So you have written, planned and shot your film. Now you have to bring all the elements together and create something amazing. Because you will have most likely taken multiple takes of some, if not all, shots you have to start working your way through all your footage and choose the best takes. This can be done without even opening your editing software. Most camera's video files can be viewed on your computer with either Windows Media Player or VLC player which is a free download of a powerful, play anything, video player.
If you have used a clapper board you will easily be able to identify which shot is which. If you haven't you will have to work your way through each take individually. Make a note of which takes are the best, and you will find you start cutting the film together in your head. We call this a paper edit.
Once you have your paper edit it's time to import or link your video files into your chosen editing software. Some software will import each file individually, copy it and convert it to a new format so if you have only chosen the shots you want you will save a lot of time and hard drive space.
Now create a rough cut. Starting at scene one, you select the part of the first shot you want to use (usually just cutting out the director shouting 'action' and 'cut'). Place this on your timeline, Then the next shot and work your way through. Once you have 4 or 5 shots play it back and see what its like, if one shot doesn't work and you have it from another angle try that. This is when the creativity starts. Hopefully, as described in the production section, you have plenty of shots for coverage; wide, medium and close-ups for the scene so you will have plenty of footage to work with and more importantly, cover any mistakes.
Once you have completed this for every scene you have your rough cut. No sound edit, no VFX, no titles, But it's the first time you can watch all the hard work come together. The next step is fine tuning it and turning it into something great!
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Saturday, 13 April 2013
Editing Glossary
Aspect Ratio
The ratio of the width of the picture to the height. Displays commonly have a 4:3 or 16:9 aspect ratio. Program material may have other aspect ratios such as 2.35:1, resulting in it being "letterboxed" on the display.
Blue (or Green) Screen A special effects procedure in which a subject is photographed in front of a uniformly illuminated blue or green background. A new background image can be electronically substituted for the blue or green during the shoot or in postproduction through the use of chroma key to convert analog video to digital form.
Cut
A visual transition created in editing in which one shot is instantaneously replaced on screen by another.
Compression
Reducing the amount of digital data associated with a single frame of video information. Compression ratios operate up to 100: 1, typically reducing 1+MB down to around 10 Kb. This means that more video information can be stored on the hard disk. There are several (mostly incompatible) compression systems including: Motion-JPEG, JPEG, MPEG, DV and Indeo. Content that has been compressed must be decompressed for playback.
Codec
Short for compressor/decompressor, a codec is any technology for compressing and decompressing data. Codecs can be implemented in software, hardware, or both.
Continuity editing
Editing that creates action that flows smoothly across shots and scenes without jarring visual inconsistencies. Establishes a sense of story for the viewer.
Cross Cutting
Cutting back and forth quickly between two or more lines of action, indicating they are happening simultaneously.
Dissolve
A gradual scene transition. The editor overlaps the end of one shot with the beginning of the next one.
Editing
The work of selecting and joining together shots to create a finished film.
Errors of continuity
Disruptions in the flow of a scene, such as a failure to match action or the placement of props across shots.
Establishing Shot
A shot, normally taken from a great distance or from a "bird's eye view," that establishes where the action is about to occur.
Eyeline Match
The matching of eyelines between two or more characters. For example, if Sam looks to the right in shot A, Jean will look to the left in shot B. This establishes a relationship of proximity and continuity.
Fade
A visual transition between shots or scenes that appears on screen as a brief interval with no picture. The editor fades one shot to black and then fades in the next. Often used to indicate a change in time and place.
Final cut
The finished edit of a film, approved by the director and the producer. This is what the audience sees.
Jump cut
A cut that creates a lack of continuity by leaving out parts of the action.
Matched cut
A cut joining two shots whose compositional elements match, helping to establish strong continuity of action.
Montage
Scenes whose emotional impact and visual design are achieved through the editing together of many brief shots. The shower scene from Psycho is an example of montage editing.
Rough cut
The editor's first pass at assembling the shots into a film, before tightening and polishing occurs.
Sequence shot
A long take that extends for an entire scene or sequence. It is composed of only one shot with no editing.
Shot-Reverse-Shot Cutting
Usually used for conversation scenes, this technique alternates between over-the-shoulder shots showing each character speaking.
Wipe
Visible on screen as a bar travelling across the frame pushing one shot off and pulling the next shot into place. Rarely used in contemporary film, but common in films from the 1930s and 1940s.
The Writing Process - Part 2
Who are you writing about? - An interesting lead character is integral to an interesting narrative and script. You will make the writing of your script so much easier if your main character has numerous facets.You then just have to make sure you don't surround them with boring, lifeless characters.
