Editing Archives - Page 3 of 7 - Blog
Film Editor Margaret Sixel was given over 480 hours of footage to create MAD MAX: FURY ROAD. The final edit ran 120 minutes and consisted of 2700 individual shots. That’s 2700 consecutive decisions that must flow smoothly and immerse the viewer. 2700 decisions that must guide and reveal the story in a clear and concise manner. One bad cut can ruin a moment, a scene or the whole film. No pressure!
The most popular editing tendency for action scenes and films over the last 10 years has been the “Chaos Cinema” approach. A barrage of non-congruent and seemingly random shots that overwhelm the viewer with a false sense of kinetic energy and power. It can be effective in smaller doses, but exhausting and confusing when absorbed for 2 hours. If the story is incomprehensible due to editing…you are doing it wrong. So how do you keep action scenes energetic and fresh without shaky cameras and hypersonic editing? Read more…
The film editor can most often be found in a dark cave, crafting a story as deadlines loom. Sometimes we emerge out into the light and get to interact with other human beings. At NAB 2015 in Las Vegas this year, I was invited to speak at the Adobe booth to discuss 3 projects I recently edited.
The 24-minute video below breaks down my technical and creative process for feature films, documentaries and music videos. Hopefully you will find some good nuggets in my babbling!
Links to in-depth articles on the 3 projects I edited with Premiere Pro:
Quick interview on my favorite new features in Premiere Pro CC from NAB 2015:
Until next time…
One of the most post popular posts on VashiVisuals over the last 2 years is
The Ultimate Aspect Ratio Guide which shows 70 film frame sizes covering the history of cinema. It also includes 70 FREE widescreen templates in 1080 and 720 resolutions for filmmakers. HERE’s THE 2015 UPDATE…
In the past few years, 2K / 3K / 4K / 5K / 6K cameras have surged onto the filmmaking scene, so I have created 56 FREE templates (available to download below) to cover all these new frame sizes and resolutions. They are all PNG files (with transparencies) that can be imported into any NLE/VFX software and then dropped onto your full resolution footage to create cinematic framings.
Here are the 8 aspect ratios I’ve chosen: Read more…
Cinematic insanity and Verdi’s Requiem (Dies irae) make MAD MAX: Fury Road one of the most viscerally assaulting and effective trailers I’ve ever seen.
Kudos to the editor and creative team that crafted this masterpiece.
Clear and understandable action with classically framed shots pushed to the limit using saturated colors…mixed with a sonic barrage of classical music elevates this trailer to bombastic heights. The pacing is also epic with a slow start and long dramatic shots which lead into a frantic second half that cascades shot after shot upon the viewer. It is controlled chaos…kinetic yet beautiful.
The trailer is 140 seconds long. (1.57 seconds per shot)
23 shots in the first 80 seconds. (3.48 seconds per shot)
66 in the final 54 seconds. (.82 seconds per shot)
This trailer achieves the rare feat of showing what looks like most of the major action scenes yet leaves the narrative untouched so the viewer still has the desire to go see the film. Tough to pull off but in my opinion they totally nailed it.
Coming to theaters Summer of 2015.
Until next time…
Sam O’Steen has edited some of the most memorable films in Cinema history. CHINATOWN, ROSEMARY’S BABY, THE GRADUATE and COOL HAND LUKE are just some of the classic films he crafted shot by shot. Both Sam and I follow the practice that there is a hierarchy of importance that should be followed when editing a film. A single, great edit that calls attention to itself, does not help tell the story. It calls attention to the film editor in a masturbatory way…LOOK AT ME! LOOK WHAT I DID! The invisible art of film editing must carry the audience on a journey for the length of the film like a leaf on the wind. It should feel effortless and not reveal the manipulations and decisions made shot by shot to achieve the final film.
In November 2014, director Laura Merians asked me to edit and color grade a music video. I had a week available in-between projects so I jumped in with both feet. 6 days later I finished post production and we put it on YouTube.
It has over 106 million views and counting. It struck a nerve with people all over the planet and went viral. Here is PENTATONIX’s ‘Mary Did You Know?’
Adobe just revealed some of the newest features in the upcoming Premiere Pro CC 2014.1 (8.1 Update). They include many improvements to both the GUI and organizational options plus severe boosting of power under the hood. I’ve been lucky enough to have used this release on a couple professional jobs already and wanted to share some project screen grabs showing these updates in action!
In late 2013, David Rimawi (co-founder of The Asylum) told me that they were making Sharknado 2. I responded by telling him I was going to edit it. A very cocky answer indeed…but I really wanted to cut Sharknado 2…so I rolled the dice. I never brought it up again and 3 months later he called me and offered me the job. I accepted.
JAWS was the first film I ever saw. It was at a drive-in theater with my parents in the back of our convertible VW bug. The last 30 minutes, I hid in the backseat under a blanket…scared shitless. Since then I have been obsessed and petrified with sharks. Since beginning to edit film at the age of 13, I’ve always wanted to edit a shark movie. Well…I got my wish and would love to share the process of how I edited Sharknado 2 with you. Read more…