I've enjoyed this chapter the most thus far. This covered several of the sound editing practices that I was able to witness first hand while shadowing at Digital Audio Post in Nashville. Post audio production is so fascinating to me. They have invited me back for a two month internship with summer and I'm excited to learn more from these brilliant audio engineers.
While much of this chapter was review from other readings and classes I've taken it was a great help to read up on the audio editing process. Preparing the film edit for effective audio post production is so important and can save a lot of money if the audio editor doesn't have to spend most of the time correcting improper editing techniques.
Splitting the dialogue tracks and considering which ones need special editing effects and putting those on the same track will save the sound engineer a lot of time in sweetening the mix. Currently, all of my projects have been small in that I do both the filming, editing, and sound mixing but practicing this track format will really help me as I move my projects from the editing to sound mixing stage of production.
After reading this chapter I am eager to get back into the DAP studio and see this work flow in action and apply this to my own work as an independent filmmaker.
Monday, April 6, 2015
The Filmmakers Handbook Chapter 14 - Editing Digital Video
This chapter was very interesting as discussion of the best NLE is often debated among my peers. I am relieved to read that there is possibility that Final Cut X won't make it to the main stream industry. I've seen some really amazing effects being done with the program but having done so much work in Premiere Pro and Final Cut 7 I've never been able to transition to Final Cut X. Sadly, I know I will eventually have to move on from my beloved Final Cut 7. When this happens I will probably switch back to Premiere Pro as it still allows me to better fine tune my audio tracks while editing.
I greatly enjoyed this chapter as it goes into great detail about the hardware and workflow associated with filmmaking. Quite a bit of the reading has reinforced what I have learned from my talented coworkers at the news station. Of all of the topics covered this semester this technical stuff is to me the most important and sadly often overlooked by my course offerings. If I didn't have my current job there are many aspects of the technical side of filmmaking that I wouldn't have been introduced to until my senior year. While reading this chapter I found myself being incredibly thankful for having the job and the technically savvy friends that I enjoy because this reading would have been very difficult without my previous experience with these hardware operations.
Early on I encountered so many frustrating moments and often lost large amount of finished work simply because I didn't have any training in file management and work flow practices. It seems many cinema classes focus so much on composition and story form with little attention to this technical side. The problem with this approach is that the modern day filmmaker is expected to do more than direct or edit a film. Understanding the hardware and the software needed for filmmaking is just as important as understanding the camera that captures the story.
From this chapter I am most intrigued with offline editing. I have limited space on my external HD but I have to be able to work on my films at several locations so having my files portable is vital. My working offline with smaller file sizes and then finally reconnecting the finished product with higher quality versions I can work more efficiently no matter where I am.
I greatly enjoyed this chapter as it goes into great detail about the hardware and workflow associated with filmmaking. Quite a bit of the reading has reinforced what I have learned from my talented coworkers at the news station. Of all of the topics covered this semester this technical stuff is to me the most important and sadly often overlooked by my course offerings. If I didn't have my current job there are many aspects of the technical side of filmmaking that I wouldn't have been introduced to until my senior year. While reading this chapter I found myself being incredibly thankful for having the job and the technically savvy friends that I enjoy because this reading would have been very difficult without my previous experience with these hardware operations.
Early on I encountered so many frustrating moments and often lost large amount of finished work simply because I didn't have any training in file management and work flow practices. It seems many cinema classes focus so much on composition and story form with little attention to this technical side. The problem with this approach is that the modern day filmmaker is expected to do more than direct or edit a film. Understanding the hardware and the software needed for filmmaking is just as important as understanding the camera that captures the story.
From this chapter I am most intrigued with offline editing. I have limited space on my external HD but I have to be able to work on my films at several locations so having my files portable is vital. My working offline with smaller file sizes and then finally reconnecting the finished product with higher quality versions I can work more efficiently no matter where I am.
The Filmmaker's Handbook Chapter 13 - Picture and Dialogue Editing
I enjoyed this chapter on editing with a focus on montage. With my interest in documentary filmmaking I've discovered the use of montage can be a powerful tool in telling by story by showing and not just having the perfect sound bite for any given topic.
For me learning how to set up a story structure has been the most challenging obstacle in making my documentaries. This reading has provided some wonderful insight as to how to keep my audience interested while informing with backstory as needed. I've never realized how useful the three act structure could be in an educational film however, it is through stories that we humans learn and share information.
What I took away the most from this chapter is how to edit and envelope each sequence. I've often used transitions to signal a sequence change, but I'm realizing there are many other ways to begin and end a sequence such as a difference in sound level, lighting changes, location, and color.
Page 526, "Beginners tend to think of scenes as separate units to be shaped and polished individually. Always keep in mind the story as a whole and how one scene can best draw the audience forward to the next one."
I have a professor who once described sequences as complete building blocks that support your structure. This visual has helped me see how important sequences can be and transitions are just as important because they are what holds the blocks together.
I also took away from this chapter the importance of work flow. Organization throughout the many stages of editing is key to keeping your sanity but I've never considered how important it is to have my surroundings just right. Specifically, editing on a large monitor. I've never considered how much this could impact my final work but I'm learning that if it can look good on a big screen it will look good on a smaller one. I also see the value in having a few trusted unbiased viewers critique my work in the fine cut stage. I often get too close to my work and I'm finding some time away from it helps to strengthen the final locked picture.
For me learning how to set up a story structure has been the most challenging obstacle in making my documentaries. This reading has provided some wonderful insight as to how to keep my audience interested while informing with backstory as needed. I've never realized how useful the three act structure could be in an educational film however, it is through stories that we humans learn and share information.
What I took away the most from this chapter is how to edit and envelope each sequence. I've often used transitions to signal a sequence change, but I'm realizing there are many other ways to begin and end a sequence such as a difference in sound level, lighting changes, location, and color.
Page 526, "Beginners tend to think of scenes as separate units to be shaped and polished individually. Always keep in mind the story as a whole and how one scene can best draw the audience forward to the next one."
I have a professor who once described sequences as complete building blocks that support your structure. This visual has helped me see how important sequences can be and transitions are just as important because they are what holds the blocks together.
I also took away from this chapter the importance of work flow. Organization throughout the many stages of editing is key to keeping your sanity but I've never considered how important it is to have my surroundings just right. Specifically, editing on a large monitor. I've never considered how much this could impact my final work but I'm learning that if it can look good on a big screen it will look good on a smaller one. I also see the value in having a few trusted unbiased viewers critique my work in the fine cut stage. I often get too close to my work and I'm finding some time away from it helps to strengthen the final locked picture.
Subscribe to:
Posts (Atom)