My ideal way of starting this process would involve getting all the rushes from the shot list onto Media Composer and start cutting together a sequence that I thought satisfied this goal. However, due to a number of uncontrollable circumstances such as working with child actors and their availability, this wasn't feasible and we filmed over a month instead of the designated 2 weeks.
After each shoot day backed up the footage on a separate hard
drive and then transferred the rushes into Media Composer. As we filmed on the
Sony F5 I had to download a plug in which allowed XAVC/XDCAM footage to be
AMA-linked in Media Composer which I decided was a quicker workflow than using
DaVinci Resolve to convert it.
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Source: http://www.sonycreativesoftware.com/pdzk-ma2 |
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Using AMA-Link with the Sony XAVC/XDCAM plug in. |
After AMA-linking the footage, I put it into bins organised
by shoot day and then labelled the clip by its framing and the action within it
e.g. MS Daniel glum. I also imported the sound from the same day ready for it
to be synced.
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Organising rushes by shoot date. |
I synced the sound with the corresponding video clip, using
the clapper board as a reference and then started putting the synced clips into
new bins organised by scene.
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Syncing sound using Inpoints. |
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Organising synced clips by scene number. |
As we filmed in an non-chronological order I only
had a small amount of footage from a mixture of scenes to work with at any
given time so I began by cutting the scenes together from the rushes I did
have day by day, leaving gaps in the timeline for any shots that we hadn’t filmed
yet.
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Early assembly created between shoot days. |
I continued doing this during the gaps between shoot days so
I could show the group how each scene looked and also so I could keep a record
of what shots we still needed and what re-takes we would have to get.
(Last accessed: 14/05/2015, 13:37)
(Last accessed: 14/05/2015, 13:37)
Here is the final assembly so far which is still missing around 22 shots:
(Last accessed: 14/05/2015, 13:37)
The gaps in the timeline meant that the pacing of the film
was very difficult to visualise so I focused entirely on the clarity of the
narrative which was made relatively easy due to the quantity of good coverage
in almost all the scenes. However there were some exceptions, more noticeably scene
9, where there was a lack of usable reaction shots of Daniel which I believe
will cause some issues with the pacing of the scene in the rough cut as it is
currently very slow due to the Headmasters performance.
Finally the sound is very sparse as I have only used sync
sound in this assembly, so overlapping dialogue and any L or J cuts will be
improved when I collaborate with the sound designer at a later date.
Biography
1. Michael Ondaatje (2002); The Conversations: Walter Murch and the Art of Editing Film; London: Bloomsbury Publishing Plc.
Biography
1. Michael Ondaatje (2002); The Conversations: Walter Murch and the Art of Editing Film; London: Bloomsbury Publishing Plc.
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