Major Project: Editing-Stings

Major Project: Editing-Stings

For our documentary, we had come up with the idea to show the passing of time with the inclusion of very fast paces, very quick montages that would act as a kind of Sting between certain sequences. 

I had a clear idea about this from the start, and although the end result is different to that, it is still one that I am happy with. 

Cailan our VFX artists and my co-editor put together some cool looking countdown clocks that were to be used during each sting (forming their base). I then sat down with Alex to find clips to play behind them. He worked out the order of each sting and what shots to include and I did my best to make them fit. 

The first version of these felt very slow and ineffective. This was partly due to the lack of music in the stings. We had all envisioned music in the stings but after much much searching and debating, no one could agree on a track to use. 

Instead, though we went down a different route. I located a basline tone that could be looped to match the tickigng of the digital clocks. Playing this in the background once again gave me a template to utilise rhythmic editing. I attempted to cut to a different shot in every beat but initially struggled.

This was because in most of the shots we had picked, not much happened in the space of a second so the cuts just seemed pointless. I tried speeding up some clips but this just looked worse. Eventually though we found some better clips that matched.

We also had trouble seeing the clocks against the background. But after working with cailan, we added various effects such as vinuets and shadows, to the video to help them stand out. They became so successful that we ended up creating more than originally planned.

Major Project: Editing-Fitness Sequence

Major Project: Editing-Fitness Sequence

The fitness sequence is one that went through significant changes. I had a lot of material to work with, but as a result, it was hard to know which direction to go in. 

I think I set up the scene nicely and in the first cut we had Alex entering the gym and introducing himself and his dream to Craig the gym instructor. It was really hard to get this audio to macth due to a large amount of background noise but I did it eventually. 

I then took the edit through the various tests Alex was put through by Craig. Although I had lots of shots to work with hear it was much slower paced than i had originally intended and wasn't as effective as we had hoped. It also had no natural conclusion. 

After showing it to Simon we agreed it was best to cut the audio entirely, put in some music, edit to that and fill in gaps with voice over. This worked a lot better although it did take us quite some time to find an effective music track. But once we did I was able to try out the rhythmic editing I had researched. Cutting each shot to the beat for a more interesting and tighter sequence. 

I did add in some natural audio at the end but we eventually decided to take it out as it didnt match as well as we thought. 

I became quite proud of this sequence and kept improving it. Making sure the ending was better (as t=it felt like it had multiple end points until i swapped out some of the shots). 

However Simon, after watching our full cut, said the music didn't match as well as we thought. So after another evening spent hunting for music, I swapped the tracks out, and ended up re-doing the whole scene so the rhythmic editing matched with the new song. Although ths=is was a pain, I must say it ended up working even better than before and i am still really proud of it. 

Major Project: Editing-Abbi Pulling Interview

Major Project: Editing-Abbi Pulling Interview

The first interview in our documentary is with 2X Karting champion Abbi Pulling who advises Alex on fitness.

When editing this sequence I had some success early on, but some challenges to overcome later down the line. The first half of the sequence was quite straight forward, being a single camera set up, I didn't have to worry about matching shots. Also despite having 2 separate clip mic's it proved quite easy to sync them both.  

The second half of the interview was more challenging. I was able to put my research to good use hear, carefully constuecting L-Cuts to connect the two halves together neatly. But before that I had to match the audio form the second sequence. 

It was very windy on this shoot and for some of the cameras they couldn't hear either Abbi or Alex over the wind, so I had to match up the sound manually through visuals. Which although very challenging and time-consuming, worked well in the end. But i had to go right in to my timeline and adjust the clips by micro frames just to get it perfect. 

From here there wasn't too much trouble in matching the shots and I put together the remainder of the interview in fairly good time, but still slower than I would have liked. 

Then it came to the changes. Straight away I knew we were pushed for time, so I cut out the majority of the first half of the interview early on as it added little to Alex's story.

I then had to cover the opening of the sequence with some B-Roll to hide the initial shakey camera as cailan finds his pacing. Although this goes on for longer then I would have liked, it works ok and just looks like an extended L-cut. 

I out in relevant cut aways and manipulated the focus of them slightly to make them more visually interesting and guide the audience's focus. Alex and I had some disagreements about which cutaways to use but i eventually came around to his idea. 

Simon then made us make the hard decision of cutting the interview down further. This actually proved quite difficult as i had trouble getting the audio transitions to sound natural. After a lot of keyframing, I managed to bodge it but i wasn't entirely satisfied. I personally feel it's now a bit too short but it is at least successful. 

Major Project: Editing-What's to come sequence

Major Project: Editing-What's to come sequence

The whats to come sequence ended up being more of a challenge to edit than I had anticipated and I ended up creating two versions of it. 

