editing Archives - Blog
We discussed my journey from professional hockey player to editing 11 feature films in Hollywood and the creative process that spans both worlds.
I share how I starting shooting and editing films with a VHS cameras and decks in the 1980’s all the way up to working on: Deadpool, Gone Girl, 6 Below and Sharknado 2 and more.
Here’s the 16-minute video:
I just got home from watching ROGUE ONE: A STAR WARS STORY and am still electrified with the exhilarating experience it provided. In my opinion it is the first STAR WARS film to recapture the spirit and feeling of the original STAR WARS (1977). Even though it is classified as a one-off and stand alone story, it transmitted to me the euphoric feeling and impact of the original film that I saw in the theaters 5 times much to the chagrin of my mother who took me each and every time.
As a film editor, I understand the marketing and have helped in creating the trailers for the 10 feature films I have edited. I have also worked with several trailer houses in Los Angeles that cut the trailers that we all consume in the theaters and online. The specific skillset and mindset that an editor must adopt to live in the world of movie trailer editing is no small task. The notes from the studio, producer, director and countless other people boggles the mind in terms of volume and contradictory requests. The trailer game is an ever-changing pursuit that tries to stay ahead of the intelligent public but must also find new ways to tease, cajole and intrigue. Get the asses into the seats! Show scenes that aren’t in the film. Manipulate dialog and visuals to make a scene more interesting. Shift the order of shots to make it more interesting or compelling. Add music not in the film to hit an emotional beat. Use every trick in the book to make an effective trailer.
ROGUE ONE: A STARS WARS STORY used one teaser, 3 trailers and several BTS promos to build a world that STAR WARS fans would hopefully want to visit and share in the experience. With the reshoots and adjustments that Gareth Edwards, Tony Gilroy and the studio made on the film, a lot of the footage in every incarnation made the final cut…but a lot of it never made the final cut. I have isolated 46 individual shots that were shared in the promotional material but never made the final cut of the film. The goal of the promotional push over the months leading up to the release of the film on December 16th, 2016 had one ultimate goal…to attract an audience.
When foreign countries release english speaking movies…
they make some adjustments that can be lost in translation.
The good, bad and ugly of famous movie titles translated.
I will try to cover as many countries as possible:
Film Editing begins with organization. A feature film can have anywhere from 77 minutes of footage as in PRIMER to over 500 hours of footage shot on DEADPOOL. On both films…keeping track of the footage and making it all instantly accessible to the editor is paramount to a successful edit. On my current feature film 6 BELOW I am using markers in a new way.
By using MARKERS on timelines and sequences to notate takes, scenes and memorable moments an editor can isolate specific shots or sections that all the filmmakers can use to help wrangle all the footage and help tell a clearer story with all the footage.
All editing software allows for dropping markers on timelines but I utilize one little know function inside Adobe Premiere Pro to help me mark larger groups of shots or sections of similar content. A marker is usually placed on one frame but I like to extend that marker to cover minutes or whole swaths of footage. I then assign a name to the marker and this allows me to visually spot my assets very easily inside my timeline.
Click the image below to see how to extend markers in Premiere Pro.
On Tuesday April 19th I will be presenting two NAB 2016 sessions. Both will share my work as post production workflow specialist and editorial consultant on the massively successful film. In both presentations I will be sharing the actual Premiere Pro timeline used to edit the film. Here is a sneak peek:
My first presentation is at 12:30pm Tuesday on the Adobe Stage.
I will also be moderating the Creative Master Series Deadpool panel at 4pm:
Stop by and say hi if you can!
Vaclav Nedomansky was the first player to defect and play in the NHL.
My family escaped from communist Czechoslovakia on July 4th, 1974.
Two weeks later we defected to North America.
I’ve been lucky enough to group up with the freedom my parents didn’t have for most of their life.
July 4th is a very special day for my family on so many levels. I’m so very grateful and now I can return the favor and tell our story…
BIG NED is a feature length documentary film about Vaclav Nedomansky.