Where are they? - You now need to place your multi-dimensional characters into a world which allows them to flourish and which they can explore. You don't need to think too big here, remember, if you only need one location to tell your story then use one location, but use it wisely. If you put them into an interesting environment you give yourself more scope for them to explore and discover. Don't fixate on the idea that you won't be able to find a suitable location. It doesn't matter where you are in the world, you will almost certainly have an interesting location just waiting to be explored within 15 minutes of your home. Just because you see something every day doesn't mean it isn't interesting. Nor does it mean that people across the world will think you've tried to save money by shooting locally, because they'll probably never know.
Hook the audience - You need to make the audience not only sit up and take notice of what's happening in front of them, they also need to question it. You want them to think about what is going to happen to each of the characters and in the narrative as a whole.
Finish with a bang - that's not to say you need an actual explosion, but what you do need is a strong ending. If you watched a 2 hour film which had a brilliant beginning and middle but terrible ending, most people would consider it a bad film. If you're writing a short or low-budget feature you probably don't have to worry about keeping it open for a sequel but that doesn't mean you should just tie everything up in a neat little bow just at the end. Make the audience work for it, make them think that anything could happen. Will they survive? Will they find each other? Will they win? If you keep asking yourself these kinds of questions you will find yourself writing the answers.
Aim for 100 - of course, I'm talking about pages. Depending on what is happening in your script; action, dialogue, depends on how long your film will be. Different sources tell you different things but I've always been told it works out at about 1 page per minute. Obviously this isn't precise and with a feature-length script you're likely to be just under that. So let's assume 100 pages is around 90 minutes once parts of scenes, or entire ones, have been left on the cutting room floor.
If you're making a short film you don't need to aim for anything when it comes to pages but do remember that it's roughly a page per minute and a short film is a completely seperate entity to a feature. Too short and you may not have enough detail but too long and you may have trouble keeping your audience hooked.
Where are they? - You now need to place your multi-dimensional characters into a world which allows them to flourish and which they can explore. You don't need to think too big here, remember, if you only need one location to tell your story then use one location, but use it wisely. If you put them into an interesting environment you give yourself more scope for them to explore and discover. Don't fixate on the idea that you won't be able to find a suitable location. It doesn't matter where you are in the world, you will almost certainly have an interesting location just waiting to be explored within 15 minutes of your home. Just because you see something every day doesn't mean it isn't interesting. Nor does it mean that people across the world will think you've tried to save money by shooting locally, because they'll probably never know.
Hook the audience - You need to make the audience not only sit up and take notice of what's happening in front of them, they also need to question it. You want them to think about what is going to happen to each of the characters and in the narrative as a whole.
Finish with a bang - that's not to say you need an actual explosion, but what you do need is a strong ending. If you watched a 2 hour film which had a brilliant beginning and middle but terrible ending, most people would consider it a bad film. If you're writing a short or low-budget feature you probably don't have to worry about keeping it open for a sequel but that doesn't mean you should just tie everything up in a neat little bow just at the end. Make the audience work for it, make them think that anything could happen. Will they survive? Will they find each other? Will they win? If you keep asking yourself these kinds of questions you will find yourself writing the answers.
Aim for 100 - of course, I'm talking about pages. Depending on what is happening in your script; action, dialogue, depends on how long your film will be. Different sources tell you different things but I've always been told it works out at about 1 page per minute. Obviously this isn't precise and with a feature-length script you're likely to be just under that. So let's assume 100 pages is around 90 minutes once parts of scenes, or entire ones, have been left on the cutting room floor.
If you're making a short film you don't need to aim for anything when it comes to pages but do remember that it's roughly a page per minute and a short film is a completely seperate entity to a feature. Too short and you may not have enough detail but too long and you may have trouble keeping your audience hooked.
Beat Writer's Block
It's nothing to be ashamed of. You could be full of ideas but still you find yourself staring at the computer screen, the cursor flickering as though it's mocking you with every appearance. But worry not, there are plenty of things you can do to get that cursor moving again.
- Go away! Not too far, just enough to get your mind thinking about something else. You could...
- Watch TV - people say it's mind-numbing at times but is that always a bad thing!?
- Read - A book, a script, a newspaper, it doesn't matter what it is really.
- Go out - see friends and talk to people or go to a museum and take in some culture, it might kick-start your writing brain again!
- Write - Text your partner, parents, siblings or friends. Email someone. Write a short story or 1 page synopsis for something completely new. If you're forming sentences and narrative it won't be long before the script is back on track.
- Go to bed - You might be too tired. You might just need a nap but with no distractions and a bit of relaxation you might find yourself forming the new ideas you've been searching for.
