We are going to look at a number of scenes today as well as being a discussion of Digital Intermediates. We will take a look at how the film THE FELLOWSHIP OF THE RING used them, five years ago, to enhance the storytelling of this first of The Lord Of The Rings trilogy. WE will take a look at a DVD extra feature in which the director, producer, DoP (that's what they call the Director of Photography there) and the color grader (that's what they call the color timer) discuss how the then-new process of digital timing -- for an entire film -- allowed them to focus their story telling, and unite their visual effects with their straight character shots. Notice, in particular, how the timer discusses shifting light from one character to another as Legolas walks forward (towards a light) and begins to speak. He is able to shift the audience's eye, in much the way that I've discussed in my 535 class.

We've talked about using color, size and motion to help the audience to see what you want them to see. All of these things are based on contrast (since editing is all about change, right?). This is yet another tool that we have in the process to help us control our audience's path.

Main Titles list (PDF File)

Usually, a week or so after wrap of principal photography, I start reminding the producers that I'll need a fully approved list of main and end titles by the end of the picture post and that they should start thinking of that then. When they finally get through with them, they will provide me with a list like this. It lists every card for the Main Titles, with checked spelling, indicated upper and lower case, job titles, and percentage of main title allowances (this is usually in the contracts that everyone signs with the production). I like to put titles into the film on a temporary basis right from the moment that I get (to help me determine timing for the editing). It's a good indicator of how many cards there will be and helps to provoke a discussion about what the title sequence is going to feel like. I'm now providing Ta'Nai (and all of you) with the official titles list. This always changes, which is why there's a date on it. But, for now, it's a way for the editor to get a sense of how much time he or she needs to leave in the edit. The percentages in the third column indicate what percent of the Main Title the size of the individuals credit has been guaranteed to be. Nowadays, it's usually always 100%, but this is not always the case. If it isn't, it will be shown here. This is, by the way, the size of the typeface. End Titles will follow in a week or two.

Continuity (PDF File)

Since we are rearranging scenes, here is an interim continuity (for v201) that will help us to see what we are up to.

EFilm Count Sheets (4 PDF Files)

These are four sheets that are used for counts for EFilm (a lab which does Digital Intermediates). There is a Film Scanning Order Sheet, a Recording Order Sheet (for Laser) , and a second Recording Order Sheet (for Tape to Film).

Digital Intermediate Workflow (PDF File)

This is a rather straightforward explanation of how a film gets released while going through the DI process. It is excerpted from the much longer EFilm guide to Digital Post which is available here.

Digital Previews (PDF File)

Efilm discusses how a digital preview is prepared.

Digital Workflow (PDF File)

A graphic representation of the DI workflow, from EFilm.

 

[Actually, not next week, since next week is Spring Break. These are for March 23th.]

Edit your sequences for the next full cut of the film

After spring break, we will be returning to watch a full cut of the film -- our second cut (normally the director's first cut). Your job is to re-edit your section based on the notes that we went through last week as well as the notes that I'll give this weekend. The cuts must be finished by 12 noon on the Tuesday before the next class.

Glossary of Terms Used In Film Music

This is a list of tons of terms that people use in film music, in particular in licensing music for film, that I compiled for a Web site that I'm doing for the Universal Music Publishing Group.

Film Music Articles on filmsound.org

A list of intellectual articles, useful links, and other assorted Web sites on film music. Excellent.

Wolfgang Peterson Talks About "High Noon"

In this interview from the New York Times Peterson talks about the influence that this 1952 Fred Zinneman had a young boy in post-war Germany. Along the way he talks about the use of music in the film, expecially the use of silence combined with music.

Editing Pearl Jams Music Videos

This article talks about the workflow from shooting through editing concert footage using Final Cut Pro.

 

Filmmusic Magazine

A series of links from the rather thorough and interesting Filmmusic Magazine, including an article on what everyone in the film music industry actually does.

Music Editing On "Return To Me"

Michael Jay, the music editor on Bonnie Hunt's film, talks about how he confronted two complicated music editing problems, relating to using old songs in the soundtrack and recording music to a pre-existing track with a variable tempo.

Sundance/Slamdance directors talk about using music in their films

What most of them discuss is creating an atmosphere for communication between themselves and their composers.