The first post-production workshops covered the basics of
editing with AVID: creating a project in the correct settings, managing bins
and starting a sequence on the timeline. We were then introduced to the
source/record layout and writing footage to audio and video tracks. With this basic knowledge we were given the brief for the first skills task, to create a five minute
documentary about spoken word poetry using footage from the longer film.
The first challenge was the amount of time it took to import
and label the footage and sound. This ultimately meant that we had no rough cut
to receive constructive feedback on by the next session. This was further
complicated by our inexperience working with the software and not having access
to half of the footage or sound files from the interviews.
On reflection, we spent too much time at this stage
labelling the footage and sorting the files, but on the second task we managed
our time more effectively. However, the interview transcripts I made (Fig.1)
did prove very helpful whilst navigating the footage for sound-bytes, and in building
a logical structure for the film later on.
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| Fig. 1 |
We used the feedback that another classmate received to
inform our rough cut as we started editing. We were advised to engage the
audience straight away by opening with the film’s subject Addie reciting a
poem. Other advice which we noted and tried to implement included the ‘rule of
three’ to establish a new setting, creating our own subtext within the footage and
most importantly reinforcing any assertions with ‘evidence’.
Working on the documentary task independently we learnt a
number of essential AVID techniques not covered in the workshops: splitting
footage, key-framing audio and managing multiple tracks (Fig.2). This came
mainly through looking online for tutorials on how to achieve the effect we
wanted. We also gained a better understanding of the various editing modes in
the ‘smart tool’; their different uses, effects and how to quickly switch between
them without error.
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| Fig. 2 |
Further workshops mainly covered media management due to
issues with systems crashing and losing files. We were shown how to access the
media, project and bin files stored in AVID’s database, and then how to use the
media tool to transfer our project across the shared network. We also learned
how to export in the correct format (Fig.3), using the Avid 1:1 codec and
minimal compression. In MPEG streamclip we then converted the file into an MP4
optimised for Vimeo upload.
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| Fig. 3 |
After presenting our documentary fine cut we received
specific criticism and more general feedback for future projects. The more
general feedback included not having ‘gold-fishing’ (mouths moving without
sound), not repeating ideas and finding creative ways to disguise the
production.
For our edit we were praised for its cohesive structure, pacing
and choice of strong interview sound-bytes. Our ending was identified as an
area for improvement, fading to black twice (Fig.4). We were advised to try and
consolidate them in the future, as short film audiences prefer a definite
ending. Another criticism was that the move to Addie talking about nature and
the mechanics of poetry was unneeded. However I feel it was a key part of the
story, and was necessary to keep the focus on Addie’ and for a change of pace
and environment.
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| Fig. 4 |
Our second task was to create a five minute drama piece
using footage from ‘Flatline’, a short film about two paramedics with conflicting
approaches to dealing with their patients. We watched the final version of the
film on Vimeo to get an idea of the film’s structure and then began our rough
assembly. The main challenge we faced on this task was not having access to
many of the shots used in the final film. Footage from the opening montage, a
scene in a hospital corridor and almost the entire last scene were missing, as
well as the separate audio recordings. With only camera sound available, this
meant we had to cross-fade most of the audio clips together and loop parts of
the track to fill in any gaps.
One of the more problematic sequences in the film was the
conversation between the protagonist Alex and a doctor in the hospital
corridor. We had options of editing between a master shot and close-ups of both
characters, but the performances were inconsistent, the lighting poor and
framing sometimes awkward. After trying various different ways around this, we
decided to keep the scene in a wide for the most part, cutting into close-up
only at the end (Fig.5). On reflection, this was not the best choice as it
meant we had no control over pacing and line delivery.
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| Fig. 5 |
For some of the scenes we had a lot of different angles to
experiment with, so the learning at this stage was avoiding over-cutting,
thinking about the effects of each edit and ensuring they were motivated by
what we were trying to achieve in the scene. An example of this is in a scene
where the two main characters are sat in the ambulance talking. We used a two-shot
to show Alex’s growing agitation and then, after he lashes out at Mike, used
single shots to convey the conflict between them visually (Fig.6). To improve
the pace in other sequences we cut into the scene as late as possible, removing
entrances, exits or unnecessary pauses that didn’t contribute to the story.
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| Fig. 6 |
For this task we also used various sound effects we sourced
online. We went through the film and noted down spot FX such as the alarm clock
and ambiences like the supermarket and hospital corridor. For the Edgar
Wright-inspired transition sequences I also added new elements of sound design,
such as fast ticking and cartoonish whoosh sounds for added pace. After
introducing these sounds, we key-framed audio volume and used EQ to balance
them in the mix. To make the voice sound as though coming over the radio, I
used the ‘Resonant Filter’ in Sony Vegas which has a preset for such an effect
(Fig.7). In a later workshop we were introduced to the Audio Suite in AVID and shown
how to apply audio effects to individual clips, which would have worked here as
well.
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| Fig. 7 |
After presenting our fine cut we received criticism and
feedback for future drama projects. The hospital corridor scene was highlighted
as our only area for improvement due to the performance in the clip we had
chosen to use. Other general advice included cutting on movement to disguise
the cut, always showing what a character is looking at and avoiding over-cutting
scenes with multiple available angles.
I took this advice
into the final task we were given, editing a single scene from a short comedy. The
first challenge of this was working out the structure of the scene without a
reference (as we had with the other tasks) and finding footage to extract from the
one video file we were given.
After viewing all of the footage the structure became clear
and I began a rough assembly. As a single scene this was simpler and quicker
than the other tasks, but with the comedy coming from the pace and timing of
the editing, I was more considered in my choice and length of shot. For example, when the two characters first
walk into the house I stayed on the reaction of the woman, which conveyed her initial
impressions of Winston. In addition, I inserted a shot of Winston speaking directly
to camera to give the viewer the same jarring effect, and used ‘pan and zoom’
to crop the frame and focus on her reaction (Fig.9).
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| Fig. 9 |
One of the main issues was maintaining continuity, as the
positions and movements of the actors often differed between takes. In some
cases I was able to use other footage, stay on the shot or overlap sound to
work around this. However, for others I sacrificed the continuity either for a
take with stronger performances or to improve pacing, as this was essential to create
comedy in the scene. For the most part, the comedy came from the reactions of
the posh couple to the two main characters, so I made full use of the shots of
them.
Following the rough assembly, I condensed parts of the scene
that I felt were too slow. For example, instead of showing the woman placing
the food on the table, I moved the line ‘I hope you’re hungry Winston’ to when
she enters with the trolley, cutting straight to the man ready to cut the beef.
To ease this transition I added a layer of light dinner party music, also
conveying the status of the hosts and creating awkward tension as they eat in
silence. I cut the music later when
Winston abruptly leaves, exaggerating the disruption he causes (Fig.10).
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| Fig. 10 |
Finally, I applied some light colour correction to each shot in the film, using what we were shown in workshops. I first used colour curves to adjust the contrast and removed the yellow tinge from the film with the colour wheels (Fig.11). However, this made the film look too cold and didn't fit the tone, so instead I increased saturation to bring out the colour on the table, and used curves to bring up the brightness (Fig.12). I tried to keep the effect subtle and consistent throughout, but being new to colour correction there are some times where it is consistent.
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| Fig. 11 |
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| After |
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| Before |
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