Introduction to Editing Software
There are a number of different editing software packages out there. Ranging from free to very expensive. Below I shall list some of the best for all price ranges. Many of these packages have trials so you can download and try for yourself which works best.
Lightworks - Free
If it's real editing power you need, then Lightworks is the best of the free package. Its feature-packed timeline, strong multicam support, realtime effects and smart trimming tools are so impressive, in fact, that the program has regularly been used to help produce top Hollywood movies such as Mission Impossible and Batman. However it is not a beginners piece of software, you will need to practise, practise and practise, and make sure you read the documentation that comes with the download. For Windows only.
Adobe Premiere Elements - £50/$90
Adobe Premiere Elements is an easy-to-use application but has enough features that even more advanced video editors will find this software useful. You can fix imperfections in the audio and video tracks, add effects and transitions, pan and zoom on still images, and more. You can also create high-definition movies with menus and upload them directly to YouTube, or burn them on a disk. This video editing software is compatible with both PC and Mac operating systems.
Pinnacle Studio - £40/$60
Pinnacle Studio has more effects and transitions than other applications we reviewed; however, it only has a few tracks where you can place video, audio and effects. This may not be a problem if you want to create simple projects only. If you want to add many clips that overlap one another, this software may not be up to the task.
Adobe Premiere Pro - £700/$800
Now we get into the professional editing software section. Premiere Pro is probably the least used pro editing suite. But it is still very powerful and capable of doing most things the others can do. It runs on both Mac and PC and has many plug-ins available. also easy integration to effects software like Adobe after Effects.
Apple Final Cut Pro - £200/$300
Final Cut used to be very popular and started being used for more and more feature films. However the latest releases aren't quite up to the competitors such as Avid. It's low price means it is used by lots of amateur and low low budget filmmakers. However it is only Mac based so no good if your on Windows.
Avid Media Composer - £850/$999
Media Composer is the top choice for professional film and video editing in the industry. Whether you edit movies, TV shows, commercials, or other video, this industry-standard nonlinear editor provides 64-bit performance, easy-to-use video editing tools, and streamlined HD, file-based, and stereo 3D workflows. Its open platform enables you to work with the gear you have or want and integrate into any workflow. Plus, it’s designed to eliminate bottlenecks, enabling you to work faster than ever. Windows and Mac compatible.
Lightworks - Free
If it's real editing power you need, then Lightworks is the best of the free package. Its feature-packed timeline, strong multicam support, realtime effects and smart trimming tools are so impressive, in fact, that the program has regularly been used to help produce top Hollywood movies such as Mission Impossible and Batman. However it is not a beginners piece of software, you will need to practise, practise and practise, and make sure you read the documentation that comes with the download. For Windows only.
Adobe Premiere Elements - £50/$90
Adobe Premiere Elements is an easy-to-use application but has enough features that even more advanced video editors will find this software useful. You can fix imperfections in the audio and video tracks, add effects and transitions, pan and zoom on still images, and more. You can also create high-definition movies with menus and upload them directly to YouTube, or burn them on a disk. This video editing software is compatible with both PC and Mac operating systems.
Pinnacle Studio - £40/$60
Pinnacle Studio has more effects and transitions than other applications we reviewed; however, it only has a few tracks where you can place video, audio and effects. This may not be a problem if you want to create simple projects only. If you want to add many clips that overlap one another, this software may not be up to the task.
Adobe Premiere Pro - £700/$800
Now we get into the professional editing software section. Premiere Pro is probably the least used pro editing suite. But it is still very powerful and capable of doing most things the others can do. It runs on both Mac and PC and has many plug-ins available. also easy integration to effects software like Adobe after Effects.
Apple Final Cut Pro - £200/$300
Final Cut used to be very popular and started being used for more and more feature films. However the latest releases aren't quite up to the competitors such as Avid. It's low price means it is used by lots of amateur and low low budget filmmakers. However it is only Mac based so no good if your on Windows.
Avid Media Composer - £850/$999
Media Composer is the top choice for professional film and video editing in the industry. Whether you edit movies, TV shows, commercials, or other video, this industry-standard nonlinear editor provides 64-bit performance, easy-to-use video editing tools, and streamlined HD, file-based, and stereo 3D workflows. Its open platform enables you to work with the gear you have or want and integrate into any workflow. Plus, it’s designed to eliminate bottlenecks, enabling you to work faster than ever. Windows and Mac compatible.