The first version saw Alex sitting in his room giving a PTC to the camera where he explains in depth the challenges he will face in this documentary. This was actually very hard to cut, as Alex kept pausing and I had very little relevant material to use to cover it. And to connect each point I only had a weird shot of Alex's forehead. I did my best but in general I was not happy with this sequence at all. 

So I used some of my creative producer influence and after much discussion with Simon, I came up with a new idea that I eventually persuaded Alex to try.

This new sequence was more visually interesting in my opinion. It features Alex in the car on the way to meet Abbi Pulling. So the journey metaphor is instantly there. This time Alex had scripted what he needed to say so there were far less pauses and the PTC was much tighter and didn't drag on. 

Thanks to being in the car I also had plenty of relevant, and visually stimulating footage to cut away too if he did pause. The only issue I had with this sequence was getting the audio to match up and work. Although Alex was clip mic'd it still didnt sound great and I had to do a lot in audacity to get it to sound similar to the other sequences, then had to boost the levels. 

There was also some minor audio glitching which lead to the sync getting messed up par the way through. Although I fixed this there was still some noticeable popping. But despite my best efforts, I could not resolve this.

None the less it worked 10X better than the previous version and works nicley to set up and connect to ABbi Pulling's interview. 

Major Project: Editing-Diary Room

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.

Major Project: Call Sheets

Major Project: Call Sheets

As part of my role as producer on this project, I made a call sheet and schedule for every single shoot (as well as a number of risk assessments). There were far too many to be able to fit into this blog post, but they can instead all be viewed through the below link, along with some risk assessments and consent forms.

https://drive.google.com/open?id=1MP6c9nsqd4kHqnrKIzYxvWs9kM4s7RgK

https://drive.google.com/open?id=1EiUJwzYvD1ueaorYK8CkH31_1wZZT5NI


Test Shoots/Edits
Also on the links below, you can view the output from some of the test shoots and test edits, which I organised/created near the start of this project, to help prepare us for some of our scenes.

https://youtu.be/l8EeUjD0Sew
https://youtu.be/0Nz6nyjEtO8
https://youtu.be/0bOOWtgF3-M
https://youtu.be/vyu0Eg3rU7s
https://youtu.be/teRAIMB4etk

Major Project: Race Day

Major Project: Race Day

Today was our final day of shooting on this project, and it was probably the biggest day as well. This was Alex's big race, the thing this whole journey had been leading up to. 

Before this race I worked extreemly hard to get us trackside media access. I had been discussing this event with Brands Hatch for months and knew from the outset that it was going to be difficult. I  began negotiations weeks in advance, emailing and phoning the media team. When our main contact proved unhelpful I attempted to discuss with his supervisor in order to justify our case. 

I filled out all of the relevant paperwork, sent over our public liability insurance. Gave details of our previous arrangements, and even submitted an extremely detailed cover letter for our application.

But despite my best efforts, Brands hatch made it clear that they reserved trackside access on race weekends, exclusively for large pre-established corporations such as ITV film crew or motorsport magazine photographers. Only large organisations that they had a pre-existing relationship with were to be granted trackside access. This was incredibly frustrating as the event we were attending was a significantly small one, and as such no one from these organisations would be interested in covering it, so it is not like we'd be in there way. They simply would not grant us this level of access though. 

But i didn't give up and managed to reach an arrangement. I got us media access and free entry to the event. And we had permission to film in the pitlane and any spectator areas we wanted. So although not ideal, arranging this in advance allowed us to adapt our plans accordingly. We scouted the track the day before to asses new locations and decided it was best to assign people to the same stations used in the racing licence and our first test shoot. 

I spent the day before the race collating every bit of information we would need. I found the schedule on the MSV website, planned out how long each part of the race would take, so that I could estimate when camera operators should switch positions. 

I pulled together Alex's camera plans and went over the shotlist carefully to work out how it would logistically unfold. Then prepared individual packs for each one of our camera operators. These packs featured a camera plan, shot list, schedule, call sheet, circuit map, backup plans, and storyboards. So that everyone had all the information they could possibly need.

We arrived at the circuit at the time I scheduled which gave as a good hour to get signed on as media, meet Sam, attend the briefing etc. Then it was time for the additional crew to arrive. In addition to us, I had arranged for Jon to be there, as well as Alex Hargood (who I was keen to get back after he did such a great job on our previous shoot).

I took everyone down to the paddock where I gave everyone a clear briefing that I had practised. I explained exactly how the day would pan out, running them through the schedule I had prepared and detailing when Alex would be out on track and where everyone would be during this. This went very successfully and I addressed any concerns my crew had quickly and efficiently. I was keen to do this to prove my worth as producer on our last shoot and also to relieve all pressure from Alex so he could focus on racing. (although he did try to interfere at the start but soon left me to run things). 

