Major Project: Editing-Diary Room
The editing process for the diary room was actually fairly straight forward, thanks to my attentiveness on set.
I had already been through and marked the best takes, with the help of my clapper board. So it was mostly a case early on of getting the audio to match on each camera. Again thanks to my clapper board this wasn't too hard at all.
The main issue I had was finding out how to transition between shots effectively. Ideally, I didn't want to have to do much cutting in this sequence. But due to the limited space, we had on set, the track and dolly crossed multiple other shots, and it wasn't always possible to cut to this due to the shaky nature of its pan. So I had to cut between some shots or linger on others more than I would have liked.
None the less I was pleased with how it was looking and with a bit of feedback from the group I was able to fine tune it. As the sequence progressed we decided that it would be more effective to have some kind of music playing underneath the sequence. I agreed that this would help add weight to what Alex was saying and I already knew exactly what kind of music would fit.
I wanted something with just a very constant and minimalistic base tone, so that it did not distract from what Alex was saying. This proved to actually be quite hard to find but after much hunting I finally found something that worked. It fitted so well that I found myself extending it in to other sequences such as the ones with Alex's dad, to help create a smoother transition and overarching theme.
There were multiple parts to the diary room all were quite simple except when it came to the one with props. I had a bit of a challenge trying to get the shots to match up and create continuity without long pauses or too quick cuts. Fortunately, I found just enough cutaway material to make it work. But ultimately it was decided this part was too long and had to be cut, despite what it added to Alex's background/character.
As the scene progressed Simon suggested we add in cutaways of archive footage and photos. Which looking back was something that was in my notes at the very start of this project. I had to think carefully thought about weather i genuinely still thought they added to the doc, or detracted from the cinematography, but ultimately decided to include them to aid the story.
This was a simple proccess and I took it one step further by adding a filter over each cut away to give it more of an aged feel which I think was a nice touch. At first, I had them slightly opaque, but Alex did not approve and . after much discussion I let him have it his way as he is my director and its important I listen to him.
I spread these diary room's at different intervals in the film to create the best narrative possible.
I had already been through and marked the best takes, with the help of my clapper board. So it was mostly a case early on of getting the audio to match on each camera. Again thanks to my clapper board this wasn't too hard at all.
The main issue I had was finding out how to transition between shots effectively. Ideally, I didn't want to have to do much cutting in this sequence. But due to the limited space, we had on set, the track and dolly crossed multiple other shots, and it wasn't always possible to cut to this due to the shaky nature of its pan. So I had to cut between some shots or linger on others more than I would have liked.
None the less I was pleased with how it was looking and with a bit of feedback from the group I was able to fine tune it. As the sequence progressed we decided that it would be more effective to have some kind of music playing underneath the sequence. I agreed that this would help add weight to what Alex was saying and I already knew exactly what kind of music would fit.
I wanted something with just a very constant and minimalistic base tone, so that it did not distract from what Alex was saying. This proved to actually be quite hard to find but after much hunting I finally found something that worked. It fitted so well that I found myself extending it in to other sequences such as the ones with Alex's dad, to help create a smoother transition and overarching theme.
There were multiple parts to the diary room all were quite simple except when it came to the one with props. I had a bit of a challenge trying to get the shots to match up and create continuity without long pauses or too quick cuts. Fortunately, I found just enough cutaway material to make it work. But ultimately it was decided this part was too long and had to be cut, despite what it added to Alex's background/character.
This was a simple proccess and I took it one step further by adding a filter over each cut away to give it more of an aged feel which I think was a nice touch. At first, I had them slightly opaque, but Alex did not approve and . after much discussion I let him have it his way as he is my director and its important I listen to him.
I spread these diary room's at different intervals in the film to create the best narrative possible.
No comments:
Post a Comment