Friday, 12 April 2013
The Writing Process Part 1
Continuing on from Starting to Write we will now look at a few of the elements you need to consider whilst writing;
Who are you writing for? - It is important to at least consider who this script is going to. The chances are if you're writing a short film then it is for yourself to direct or a filmmaking friend. That's fine. However, if you're writing a feature, the script you write could differ tremendously if you're writing it with the hope that you can sell it to Hollywood rather than for yourself or your friend. If you're going to direct your own work you will almost certainly be considering your potential budget. My advice is write what you know and write what the story needs. If it would cost too much to shoot the finished script then find a way round it. If you write a cheap film you will probably make a cheap film. With that in mind though it is also important that you don't overdo it because you're worried that it's cheap. Remember, your first draft is just that, it's your first chance to get your ideas onto paper, once they're on paper you can use your later drafts to shape them. You could write a brilliant script using one location and a handful of actors. Use your limitations to your advantage. Which brings us onto...
Contain yourself - it takes time, money and effort to move locations so consider (in later drafts) locations which could be used more than once. If you're writing a horror film you could set the whole film in a house, or the woods. You don't need to be extravagant just for the sake of it.
This also applies to characters. I couldn't tell you how many times I've read that a character in a film was originally written as three separate characters but then condensed into one, more rounded, character. With this is mind, the fewer characters you have, the more chance there is that you'll spend time forming them into people who are interesting and genuine.
Day is better than Night - Now there are times when your film will absolutely, 100%, have to have a night scene. But remember, if you're shooting outside it will be cold and dark (obviously), which means cast and crew will probably be fairly unhappy to start with. You'll have no choice but to light the scene which will take time, even longer if people can't really see what they're doing.
Story is the most important thing - Some new writers have a tendency to be too kind to their characters. It's understandable, you've created these people who, to you, are living and breathing, so why would you want to cause trouble for them? Because it's interesting, that's why! If, once you have completed your first draft, you read through your script and you feel like the characters have it easy then you are the one that needs to change that. Whilst the idea might be strong it is only by connecting the audience to the characters emotionally, so they go on the journey together, that you will start to achieve what you set out to do. Engage people in your story. Remember, you can tell anyone a story, it's getting them to listen that's the challenge.
Engaging the audience - Despite what I've just said you don't have to write some kind of emotional roller coaster that leaves an audience drained at the end. There are many ways to engage an audience; You're onto a winner if you have a good twist - The Sixth Sense is a good starting point if you want to see (and read) how to execute a perfect twist. Yes okay, some people saw it coming. Well done! Whilst watching a film which could go any number of ways you had a thought which turned out to be the twist. You will always have people who say "they saw it coming" as though it's either an achievement on their part or you, as a screenwriter or filmmaker, haven't done your job well enough. Well I'll tell you now, if you have even a half decent twist more people will be surprised than see it coming. If you have plenty of depth to a story there are usually points at which 'clues' appear to the imminent twist. When you're writing just remember; some people will see it coming, some won't and some will expect something completely different. If you manage to achieve that then you're onto a good thing.
Of course twists don't always fit your structure or narrative. Sometimes simple, light-hearted moments can engage an audience just as much. If you can make an audience laugh or smile at a characters dialogue or action during the heaviest, most emotional piece of drama in a film then you not only give the audience a bit of a breather (remember, they're going on this journey with the characters) but you give the audience a chance to form an emotional bond with the character. If you have a character at breaking point then you hopefully have the audience on their side, willing them through. If you bring the character back from the brink, the audience can feel, with good writing, that they have supported the character and helped them though.
Who are you writing for? - It is important to at least consider who this script is going to. The chances are if you're writing a short film then it is for yourself to direct or a filmmaking friend. That's fine. However, if you're writing a feature, the script you write could differ tremendously if you're writing it with the hope that you can sell it to Hollywood rather than for yourself or your friend. If you're going to direct your own work you will almost certainly be considering your potential budget. My advice is write what you know and write what the story needs. If it would cost too much to shoot the finished script then find a way round it. If you write a cheap film you will probably make a cheap film. With that in mind though it is also important that you don't overdo it because you're worried that it's cheap. Remember, your first draft is just that, it's your first chance to get your ideas onto paper, once they're on paper you can use your later drafts to shape them. You could write a brilliant script using one location and a handful of actors. Use your limitations to your advantage. Which brings us onto...
Contain yourself - it takes time, money and effort to move locations so consider (in later drafts) locations which could be used more than once. If you're writing a horror film you could set the whole film in a house, or the woods. You don't need to be extravagant just for the sake of it.
This also applies to characters. I couldn't tell you how many times I've read that a character in a film was originally written as three separate characters but then condensed into one, more rounded, character. With this is mind, the fewer characters you have, the more chance there is that you'll spend time forming them into people who are interesting and genuine.
