternative programs to our arsenal of editing platforms. Fortunately, if you have mastered Final Cut Pro 7, Premiere’s interface seems relatively intuitive. Not to mention Premiere comes with Adobe’s Creative Suite, which many folks already use.

Beyond some keyboard shortcuts, Premiere functions at the level and quality of Final Cut Pro 7. However, two shortcuts we especially miss from Final Cut Pro 7 are Extend Edit [e] and move clip up or down within the timeline [Option + Up/Down Arrow]. Hopefully that has been adjusted in cs6 or will be in future versions.

Premiere renders files at the same pace as Final Cut Pro. However, instead of rendering during your edit, Premiere renders upon export. It comes down to what you prefer. We prefer Premiere’s ‘render upon export’ overall because it doesn’t break up the creative/editing process.

As with Chae Hawk’s “Heartlock” video, Coat of Arms’ Jonathan Lacocque and Jeff McHale shared the “Can’t Believe You Said That” edit. Lacocque and McHale included a sequence of jump cuts and some overlays throughout the video. The jump cuts help to speed up movements, giving them heightened urgency and adding extra style to reflect the song’s digital sound.

Jumpcuts within Premiere's timeline.

Jumpcuts within Premiere’s timeline.

Generally, we used each shot for about two to four frames before jump cutting. It’s always important to experiment with the number of frames; but as a rule of thumb, more pronounced actions on the screen translate far better with jump cuts than small, insignificant motion. One of our favorite things about the jump cut is its ability to transition one frame to another with the movement across shots.

Premiere's timeline depicting another jump cut sequence.

Premiere’s timeline depicting another jump cut sequence.

But did you know…that the father of the jump cut is a French illusionist and filmmaker named Georges Meliésè. Meliésè used the jump cut to simulate magic tricks. Abracadabra and take a look at The X Rays (1897).

Also, check out the 1960 footage of jump cuts utilized in Jean-Luc Godard’s Breathless. All art is borrowed!

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Overlays were implemented in the video too. Lacocque and McHale used a screen composite mode to give the dancer more than one arm for about twelve frames. Within Premiere you have to change the “blend mode” under “opacity” in the “effects” tab (whereas in Final Cut 7, you can right click the image and add a composite mode).

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We’re very proud of the edit and glad to see the video got some attention. In particular the band received a nod from GQ for being “a well-dressed band.” Props to the wardrobe department and to director Bernard Ong. Enjoy the video!