Editing Archives - Page 3 of 7 - Blog
ADOBE MAX 2015 – The Creativity Conference will be held in Los Angeles from October 3 to October 7. I’m very proud to have been invited to present and will be speaking about the work I have edited over the last year. I will share my experiences editing 2 feature films, 2 documentaries, a music video, a short film and a commercial. All of these projects were cut in Adobe Premiere Pro because…for me, it’s the most powerful, flexible and constantly improving NLE out there.
Here are some of my projects I will be discussing:
THAT WHICH I LOVE DESTROYS ME – PTSD documentary
PENTATONIX – Mary Did You Know (Music Video with 37 million views)
DEADPOOL – The 2016 Marvel Super Hero film starring Ryan Reynolds
HANNIBAL aired on NBC for three seasons before being cancelled. It was one of the most cinematically spectacular shows ever on TV and it redefined what was allowable in terms of violence on prime time networks. Creator Bryan Fuller made murder, cannabalism and other horrible acts delectably palatable while maintaining a visually beauty that both rivals and supersedes the biggest budget feature films. It paid homage to the original source material but then creatively rewrote the narrative and delivered an operatic version that both acknowledged and expanded on the lore of Hannibal Lector.
Creator and writer Bryan Fuller has generously shared all 3 seasons of the scripts and every filmmaker would benefit by reading any of them. I want to focus on the first episode titled “Aperitif” written by Bryan Fuller and share with you the script superimposed with the actual show to fully appreciate the translation of script to screen. This first episode of HANNIBAL is visually and creatively fantastic and raises the bar of what to expect no matter what the format. The translation of word to imagery is no easy task. What do the written words actually turn into in front of the camera? Watch the first 5 minutes of the first episode of HANNIBAL. Enjoy the magic…
Until next time…
After a long stretch of 18 months parked in front of my edit bay…I’ve finished 3 film projects and have moved onto the next challenges. The hours, days, week and months blend together as you edit, tweak, massage and adjust the timeline into its final state. I’ve put the Adobe Premiere Pro timelines from the last three films I’ve completed and a bonus Adobe Audition audio timeline into one huge image. It serves to both remind me of great work accomplished and taunt me with the memory of thousands upon thousands of decisions made. Enjoy!
On top of the 3 films, here’s a peek at 4 short form projects I cut this last year as well. One was a spoof video for director David Zucker (Airplane, Naked Gun) titled SIDE EFFECTS. Two experimental short films and a documentary round out the rest of the work. I find it pleasing to see your projects all grouped visually in one spot. It both reminds you of all the hard work poured into your projects while looking graphically interesting. So many cuts and shots blended into a rainbow mosaic that represents so much.
In the very near future I will be sharing me experiences working on GONE GIRL and the upcoming DEADPOOL. Both films were cut exclusively on Adobe Premiere Pro and I was hired to both set up the workflow for the post production teams and also train all the editors working on both films. I was privileged to share my vast experiences cutting 4 feature films and hundreds of commercials on Premiere Pro with some of the best editors in the business. Stay tuned…
Until next time…
John Williams has scored some of the most famous films of all-time. Nominated for 41 Oscars he has won 5 times for Best Score. The five wins were for: Fiddler on the Roof, Jaws, Star Wars, E.T. and Schindler’s List. The role of the composer is a challenging one as sometimes they write the music sight unseen before the film is shot and other times they start their work after the final edit is complete. A 1980 BBC documentary chronicled William’s experience scoring The Empire Strikes Back with George Lucas, producer Gary Kurtz, director Irvin Kershner and the London Symphonic Orchestra.
The most amazing part of the documentary is watching Williams, Lucas, Kershner and Kurtz watch the Carbonite Freezing scene where Princess Leia says “I love you” to Han Solo. Not only is it one of the most emotional moments in the Star Wars saga (with the best response a rogue like Han could ever give) but it also shows the scene with no music, temp sound, hissing compressors obscuring actors lines and the on-set dialog of David Prowse playing Darth Vader which would later be replaced.
The unfinished scene is audibly distracting, sonically jarring and although picture locked for the edit…almost indistinguishable from the final film as we know it. Williams had to block out the distractions, listen through the audio chaos and create a score that elevates this scene to show-stopping status. He understood the emotion of the scene and amplified the moment with his music…something he has done time and time again to great result.
Filtering out the noise to clearly see what the story needs is a lesson every great filmmaker has learned.
Here’s a closer look at this magic musical moment:
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?’