How To SHOOT and EDIT a Live Performance Session (BTS "Slingshot" with Family of Things)

[Music] we are here at the mule spinner that's the name of this venue in hamilton ontario and we're shooting a live session this was actually my bread and butter kind of shoe when i was in university because it's it's what i love to do i am a musician so i called up my friends at musicbed and i was like hey can you help me make the shoot happen and here we are so we're shooting an entire behind the scenes of how to film and edit a live session so there's a lot to set up let's go do that [Music] so a few of the things we did in preparation for this shoot i'm essentially the quote-unquote director i always have to do this in quotations basically what that means is everyone is working with me to make sure that this is my vision coming together aesthetically but i also want to work with the band because i want something that feels right to them feels right to the song and luckily for me glenn is right over here he's literally directing as well so he's used to directing in this venue because this is his venue and that's kind of like they're keep wanting to say bread and butter that's what they do here is they film live sessions they record them they mix them they edit them they do it all in house so i'm kind of throwing them a curveball because i was like no i want to do it i want to edit it so glenn's helping us light so all of the lighting you see i'm very lucky he brought it in we're using mostly natural light but then we're going to use some of these tungsten little practical lights to just give a bit of a warm glow and to add some hair light some warmth and ambience really it's just all of us collaborating on set today to come together and make a really cool shoe [Music] [Applause] [Music] is there anything in particular you usually do for a live session recording if everyone's playing in the same room all at the same time the key is to not have too many mics blowing into the drums and the general idea is to just keep things as isolated as possible but use the isolation we'll be listening to it make sure there's not too much bleed but what bleed is there is nice and it works because the close mic is one thing is the distant mic of another so when you mix it you kind of have to respect that relationship of volume and if you do it'll be fine so we're going to do a wide first that's what we've decided like that's our safety because it's you can always fall back to your ride basically if someone's repositioning a shot there are going to be moments where it's not the prettiest shot so you can always fall back to that wide shot of the whole band or i'll tell you another little like technique that we'll do on one of the last few takes so we're actually going gonna shoot probably about four takes of the entire song the first song will be the one that we actually end up recording and then we'll be playing back the song in the band's headphones so that they can mimic what they did the first time for continuity purposes obviously it won't be 100 perfect but we can that's the magic of editing it'll look like it was all one take in the end so that is the plan [Music] can you tell everybody what you're shooting with uh i'm using a sony a73 with a 20 to 70 lens and my handy gimbal is my ronin i'm shooting on the sony fs700 with an 18 to 70 lens i'm shooting on a sony fs5 on a running gimbal this entire shoot was made possible by our sponsor musicbed and what i love about musicbed isn't just that they allow us to do really cool things like today's shoot but they really value the artists on their roster so what makes musicbed a really unique music licensing platform is that they work with actual artists actual musicians who write real albums who are on spotify you can find them really easily so you're not just getting music that's made by you know a composer a little guy sitting in his basement is like oh what do you think people are going to buy today they're real musicians i don't know how else to say it and so family of things the band that we're shooting today they are an actual band on musicbeds roster as a filmmaker i love using musicbed because when you're working with an actual artist who has a passion for the music that they write that passion translates into your work as well and you can feel good knowing that you're providing exposure for these musicians as well i've actually been on musicbed looking for pieces of music for my projects and then i've come across artists that i really love then i go and look for them on spotify and i just ended up listening to their entire albums recreationally another little thing that you guys may not know is when you are licensing a track the majority of that payment always goes to the artist so if you guys are interested in checking out musicbed i'll have a coupon code linked in the description below [Music] [Music] tell me about the song we're filming and recording for you today so the song's called slingshot we're family things the song comes from some real life heartbreak and that experience of moving through that into the next chapter of life into the next season it starts in this kind of sad hopeless place and as the song moves forward the lyrics change from this this feeling of loss and then everything stops and we find ourselves in a moment of recognition like oh i can get through this and then that that chorus i don't know if it's coming back but who'd blame me if i wait for it is the first time the second time i'm moving through it who'd blame me i think on it let me think about this let me get through it and the third time who'd blame me if i walk away from it there's hope in this joy of of that experience of being a human who's gone through some trauma and some sadness and going to the other side of that and being excited by the life that we have both brad and i are producers and so we're very technical and we're thinking through how things gonna be captured and so i think for us it's like we have practiced this song and we've just practiced like a consistency in how we perform it and as we take our time you know as we take our time and we do our different takes what i love is when the filmmakers are intuiting the music so that by the third time i know it's coming and so there's this path that's being chosen very interactive it's interactive it's engaging so that it's not just you know random shots it's like when you know when i have when i have a moment that's special we have some attention there or if you know if we have amy forsyth singing with us and if she has a moment then we bring attention there or the drums with bass or whatever whoever's in the group it's all about that engagement and the composition between us as musicians and you guys as filmmakers captured [Music] [Music] we recorded all the individual tracks when we were shooting the video bases its own track bubbles that every individual instrument has its own track we're actually mixing it in kind of an old school analog