Session 17 – Lambeth CLC – 30/3/11

With Emma Stateside, Aggi (Agnieszka Liggett) our professional editor takes up the reins. Even though the boys feel they haven’t captured all the shots they need, it’s felt that a quick run through the rushes would help decide which shots are in fact missing. Once captured, organising & labelling the takes in Final Cut will save a lot of time in the long run and make the process of editing flow more efficiently and ultimately more enjoyably.

Looking at rushes for the first time is a significant part of the process because this is the best time to assess how you and therefore your audience will react to certain moments. The process at this point is largely about looking carefully at each take for the seemingly minor details as these will generate the eventual flow. Aggi’s advice:

  • Take notes as you watch the rushes, looking for tiny significant twitches of movement, emotion, laughter or moments of narrative significance
  • Each selection must ideally add in some way to the mood, character or narrative in order to build the drama. Really look for those moments!
  • Assemble your time line with chunks of sequences to establish the order first for later refining
  • Consider not only which shots to select but also be considering the interaction between shots – which shots will gel together – trust your intuition
  • Avoid jump cuts – putting two similar spatial shots together (unless you’re going for a kind of mad, schizophrenic mood – which is unlikely). In the juxtaposition of 2 shots there needs to be a change in angle or shot distance/size
  • Record at least 1 minute of background noise for the purposes of continuity of sound. With all the cutting there will be inevitable inconsistencies in sound, be it an overhead plane or an ambulance… this problem can be resolved by overlaying a blanket of back ground ‘noise’
  • Thinking about recording separate sounds post-shoot is valuable because it can add considerably to the drama of a situation eg. recording the sound of extra footie action/camaraderie so that we recognise the lone Peter is hearing as well as seeing the enticing football action in which he is so keen to participate – something that wouldn’t have been caught on the original shot of him ‘looking on’
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This entry was posted in Lambeth CLC Sessions 2010-2011, Montrer / Cacher 2010-2011 and tagged , , . Bookmark the permalink.

2 Responses to Session 17 – Lambeth CLC – 30/3/11

  1. markreid1895 says:

    This is really interesting; we don’t often work with an editor as our film-maker – usually it’s a film-maker who can edit. So the perspective of someone who knows what’s needed in an edit bin – extra sound, extra coverage, shots for continuity – is very valuable. I’m not sure whether the different contributions of different roles (editor, DP, writer, director, sound recordist) to film production projects in education has been considered before. We should!

  2. Agnieszka Liggett says:

    We haven’t had enough time to talk about jump cuts in depth, but just to avoid misunderstanding, you can use them as a stylistic device for a lot of different reasons, creating a madness of your character is just one of them, but also if you need to move in time or space quicker, or sometimes even in comedy for fun. ‘Jump cuts’ is a big subject, but what we should remember is that it has to be a deliberate choice, not an accident, as it creates a very different feeling in the audience than linear edit.

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