Jess had trouble uploading the footage onto the Vimeo page at a high quality version and so had to upload a low quality version which really effected the viewing of the film.
The outside scenes were basically black and the theatre scenes were an unseemly shade of red.
The comments were all stemmed around those two problems, although it made it difficult to judge the film, ultimately nothing constructive was said about how to improve the film or any ideas given about what to cut, and so I was a little disappointed.
Thursday, 3 April 2014
Tuesday, 1 April 2014
Rough-Final
Over the weekend Jess did some more editing, and the structure of the film was at a solid place.
Due to how bad the "bloody" shots looked, we couldn't use them in the final scene and so had to devise a way to build up to the characters death without actually showing it. We experimented with a range of techniques including voice-overs and blackouts, but ultimately when with a flash of images, replaying the main characters transgressions.
Jess neatened things up in preparation for the screening on Thursday.
Due to how bad the "bloody" shots looked, we couldn't use them in the final scene and so had to devise a way to build up to the characters death without actually showing it. We experimented with a range of techniques including voice-overs and blackouts, but ultimately when with a flash of images, replaying the main characters transgressions.
Jess neatened things up in preparation for the screening on Thursday.
Thursday, 27 March 2014
Assembly-Rough
Originally me and Jess we supposed to meet up for a check tomorrow (Friday) but we rearranged for today, which luckily managed to sync with an edit tutorial with Chris.
Before meeting up with Chris, Jess and I discussed her progress thus far, what she had cut from the initial 20min copy and what we could do to reduce the current 18minute copy even further.
At 2:30pm Chris came to evaluate our progress and gave some useful tips about transitioning of scenes and what was just completely unnecessary to the progression of the storyline, an overall way of thinking to help make decisions about cutting shots and scenes.
My next meet up with Jess in on Tuesday 1st April
Before meeting up with Chris, Jess and I discussed her progress thus far, what she had cut from the initial 20min copy and what we could do to reduce the current 18minute copy even further.
At 2:30pm Chris came to evaluate our progress and gave some useful tips about transitioning of scenes and what was just completely unnecessary to the progression of the storyline, an overall way of thinking to help make decisions about cutting shots and scenes.
My next meet up with Jess in on Tuesday 1st April
Tuesday, 25 March 2014
Assembly
On Friday I met with Jess and we sifted through the footage as she transferred the finished labelled footage from the Mac I used in uni to her own Mac.
On Monday Jess and I met up with Owen, where he handed over the sound files so that Jess could start syncing them after the initial assembly. After that I talked to Owen about what I wanted over the next few weeks whilst the Film was in the picture edit stage. Mostly to research horror films and their sounds and techniques they used
Today I met up with Jess and Neil so that we could look at the Assembly Jess had done. This initial assembly was around the 20minute mark, so we had a lot of work to do to get it to a more appropriate length
On Monday Jess and I met up with Owen, where he handed over the sound files so that Jess could start syncing them after the initial assembly. After that I talked to Owen about what I wanted over the next few weeks whilst the Film was in the picture edit stage. Mostly to research horror films and their sounds and techniques they used
Today I met up with Jess and Neil so that we could look at the Assembly Jess had done. This initial assembly was around the 20minute mark, so we had a lot of work to do to get it to a more appropriate length
Thursday, 20 March 2014
Research: Editing Techniques in Psychological Thrillers
The genre of Ridley, I would class under psychological thriller, and with this comes certain codes and conventions that need to be met. Although it is usually my aim to try and distort as many "rules" as possible, one still needs to have a basic understanding.
A lot of psychological thriller require the audience to have a degree of suspense the entire was through, as though they are holding their breathe waiting for something to happen. It is the job of me and the editor to create this suspense.
Editing for suspense is a simple technique. It's about understanding what the audience wants to see, and then not giving it to them right away. If you were editing a movie in which a group of friends decide to spend the night in a haunted mansion, you wouldn't show the ghosts right away, you would build up to the moment of reveal.
-VIDEO EDITING TIP: BUILDING SUSPENSE [Last Accessed 03/06/14]
http://www.videomaker.com/videonews/2010/12/video-editing-tip-building-suspense
In terms of Ridley the suspense comes from what Ridley is going to do in the end; Make his own choices or continue to be bullied by Jeffrey. We can achieve the suspence by creating moments within the film that make it seem that Ridley is leaning one way or the other, only to snatch the moment back from the audience, and prolong the decision until the climactic point in the film.