He was the first hockey player to defect from a communist country
and play in the NHL. In the middle of the Cold War…
He risked everything for a better life.
He’s also my father…
HERE’S THE OFFICIAL TRAILER
ESPN wrote a great article about the documentary…
You can follow the making of the film on:
The Official BIG NED Facebook page.
On 6/4/2017 SLOVAKIA released 3 stamps featuring Vaclav Nedomansky:
UPDATE: After I was hired as editorial consultant on DEADPOOL, one of the first things I did was create a custom 2-monitor Premiere Pro template for post production.
This was a solid starting point for all the editors and assistants before they customized it further to their liking. I designed the workspace with THE PANCAKE TIMELINE already active and a basic bin structure to keep the project organized right off the bat.
I also arranged the panels in tabbed groupings that made logical sense for our workflow and it also allowed quick full screen maximization with the tilde (`) key.
There are a limitless choice of options when you set up a workspace…this custom template was the most efficient and nimble option for our specific needs.
You can download the Premiere Pro template we used on the film below…
DOWNLOAD: VASHI’S DEADPOOL PREMIERE PRO TEMPLATE
Until next time…
The Shooting Ratio in filmmaking and television production is the ratio between the total duration of its footage created for possible use in a project and that which appears in its final cut. In the Golden Age of Hollywood (1930-1959), it was normal to have a 10:1 ratio. A 90 minute feature film would have have shot roughly 25 hours of film. Certain directors like Alfred Hitchcock were known to have a 3:1 ratio so he could control the edit by leaving the studio no other options.
The shooting ratio has skyrocketed over the last 20 years. Due to the relative inexpensive nature of digital filmmaking, cameras often shoot for extended periods that cover several takes, resets and everything in-between. Film has always been associated with a more disciplined style of shooting with the camera rolling only between “Action” and “Cut”…well technically between “Speed” and “Cut”!
I have edited 9 feature films over the last 15 years and I can attest to the fact of getting more and more footage into the edit bay on every project. Here’s an infographic that compares 8 films shot over the last 35 years to give you an idea of the actual numbers and ratios.
Until next time…
The 6th Street Bridge was built in 1932 by architect Merrill Butler and is currently the longest bridge (3500 feet) in Los Angeles. On January 27, 2016 it closed down and will be demolished in the upcoming weeks. The concrete has become unstable and for safety’s sake it must be rebuilt. The 6th Street Bridge has been an iconic staple in Los Angeles motion picture history and has been used in hundreds of productions.
The last chance for the public to cross the bridge occurred January 26th.
I had the pleasure of shooting a film on the bridge in 2010 and the visuals and angles of downtown Los Angeles make it evident why so many filmmakers have shot this location.
No more films will be shot on the historic bridge. We only have the imagery of films such as: Terminator 2, To Live and Die in L.A., The Mask, Drive, Point Blank, Grease and hundreds of others to remind us of this beautiful bridge.
Enjoy this video with my favorite films to feature the 6th Street Bridge.
Until next time…
Enjoy the experimental film 6 shot exclusively on and under the 6th Street Bridge before it was torn down.
On January 23rd, 2016 I shared the stage with 3 amazing filmmakers to discuss our films. I worked with Deadpool director Tim Miller for the last 9 months on editorial for the upcoming Marvel Super Hero film. Shot digitally on ARRI, my role as Editorial Consultant was to design the workflow for the post production and train all the editors in properly using Adobe Premiere Pro. With over 1100 VFX shots, the integration between Premiere Pro and After Effects (using Dynamic Link) was critical in keeping the production moving forward.
Hail, Caesar! was shot on film by Roger Deakins and directed by Joel and Ethan Coen. Editor Katie McQuerrey and Post Production Supervisor Catherine Farrell also used Premiere Pro to edit their film. The Coen brothers have finally transitioned away from Final Cut Pro 7 which they used on the bulk of their previous films.
During the 64-minute panel, we discussed our filmmaking experiences with Premiere Pro and shared stories from the trenches in front of a packed house. Enjoy!
Until next time…