Once this was completed I distributed walkie talkies and camera packs do evryone could stay in contact. Then proceeded to help each of the camera operators get to their assigned locations. Learning from donington I carefully distributed spare SD cards to each crew member, noting who had which one and where they should keep them/who they should return them too.

Whilst Alex attended his driver's briefing, before the qualifying session started, I went around one more time to check everyone got set up alright and was ready to film when I gave the word. 

I then headed back to Cailan, who I spent most of the day with. By now i had worked out a healthy balance with him. I would keep out of his way and let him get on with his filming without interference, but would keep track of the shotlist and regularly check in with him to find out how closely it was being followed and if he needed any help. The communication between us that day was some of the most effective its ever been and we worked together as one unit. 

The qualifying session went ahead without any issues and once it had finished, I asked the camera operators to remain where they were to give Cailan the space he needed to film reaction shots of Alex and a PTC with Sam.

Once this was complete I headed out to check on everyone. Asking them if they had any issues, checking over their footage and then instructing them to head back to the pits for lunch. 

During lunch and the large gap we had before the race, I took the opportunity to didge all the morning footage. Giving cailan the space he needed to film a PTC with Alex. I had also scheduled for the cameras to be charged during lunch which I supervised. 

Once all cameras were charged and everyone was fed, I went through eh shotlist again with everyone and detailed the new positions they would be in for the afternoon. Some minor changes had to be made hear as it was impractical for one of our operators (Nick) to get to his assigned location. Fortunately, I had prepared for this eventuality and referred him to his back up position/camera plan.

Once I had addressed any questions or concerns from the crew, I checked my schedule and got everyone to head back out to their location slightly early so that we were 100% ready when the time came to start filming. 

Once again I stuck close to cailan and got ready with my stopwatch (which I had brought with me to keep track of time in case the race started late) so i could tell people exactly when to change positions. 

Before the race started I also spoke to the staff in the media office about the best way to record the race commentary (which we planned to use in our edit). They showed us that we could access it through our phones and record it that way, so I set that up in my car to ensure it recorded without interference. 

As the race began I informed everyone to start recording, whilst I stayed close to Cailan to make sure he got all the reaction shots and actuality he needed of Alex as Sam went out in the car.

We were all ready for the change over when Sam came in to the pitlane slightly early and appeared to be driving very slowly. It transpired that he had hit a curb during the last part of qualifying and dmaged the axel of the car. He instructed Alex to get in as he tried desperately to see if he could repair the car in time. Cailan got all around the car to film this actuality whilst I informed everyone that there was a possible delay. 

We then had a very agonising and nervous wait whilst Sam tried everything he could to get Alex out there. But it just didn't happen. The car was too badly damaged to continue the race, and Sam had to tell Alex that he wouldn't be going out today. We managed to get this on camera, but were put in to a small state of shock.

With all our planning and preparation, we now found ourselves in a situation beyond our control where the ending planned for our documentary had disappeared in front of us. I informed the crew that Alex wouldn't be going out but had them stay where they were until we figured out a plan of what to do. 

With no shotlist to work from Cailan and I found ourself a bit at odds, but Cailan did his best to capture some further actuality. It was at this point that fellow driver Rod came to speak to Alex. While Cailan filmed this conversation I went out to talk to our camera operators. They were all very understanding and professional about the situation. Suggesting possible ways we could draw this scene to a close.

Once back in the pitlane we took some time to have a think and try to figure out what to do next. Once it had all sunk in for Alex, he surprised us both by remaining reasonably neutral, perhaps even upbeat about the situation. So him cailan and I headed up to the media centre where we could sit at a table and plan what to do

next. 

After discussion we came up with a few different ways to end this documentary. Which basically involved having our closing PTC here at the circuit, instead of the diary room. We would just need to change the questions/answers slightly. We also talked about filming other actuality, that could potentially a closing line of story. Cailan did a great job of drawing up a list of shot we now needed to get before the end of the day, in order to have enough material for a new ending. 

We filmed the closing PTC, trying it a few different ways and Cailan and Alex then went to film some final actuality while I collated the SD cards and didged the final footage.

So overall, although the day ended up going completely off plan, we really pulled together as a team to come up with a new ending that I think will give cailan a few different options, when he comes to edit this sequence. 

Communication between all group members was fantastic today, and I cannot fault our teamwork as it was really professional. If i had one criticism, it would be that we could have filmed more actuality after we found out Alex couldn't race as I think more reaction shots would have been nice. But ultimately I feel that although we did not get the ending we planned, we still got one that is effective. We shall just have to talk to Simon about how we approach it now.