Helping Out on Set

As the editor on this project I have to try and distance myself from the shoot as much as possible so I can remain impartial and objective when it comes to cutting the film, however, as our production groups do not mimic the size of a normal film crew we all have to pitch in and help out where we can. Our group has worked on a number of projects together before, we know and understand each other's strengths and weaknesses so we can help each other collectively during the whole process.

My main job on set was to mark the clapper board to make the syncing and labelling process easier and more efficient during post-production. This involved me writing the scene, shot and take number down and showing if there would be sync sound in the shot or not.

I also collaborated frequently with the director during shoot days, both before that actual shoot and during, to verify that we were all on the same page. This involved me going through the shot-list with him and the cinematographer and discussing how to frame the shots within the given space as well as the logistics of how each shot would cut in with the next during the edit.

Finally I acted as an extra pair of hands with the rest of the production, helping construct the set by moving and placing props, as well as helping with lighting set ups and camera positions during the shoot.

After engaging this much with the production before post it is very difficult for me to remain completely objective when cutting the film, however, I have had experience with this before and always try and put myself in the position of the audience to limit my own bias on the film. "Don't unnecessarily allow yourself to be impregnated by the conditions of shooting." "…try as hard as you can to separate out what you wish from what is actually there…" ^{[1; Pg:24-25]}

Bibliography
1. Murch, Walter (1988); In the Blink of an Eye; New York: Viking Press