style it is on sitting on a computer but it's being output into this beautiful mixer we are doing it in a way that is most kind and gentle to the music and most respectful to the musical process that's pro tools that's pro tools and then that feeds into a converter which brings up kickstarter to analog and then it goes into the individual channels and then it kicks it down to a two-track master recorder i don't have a specific process i freestyle it i listen i pull the tracks up and i listen to them and i i don't even really think about it i just i go after it i hear what i hear i go after the beauty and diminish maybe so if i don't like something maybe i diminish it if there's something beautiful i usually accentuate that and and and and that leads if you've got great pictures and crappy music everyone will think the pictures look terrible so putting that extra bit of attention on on the audio mix is you know it respects what the performers have done right and it respects what the people capturing video have done so it's i love that i love this stage because this represents the complete respect of the music and the art forms that you know all of us are able to kind of share it of course all right several weeks have passed we're now back in the office josh has been hard at work editing the behind the scenes of this video and so it's only fair if now we finally edit the actual live session itself so i wanted to give you guys a little rundown of how we're going to edit this live session and we're going to start by doing a multi-cam edit just to get our initial first cut done obviously we did way more takes than just this one we probably have about seven in total i just like to start out with my first take the take that we used for the actual recording just to get our base edit then i'll start going through individual takes and picking some of my favorite clips that i want to include in moments that weren't so great from that one recording so this brown track right here is our master mix the actual recording that has been mixed and mastered and that is our kind of reference track all these other beautiful colors of the rainbow right here they are the different cameras the different camera angles so what we're going to do now is synchronize all of them to this master mix so highlight them all right click scroll up to synchronize and make sure audio is selected and you want track channel 1 because that's the track that our master mix is on and hit ok and then it does all this work for you now that we have everything lined up i'm just going to give it a quick play to test it out everything's lined up so now i'm just going to solo our master mix next step highlight all of our video tracks right click again and hit nest and we can just call this like multi-cam nest so we know now we're going to right-click on that nest and we're going to go to multi-camera and enable as you can see we can't see our multi-cam reference videos here so what you need to do is click this little wrench over here and make sure that multi-camera is enabled as you can see it's not for me so once you toggle that on now you've got these four different cameras you can view every angle that each camera was shooting at that moment in time over on the right is your master program monitor so this is actually what you are recording i guess from your other takes it's the actual cut that you will be creating all of these on the left that's a view of each separate camera as a fun little fact when i was in university when we were doing live broadcast tv there's a director who basically just sits there and goes ready camera one take camera one and that's essentially what we're doing on our own which is kind of cool so when the director calls ready camera one you would press one it would highlight camera one like this and then you would click take one and you would kind of transfer it to your main program monitor and that's what would actually show up on air so that's essentially what we're doing for our own cut so it just makes it a little bit faster for you than turning off and on layers to look through each layer to find out what you're going to pick so now basically what you do is you play the video let's actually trim out all of this from the beginning here and just start it when our track actually starts bring all that back to the beginning of your sequence and we're essentially just gonna play it through and when we see a camera that we would like to take or put into the actual cut we're gonna press one two three or four because we've got four different cameras so if i press two that's my camera two if i press three that's my camera three if i press four that's my camera four so i'll give you a quick demonstration of how this would essentially work i can see maybe i'll need to pick a different shot for the beginning later on and i definitely want to go to three when that happens [Music] so i just cut to the drums and i know i'm going to go to three because he's going to start singing [Music] and when i stop playing you can see all of my selects as to which camera those are now cuts in my nest pretty darn cool videos say so myself makes this a lot faster for you and now all i would do after i kind of run through this and complete my first kind of initial rough cut i'll comb through all my footage and when i don't love a moment like i don't love this beginning i'll find a better shot at the beginning kind of layer that in but otherwise that's essentially how we do this it's really fast it's really fun and i love doing these types of edits so if you guys want to watch the full cut the full live session video i will have that linked up here it's a separate upload but otherwise thank you guys so much for watching this video i hope it was a fun one for you guys it was a little different we've had this planned for months so we're thrilled that we were actually able to do this and try something different for once and thank you musicbed for sponsoring today's video and uh you know supporting this fun behind the scenes and thank you guys so much for watching if you like this video please give it a like down below subscribe if you're not already and hit the notification bell to get notified for all future videos i'll see you in the next one let me know if there's any other behind the scenes videos you would like to see in the future in the comments below that is all finger guns [Music] loose but not too loose too loose

Channel: Lizzie Peirce

Views: 35,029

Keywords: live session, how to shoot a live session, how to edit a live session, live session behind the scenes, music video bts, behind the scenes live session, how to edit a multicam video, how to edit multicam premiere pro, how to edit with multiple angles premiere pro, how to make a music video, how to film a live session, bts of a live session, how to shoot and edit a live session, lizzie peirce live session, lizzie peirce music bts

Id: kuFOYBFVq9Q

Length: 14min 48sec (888 seconds)

Published: Fri Feb 18 2022