Our first editing party – collaborative and social editing
I’m a social person. I like interacting with others. I like socialising. I have a lot on my plate, which includes, sadly, some film projects that are sitting with me to edit.
Now, when one has editing projects to do, sometimes sitting down at a computer for hours on end to get the edit done isn’t the most fun thing to do — especially when one has been working on a computer all day. Getting the motivation to sit down for a few hours of uninterrupted editing time is half the battle.
So, I concocted an Editing Party.
You know how some scriptwriting groups get together in a cafe, write for 45 minutes, have a break and talk, write for another 45 minutes …? it’s exactly like that. Dedicated editing time, 15 minute break to chat, dedicated editing time, 15 minute break. The result is that you get the socialising, and someone to ask if you hit a wall or need feedback, and you get the peer pressure to be always editing — it’s not good if the person you’re editing with looks across and you’re on 9gag or facebook!
//platform.twitter.com/widgets.jsZsolti and I had the first editing party. It worked well, so we’re going to have another one soon. And, because I’ve started, I’m editing again today. MOAR EDITING! Get the films done!
I’m currently finishing some shorts I shot with my class in March, a pitch video for a short film that I am producing, and the first of my vlogs on filmmaking for Action On The Side. I’ve now got Premiere Pro Creative Cloud on my Mac, so I’m also learning the ins and outs of that.
We have space for +1 for our next editing party (whenever it is), so if you want to take part, let me know.//platform.twitter.com/widgets.js
Multiple Oscar winning editor extraordinaire Walter Murch (who literally wrote THE book on editing) famously said…
An ideal cut (for me) is the one that satisfies all the following six criteria at once:
It is true to the emotion of the moment
It advances the story
It occurs at a moment that is rhythmically interesting and “right”
It acknowledges what you might call “eye-trace” – the concern with the location and movement of the audience’s focus of interest within the frame
It respects “planarity” – the grammar of three dimensions transposed by photography to two (the questions of stage-line, etc.)
It respects the three-dimensional continuity of the actual space (where people are in the room and in relation to one another).
Two-dimensional plane of screen (5%)
Three-dimensional space of action (4%)
Emotion, at the top of the list, is the thing that you should try to preserve at all costs. If you find you have to sacrifice certain of those six things to make a cut, sacrifice your way up, item by item, from the bottom.
WALTER MURCH, In The Blink of an Eye
Assorted things, but really I’m just busy editing and trying to clear my plate.
Apologies if you haven’t heard from me lately. I’ve been working on finishing two projects and getting them out. All of my spare time is going into these projects. I think that’s a good thing. Nothing clears the head like clearing what has been stressing you out.
Continue reading “Meeting deadlines and editing”
I’ve been filming lectures and having editing issues.
My spare time has been taken up by editing. I’m working on the sound design for one film, and have shot a few things recently which I’m trying to edit and get out. So apologies to anyone who hasn’t heard from me.
Continue reading “Videography gigs”
I attended a screening and Q+A at the London Film School, on Editing with Barrie Vince.
I’m currently in London, visiting the bf. I got onto the mailing list for the London Film School before I left, on the off-chance that I could get along to a workshop or seminar or lecture while I’m here. Fortunately they’re running a series of Q+As, and I can make a couple of them.
The topic was Editing. It was a screening of ‘Deep End‘ (1970, dir. Jerzy Skolimowski). The editor, Barrie Vince, was on hand afterwards for the Q+A.
Continue reading “LFS: ‘Deep End’, Editing Q+A”