Day is better than Night - Now there are times when your film will absolutely, 100%, have to have a night scene. But remember, if you're shooting outside it will be cold and dark (obviously), which means cast and crew will probably be fairly unhappy to start with. You'll have no choice but to light the scene which will take time, even longer if people can't really see what they're doing.
Story is the most important thing - Some new writers have a tendency to be too kind to their characters. It's understandable, you've created these people who, to you, are living and breathing, so why would you want to cause trouble for them? Because it's interesting, that's why! If, once you have completed your first draft, you read through your script and you feel like the characters have it easy then you are the one that needs to change that. Whilst the idea might be strong it is only by connecting the audience to the characters emotionally, so they go on the journey together, that you will start to achieve what you set out to do. Engage people in your story. Remember, you can tell anyone a story, it's getting them to listen that's the challenge.
Engaging the audience - Despite what I've just said you don't have to write some kind of emotional roller coaster that leaves an audience drained at the end. There are many ways to engage an audience; You're onto a winner if you have a good twist - The Sixth Sense is a good starting point if you want to see (and read) how to execute a perfect twist. Yes okay, some people saw it coming. Well done! Whilst watching a film which could go any number of ways you had a thought which turned out to be the twist. You will always have people who say "they saw it coming" as though it's either an achievement on their part or you, as a screenwriter or filmmaker, haven't done your job well enough. Well I'll tell you now, if you have even a half decent twist more people will be surprised than see it coming. If you have plenty of depth to a story there are usually points at which 'clues' appear to the imminent twist. When you're writing just remember; some people will see it coming, some won't and some will expect something completely different. If you manage to achieve that then you're onto a good thing.
Of course twists don't always fit your structure or narrative. Sometimes simple, light-hearted moments can engage an audience just as much. If you can make an audience laugh or smile at a characters dialogue or action during the heaviest, most emotional piece of drama in a film then you not only give the audience a bit of a breather (remember, they're going on this journey with the characters) but you give the audience a chance to form an emotional bond with the character. If you have a character at breaking point then you hopefully have the audience on their side, willing them through. If you bring the character back from the brink, the audience can feel, with good writing, that they have supported the character and helped them though.
Starting to write
If you asked 100 writers how they work you wouldn't get the same answer too often. Everyone has a different way of working, although many work in a similar way. There is no 'right' way to do it and don't let anyone tell you otherwise. What works for one person may not work for you and vice versa. There are a few simple things to keep in mind though when approaching your writing;
Be awake - I'm only partly kidding here. Obviously you need to be awake to physically write your script but it's important that you are wide awake and fully functioning. You often here "I had an epiphany last night, just as I was falling asleep" from people who think that some kind of creative spark of magic hits between a conscious and unconscious state. It doesn't, well, not as far as I know. The reason behind these amazing bursts of creativity late at night is almost certainly that there are no distractions. At what point in your day can you honestly say there was nothing going on to distract you other than when you're in bed with the lights off? So, turn off your phone (don't worry it will switch back on and the world won't have ended, probably), sit in a comfortable chair and lock yourself into a room (a do not disturb sign might work) and start writing at a sensible time when you know you can concentrate on your writing.
Set yourself goals - If you try to spend 8 hours a day writing you'll probably end up having to do more re-writes than if you spend 2 hours a day on your script. Give yourself a target of a certain number of pages within that time frame. It could be 10 pages, it could be 2, it really doesn't matter so long as it's achievable. Maybe get up early? This goes back to the lack of distractions but doesn't work for everybody. If you're not a morning person this may also take a while to consistently achieve.
Be awake - I'm only partly kidding here. Obviously you need to be awake to physically write your script but it's important that you are wide awake and fully functioning. You often here "I had an epiphany last night, just as I was falling asleep" from people who think that some kind of creative spark of magic hits between a conscious and unconscious state. It doesn't, well, not as far as I know. The reason behind these amazing bursts of creativity late at night is almost certainly that there are no distractions. At what point in your day can you honestly say there was nothing going on to distract you other than when you're in bed with the lights off? So, turn off your phone (don't worry it will switch back on and the world won't have ended, probably), sit in a comfortable chair and lock yourself into a room (a do not disturb sign might work) and start writing at a sensible time when you know you can concentrate on your writing.
Set yourself goals - If you try to spend 8 hours a day writing you'll probably end up having to do more re-writes than if you spend 2 hours a day on your script. Give yourself a target of a certain number of pages within that time frame. It could be 10 pages, it could be 2, it really doesn't matter so long as it's achievable. Maybe get up early? This goes back to the lack of distractions but doesn't work for everybody. If you're not a morning person this may also take a while to consistently achieve.
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