February 8, 2007

 

The Class This Week

Handouts

Assignment for Next Week

Additional Material


Today is all about looking at our cuts

Normally, as an editor, I would have seen every scene and every cut in the film by now (of course I would have -- I'm cutting it). However, there are an increasing number of occasions where there are multiple editors on a film and the question arises -- how can we keep the film feeling like one film, rather than two.

A good director, who is clear on what his or her movie is about, would normally be the best link between editors (here, I am functioning in that capacity -- for better or for worse).

The new post production schedule is online. Click on the link to the left.


Rachel Igel talks to Veterans of Psycho [PDF File]
In this article, borrowed from the Motion Picture Editors Guild directory, two veterans of the editing team behind Alfred Hitchcock's PSYCHO, discuss their experiences. This is a fascinating look at the ways in which life has changed for all of us in the editing world.
High Definition Post Production Paths [PDF File]
An Australian post production house called Lemac has put together a number of very nice papers and web pages about high definition and digital video. They two flow charts are about the way in which Super 16 turns into a final HD project, as well as how material which is captured (or "acquired") on HD is finished in that format. As more and more television and low budget features are shot in HD this will become more and more important.
Understanding Digital Video [PDF File]
This paper put out by Avid discusses a number of issues in regards to wide screen shapes and sizes. In the more recent Avids, such as 10.6 which we are cutting on, it is very easy to digitize information shot in the wide screen 16x9 format that is getting more popular. When the wide screen image hits videotape it is squeezed (this used to be called anamorphic when we did it on film), and simply apply an "interface change" which will display the image in its proper ratio in the Avid. This file is in PDF format.

Continue editing your scenes with an eye on the clock
We're going to be finishing up the first pass of the film in a few weeks. Gauge where you are in the process and let me know. Then continue editing, recutting old scenes and editing at least one new one this week.
Send a resume to our career consultant
The career consultant who will be coming to meet you next week, Janet Conn, has requested that you email copies of your accomplishments to her along with any resumes that you may have already prepared. That way she'll be able to get to know you a little better for next week, since we'll have a limited amount of time with her. Send your information to her by clicking right here. It will open up your email program so you can send it to her. Cut and paste your resume into the email and add a few lines giving an introduction to you. If you don't have a resume, write a longer introduction in which you summarize what your paid and unpaid work experience has been.

Interview with Alan Heim about the documentary THE CUTTING EDGE
Starz Encore channel recently ran a documentary about editing, which was directed/produced by our own Wendy Apple, written by our own Mark Harris, and co-produced by editor Alan Heim. In this interview with Alan, he talks about what it took to produce the show as well as some of his own feelings about the director/editor collaboration. One particularly wonderful quote appears below.
Editors Guild Magazine : Quentin Tarantino and his editor Sally Menke talk rather straightforwardly about the benefits of their push-pull working relationship in the film.
Alan Heim : Yes, I think a good editor will do the pushing and/or the pulling. Bob Fosse used to refer to me as a collaborator, which I mention in the The Cutting Edge, but at one point he referred to me as his conscience because I would say, “You know, Bob, it’s really not working.” Sometimes a director wants it to work so much, as Spielberg said, because he spent all that time shooting a scene, and you look at it and say, “This is not believable.” But the director doesn't’t want to see that for a while. I can’t tell you how many times I've had directors say to me, “We’re not going to be able to use this material because we had so much trouble getting the performance out of the actor.” And I look at it and it looks really good. Then sometimes I've made whole sequences and it looks terrible and the director is absolutely right. And then you say, “Okay, right, let’s re-shoot, quick.”
HD For Indies
This blog is devoted to DV and HDV production and post production in the low budget world. It discusses post production almost as much as it talks about production. Well worth a visit.
LeMac Post Production House
This post house in Australia has a number of papers, web pages and downloadable PDF's which talk about the various high end video formats.
Editors Guild Guide To 24P Video -- Part One and Part Two
Four years ago the Editors Guild magazine published a two part series on 24P video, as used in most HD projects in Hollywood (and for U.S. distribution) today. Though somewhat outdated these articles are a great basic guide to the work paths and theories of 24P. Well worth reading.