I started to look at trailers that have been recut to be a different genre to analayse the importance of when to cut and how shots can be fit together to give an alternative interpretation. This was also a good method for exploring the importance of a good sound design.
Of course editing a trailer is different from editing a full movie, but the art is the same; Taking certain clips to display a certain story, the story that I as a director want the audience to see, feel and believe. It is up to me to decide If I want the audience to sympathise with the characters, to feel nothing for them, or to make them feel like they are an arms length away from the action and events.
A lot of psychological thriller require the audience to have a degree of suspense the entire was through, as though they are holding their breathe waiting for something to happen. It is the job of me and the editor to create this suspense.
Editing for suspense is a simple technique. It's about understanding what the audience wants to see, and then not giving it to them right away. If you were editing a movie in which a group of friends decide to spend the night in a haunted mansion, you wouldn't show the ghosts right away, you would build up to the moment of reveal.
-VIDEO EDITING TIP: BUILDING SUSPENSE [Last Accessed 03/06/14]
http://www.videomaker.com/videonews/2010/12/video-editing-tip-building-suspense
In terms of Ridley the suspense comes from what Ridley is going to do in the end; Make his own choices or continue to be bullied by Jeffrey. We can achieve the suspence by creating moments within the film that make it seem that Ridley is leaning one way or the other, only to snatch the moment back from the audience, and prolong the decision until the climactic point in the film.
I started to look at trailers that have been recut to be a different genre to analayse the importance of when to cut and how shots can be fit together to give an alternative interpretation. This was also a good method for exploring the importance of a good sound design.
Of course editing a trailer is different from editing a full movie, but the art is the same; Taking certain clips to display a certain story, the story that I as a director want the audience to see, feel and believe. It is up to me to decide If I want the audience to sympathise with the characters, to feel nothing for them, or to make them feel like they are an arms length away from the action and events.
Tuesday, 18 March 2014
Logging the Footage
Our editor is working on another project as well as ours and so because the first week of our first post production coincides with the final post production week of the first group, the editor Jess asked me to help her log and label the footage.
Me and Chris met up and we went through the process of transferring everything from his hard drive onto the mac.
Then went through the process of putting everything from the mac into Avid Media Composer 6 in the most organised way possible; I labelled three separate bins and started the importing process. After Chris left I then went through each shot and labelled them according to the clapperboard prompts.
This was an easy enough process, though there were times where we had to go off Shot List, but I labelled them as clearly as possible and had previously spoken to the editor about it.
During this process I noticed that a lot of the theatre scenes were very Red. This was due to a lighting fault in the establishment, which has been previously described.
Hopefully these will be able to be colour corrected later on as there is no chance of a re shoot. The next step is to hand the footage over to Jess on Thursday.
Me and Chris met up and we went through the process of transferring everything from his hard drive onto the mac.
Then went through the process of putting everything from the mac into Avid Media Composer 6 in the most organised way possible; I labelled three separate bins and started the importing process. After Chris left I then went through each shot and labelled them according to the clapperboard prompts.
This was an easy enough process, though there were times where we had to go off Shot List, but I labelled them as clearly as possible and had previously spoken to the editor about it.
During this process I noticed that a lot of the theatre scenes were very Red. This was due to a lighting fault in the establishment, which has been previously described.
Hopefully these will be able to be colour corrected later on as there is no chance of a re shoot. The next step is to hand the footage over to Jess on Thursday.
Tutorial With Neil
Today was just a short catch up with the progress we had made and any problems I had encountered along the way, which was ultimately none.
We then discussed sound:
Setting up ADR sessions with the actors as soon as possible if it was necessary.
The use of underlying tone; having a sort of low rumble the whole way through
Using silences, and how silences can be used to break down a soundscape and build it back up again
Neil also suggest that it might help me to draw a sound map when I watch the assembly.
We would next meet to watch the Assembly with the editor next Tuesday.
We then discussed sound:
Setting up ADR sessions with the actors as soon as possible if it was necessary.
The use of underlying tone; having a sort of low rumble the whole way through
Using silences, and how silences can be used to break down a soundscape and build it back up again
Neil also suggest that it might help me to draw a sound map when I watch the assembly.
We would next meet to watch the Assembly with the editor next Tuesday.
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