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Film & TV

Editing Case Study: The Vietnam War Introduction

Ken Burns

Lesson time 18:42 min

Using early, never-before-seen-cuts of The Vietnam War, Ken illustrates how to synthesize the components of a story and sculpt the film in the edit.

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Ken Burns
Teaches Documentary Filmmaking
The 5-time Emmy Award winner teaches how he navigates research and uses audio and visual storytelling methods to bring history to life.
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Preview

In order to help you understand a little bit of the tricks of the trade of editing, what I think is the most important aspect of what we do, I wanted to invite in one of my editors. Dan White, who's been working with me for 17 years, is a tremendous editor. We're going to do something that we've actually never done before, which is we're going to take you back and recreate, collapse four year-- and a half years-- of editing and sound editing and onlining into a few minutes of discussing how we got from the first blind assembly to the finish of the introduction. The first eight-plus minutes as it is in the final version was probably 28 minutes in our blind assembly of the opening of our film on the Vietnam War. We've never done this before, and we're happy to share. It was sort of lifting up our-- you know, showing our slip here. [MUSIC PLAYING] I want to sort of parachute into my own process. It doesn't necessarily have to be your process, but our process involves doing a blind assembly before we really start committing pictures. The simplest thing in a blind assembly, and particularly for the introduction, is you want to be able to enter your film right. It's a radio play, and you're essentially asking for what the dramatic structure is. We start off with a very, very complicated Marine named John Musgrave, telling his story of being out on an outpost, you know, terrified of the dark-- so much so that now, to this day, he has a nightlight. - And I'm scared of the dark still. I still got a night light. When my kids were growing up, that's the first time they really found out that Daddy'd been in a war. - He's relating it-- we just thought that was great, and it is great, but it had to be used once we'd established something. And so we're missing what it is, and we know we're missing what it is that's going to begin our film. We're going to keep him there for three or four more passes at least, maybe a couple of years that he's in there, but we're not all quite sure. He's-- he's got jump cuts in him, because we haven't cut it. And then we begin our narration. So it's all-- it's over black. America's involvement in Vietnam began in secrecy. It's my voice. Remember, I'm the scratch narrator, so it's not Peter Coyote yet. We're not going to bring him in until the very, very end. It was undertaken in good faith by decent people out of fateful misunderstandings. Then we go into the dramatis personae. We have a sequence of heads that we just piled in-- it's two and a half, three pages, of talking heads, of people we thought might work in this sequence. They do work in the context of introducing themselves and introducing important ideas that we hope the film will do, but they're not going to serve an introduction in the film. And so every single one of them but two went out of the film from that introduction. So we are experimenting with things we're familiar with-- the dramatis personae, which was very much a part of what wa...


The drama of truth

Since its 2017 debut, Ken Burns’s The Vietnam War has enthralled over 39 million viewers by painting an intimate and revealing portrait of history. In this online film class, learn how Ken captivates audiences with his ability to distill vast research and complex truths into compelling narratives. From first treatment to final edit, Ken teaches his documentary filmmaking techniques that “wake the dead” to bring their stories to life.



Reviews

4.7
Students give MasterClass an average rating of 4.7 out of 5 stars.

One of the best class. It's clear, interesting, with examples

Great stuff Ken. Lesson after lesson my hunger to do this is crowing exponentially and desire to deploy my own history for making documents.

Even if you don't want to make a documentary, you will learn so much valuable information from Ken Burns about the process, how it's done, what to include/exclude etc. The best masterclass that I have done out of the almost 20 that I have completed.

This class has helped me find a place to start my project.


Comments

JD Mayo

I wish Vietnam didn't happen. It's true you didn't really want to talk about it because it really diveded our country in that time.

Phil N.

This lesson was extremely helpful to see the interplay between the typewritten script and the video timeline, from the blind edit to final cut, with much good content being omitted. It helps us consider all of the components involved in making a documentary film, the actual filming of new footage and interviews, gathering stock footage from network TV and amateur hometown movies, and how you distill out the key quotes and visual clips to tell your version of the Vietnam War story. You took a risk running the war footage backwards, iconic scenes could have had an impact running forward, but the effect is memorable and sets up a feeling that this story is different, this war was different, and we wish we could push the reset button. When we see the blank timeline at the start, some filmmakers could be discouraged. But I love the blank slate as there are endless directions the story could go from here. You took it in one direction but, using the same raw material, the film could have turned out completely different. It could have turned out fine, even good. But using more than the raw material and editing tricks of the trade, calling upon your knowledge of American history and your inspiration drawn from great Americans and your own life thinking, questioning, believing in something larger than just telling a good story, it turned out great.

A fellow student

I'm getting an error message trying to play this lesson: Could not download the video Error Code: PLAYER_ERR_TIMEOUT Session ID: 2019-07-29:8b03d2d6766b84cb8d798d3d Player Element ID:vjs_video_1

RJane @.

Bringing chaos or war to other countries also instill mental and physical illness or PSTD in American soldiers and the people affected by the war directly.

RJane @.

I don’t understand why U.S. goes to other countries and create chaos in the name of “safety or security for Americans” and “legacy of being a fierce super hero in the world”. Bringing chaos or war to the other countries just instill fear, hatred and anger in Americans and people around the world.

RJane @.

The class is about filmmaking. Lesson 21 is about the Vietnam War Introduction. Why is MasterClass or Ken Burns showing the photo of an African American boxer in the beginning of the lesson?

Tony C.

Fascinating how long it took to make this documentary. I guess they must have been funded by PBS for a few years before they completed this show and the money rolled in. Huge leap of faith but PBS backed a winner in Burns.

EK T.

So much more powerful with the voices and the images. Mr. Burn also speaks with so much more passion in these clips.

stasia P.

Outstanding. I find myself lost in the sound of Mr. Burns process and voice. He has me in a trance when he uses such eloquent words and descriptions that I now see make up his minds eye and voice. He articulates the thought so well. He is a great teacher. He sees it a different way… genius... and I love learning from him. I watched this lesson 3 times.

PJ

Question: Why is it formatted in 1920x1080i 29.97? Was it down rezed from 4K, or shot originally in HD 1080i and if so why such a low resolution. Would like to know?