Major Project: Role Research (Editing Techniques)

Major Project: Role Research (Editing Techniques)

For my role as editor on this project I knew it was important to have a clear and consistent workflow, guided by informed decisions and processes. So I did some research into the key editing techniques and processes I would likely need/encounter on this project. 

L-Cuts

One of the biggest things I wish to incorporate into this project is the use of L-Cuts. In basic terms, an L-cut is where you hear the audio from a clip before you see the video (likely lingering on the clip before). I find this an effective way to transition between two scenes that I want to feel quite connected. L-cuts can be used to avoid cutting to black or having to make an awkward jump. 

But they can also be used to join parts of an interview together, this will be especially handy in our project when I need to condense sequences. I can use cutaways while i bring in the audio from a later point of an interview then cut to the visuals a few seconds later, thus hiding the cut.

This is a technique i've seen used fairly often in the source material I've been watching for research, and I hope to utilise it well in this project. 

Multiple Cuts
As an editor, it is important that you produce multiple cuts of a film before the final version. This way you can review the edit at different stages to establish early on what works and doesn't work. Although I hope to have my director with me for a lot of the edit, it will become useful for showing any updates made in his absense. As well as being an easy method to enable feedback from our tutors. I can send them the cut even if i'm not at the studios, then find out what changes they and my director would like to see.

A rough cut and a fine cut are the minimum you should produce but in all likleyness, I will be producing far more versions than that. To get the most feedback possible and have a chance to test out different shots/sequences, grades, effects etc.

Due to our schedule, the fine cut will likely occur quite late, but I'd like to have everything except our final sequence ready by the race day. This means that both the editor and the director have more time to focus on tidying up smaller key details and adding finishing touches, rather than spending all their time on the major storytelling aspects.

Rhythmic Editing 

One editing technique that might come in useful on this project is rhythmic editing. 

In simple terms, rhythmic editing means to cut your video to the beat and or structure of a song and or other audio. There are lots of advantages to this, it creates a more visually interesting sequence. It helps with the pacing and intensity of a scene allowing the editor to manipulate how an audience feels. It can help transition scenes or make something feel faster.

This is a technique I haven't done much with before but would hope to use in a couple of places within this project. Especially during montage sequences like a workout or racing segment. Some of the source material i've been watching has used rhythmic editing in places (but used it sparingly so it doesn't become the primary technique of the film).

If ic an get this to play with the natural atmospheric audio and music we will obtain in our filming then I think it will give a boost to the narrative in certain places.

Bins
As an editor organisation is key. Often TV has a quick turn around and the edit needs to get done fast. To make things as smooth as possible it is common practice to keep a tidy and easy to navigate workspace. Utilising bins and folders (with subfolders and possibly named shots). The use of "Bins" is to help keep your dock tidy and allow you to access the clips you need fast. This process involves organising your footage/clips in to different folders within your editing software so that they are kept in categories such as their content, usage etc. In this instance, I will divide the shots up in to different sequences and then other subfolders for specific parts of the sequences. Naming them as clearly as possible so i never have to hunt for anything too hard.

If possible, since I will be attending the shoot days I may try to take regular concise notes about which takes, shots etc. are most effective. This will save me from spending loads of time reviewing footage to find the best takes if i already know which ones I am going to use.

Colour Grading
One of the more finite parts of the editing process, is colour correcting/grading.

Towards the end of a film the editor should be looking closely at continuity, this is not simply limited to blocking and positioning of props, cast, lighting etc. But also to the overall look and colour tones of a sequence. 

In many of my previous works I have attempted color correcting. But here it will matter more than any time before since this project will be longer and spread accross more locations than anything i've previously filmed. 

Ideally, you would use cameras with a similar colour profile, but this isn't always possible so I will have to learn the natural tinting of our different cameras, and practice balancing them early on to avoid delays with the fine cut.

Then there is the grade. To make the film the best it can be, and help it stand out from other works, it is important to give your documentary an effective and individual colour grade. In basic terms, this is a bit like a filter that gets applied over the whole film, to bring out certain tones and give the film a more professional emotive feel.

Which is why it is important to familiarise yourself as an editor with the colour grading process. Making sure all the shots look the same and share similar tones even if shooting conditions have changed is important for giving an immersive film with a good flow of continuity.

While colour correcting can be done solo, the editor may be able to enhance the look of a film through grading and filters. In which case they should sit with the DOP and director to create a well-tinted sequence that enhances the overall look of the film. Before a session like this, I hope to come up with a basic idea of how I want the film to look, the colours I want to bring out and to what extent it should be applied. Giving me a head start in this process.

A grade can aslo be used to highlight certain emotions and denote certain themes within a film. I shall do a bit of colour research to find out what colours might work well.

I will look at other films for inspiration and to see what works, as well as look at the best techniques to use. This is something I will be doing towards the end of my edit.