When editing a documentary it is necessary for the director and the editor to both be familiar with the footage before beginning, as well as be there throughout the whole process. If the director can not be there it is important they have drawn up a plan for the edit so that the rest of the team know what they need to do.
To organise the files it is easier if they are renamed so that it is known what each clip contains since this cuts down time spent looking for a particular piece of footage. For the same reason, each interview should also be transcribed with time codes, and if more than one shot was used for an interview, the shot size should also be labelled on each transcript so the editor can refer to this.
The first stage of editing is the sync assembly or sync pull cut, where only the interviews are cut together, referring to the transcripts to see what has been highlighted to be included. This cut can have holes where sequences should be, with these typed out in text to tell what they will eventually show when cut together.
To structure the order of the documentary post-it notes can be used as these can be moved around and reordered several times. They should each have a heading and detail either a sequence or interview segment, or both if they will eventually overlap. However, if interviews and sequences are to be overlapped, there needs to be a synergy between what is being said and what is being shown, with the pictures acting as visual evidence to help the words tell the story.
The next stage is the rough cut, which outlines the basic narrative structure of the film. It still doesn't need to include all of the visuals, but is often the first time it is seen by people who are unfamiliar with the film, so can help give them a sense of it.
During the edit, the script should be updated so that it represents the edit so much so that if the edit was to be deleted the script would help it be recut together as it was. In broadcast, this typically gets archived once the programme has been shown.
This can also help when writing commentary, as it can track how this changes as the film does. If commentary is used, it should be recorded on the last day of the edit, once the film is completely cut together, since the film can change so much during the edit. Commentary can serve to establish tone of voice, make shots flow together, as well as guide the audience and act as an introduction, therefore it can be used to state facts and figures. For organisation, the commentary should be numbered to the sequences, and also directed to ensure the speaker speaks in the right tone, and also at the correct pace.
Since documentaries often guide and introduce viewers to topics, information needs to be paced out to allow them to take everything in and catch up if needed. Pauses in dialogue help with this, as well as sequences since they show the audience pictures which they are more likely to remember. Therefore, sequences should give information.
The fine cut of the edit is used to finesse the film, and add finishing touches such as music, and graphics. Music can influence the tone and therefore also the film's storytelling intentions. However, it should not be used to much or it can become a bit like wallpaper, so is not as useful as it could be.
Graphics are aspects such as titles, credits, and astons (also known as lower thirds). Astons should be shown on the first decent medium shot, and be readable at least three times in a plain, simple font that is still so the audience have time to take it in. Also, if the contributor is on the left, the aston should be on the right, and vice versa. Channels normally have specifications for graphics, such as accepted fonts, but all information should always be accurate and spelt correctly.
The post-production process for a documentary is therefore as follows:
Edit script
Sync assembly
Rough cut
Fine cut
Update script throughout
Feedback from viewings
Review edit (also technical review, which is checking technical standards).
'Be The One' Sync Assembly:
Using what we had learnt about editing a documentary, as well as the script and transcript of an interview, we then cut together our own sync assemblies:
What I liked about how I was able to cut together this sync pull was that it flowed well since the script had already established a clear structure to follow. I also liked being able to use pictures to show the information given since I found this made it clearer, but at first I cut this together with the sequences being silent. This was less realistic and I found it sounded better if the sequences did have sound, and if this sound even overlapped the interview when the sequence did. When there was a synergy between the words and pictures they were more useful.
Therefore, to improve this I think that there could be more synergy between some of the words and pictures, for example, the picture of the inside of the piano doesn't fit when the contributor has just been talking about orchestras in Europe, although it kind of leads into her comment about pianos having more competitions, but it could be clearer. The picture of the programmes on the judge's desk when talking about the finals isn't clear, and could be replaced with a sequence showing the competitors playing with the orchestra or more shots of the audience since these are things she mentions.
To improve the narrative, a progression between events could also be used to structure the film, so that the pictures are not as mixed up. For example, in my cut there is shot of the audience near the beginning which fits with the contributor's comments, but is a jump from the sequences showing a competitor rehearsing. I think that this could give the audience a better sense of time passing and events occurring, as well as building up to the final of the competition as this is the biggest event, and could be further possible if more footage was added to this cut.
Comments
Post a Comment