5 Things I Learnt from Editing

I used to do a lot of editing work alongside DPing, and although those days are now behind me, their influence lives on. Every day that I work as a cinematographer, I use some of the knowledge I gained while slaving over a multi-coloured keyboard. Here are some of the most important things I learnt from editing.

 

1. Performance always wins.

The editor will always use the take with the best performance. What this means for the DP is that there is really no point requesting another take because of a missed focus pull, bumpy dolly move or dodgy pan, because inevitably the performance will not be as spontaneous and engaging as it was when you cocked up the camerawork, so the editor will use the first take.

Of course you need to make the director aware of any significant technical issues, and if they want to do another take, that’s absolutely their prerogative. But the editor will still use the first take. So get it right on the first take, even if that means pushing for another rehearsal.

 

2. Your darlings will die.

You know all your favourite shots? All the ones you’ve been mentally ear-marking for your showreel? The beautifully-lit wides, the fancy camera moves, that cool scene with the really interesting set? Yeah, half of those won’t make the final cut.

That wide shot is used for a single second before they cut into the meaty mid-shots. The camera move slowed the scene down too much so they chopped it up. That scene with the cool set looked great but didn’t advance the plot.

Two things to learn from this: 1. Do a great job, but don’t be a perfectionist, because you might be wasting everyone’s time on something that is destined for the cutting room floor. 2. If you want that shot for your showreel, grab it from the DIT, otherwise you might never see it again.

 

3. Bring ’em in, let ’em leave.

I can’t count the number of times, when shooting a close-up, I’ve advised the director to run the whole scene. They just wanted to pick up a few lines, but I convince them to let the talent walk in at the start and walk out at the end. That way the editor has much more flexibility on when to cut, a flexibility which I know that I appreciated when I was the one wrangling the timeline.

Any angle you shoot, push to cover the entire scene from it. In most cases it takes only slightly more time, and it’s easier for the actors because they get to do the whole emotional arc. And the editor will have many more options.

 

4. Spot the Missing Shot.

The ability to edit in your head is incredibly useful on set. If you can mentally assemble the coverage you’ve just shot, you can quickly identify anything that’s missing. Years of editing trained me to do this, and it’s saved annoying pick-ups several times. Officially this is the script supervisor’s job, but smaller productions may not always have someone in this capacity, and even when they do, another person keeping track can’t hurt.

 

5. Respect the slate.

On smaller productions, the clapperboard is often treated as an inconvenience. People sometimes chat over it, directors giving last-minute instructions, or actors finishing their showbiz anecdotes before getting into character, rendering the audio announcement unintelligible. On no- or micro-budget productions there might not be a 2nd AC, so the board gets passed to whoever’s handy at the time, who has no idea what the current slate or take number are, and the whole thing becomes a meaningless farce.

Which is fine for everyone except the poor bastard in the edit suite who’s got to figure out which audio clip goes with which video clip. It can add hours of extra work for them. I’ve been there, and it ain’t pretty. So, for the sanity of the (assistant) editor, please respect the slate.

5 Things I Learnt from Editing

Goodbye Final Cut Pro

Recently, having put it off for as long as possible, I upgraded to MacOS High Sierra, the first new OS to not support Final Cut Pro 7. It was a watershed moment for me. Editing used to comprise at least half of my work, and Final Cut had been there throughout my entire editing career.

I first heard of Final Cut in early 2000, when it was still on version one. The Rural Media Company in Hereford, which was my main client at the start of my freelance career, had purchased a copy to go with their shiny Mac G3. The problem was, no-one at the company knew how to use it.

Meanwhile, I was lobbying to get some time in the Avid edit suite (a much hallowed and expensive room) to cut behind-the-scenes footage from Integr8, a film course I’d taken part in the previous summer. The course and its funding were long finished, but since so much BTS footage had been shot, I felt it was a shame not to do something with it.

Being 19 and commensurately inexperienced, I was denied time on the Avid. Instead, the head of production suggested I used the G3 which was sitting and idle and misunderstood in one of the offices. Disappointed but rising to the challenge, I borrowed the manual for Final Cut Pro, took it home and read it cover to cover. Then I came back in and set to work cutting the Integr8  footage.

Editing in 2000 was undergoing a huge (excuse the pun) transition. In the back of the equipment storeroom, Rural Media still had a tape-to-tape editing system, but it had already fallen almost completely out of use. Editing had gone non-linear.

In a room next to the kitchen was the Optima suite. This was a computer (I forget what type) fitted with a low resolution analogue video capture card and an off-line editing app called Optima. In this suite you would craft your programme from the low-rez clips, exporting an EDL (Edit Decision List) onto a floppy disc when you were done. This you took into the Avid suite to be on-lined – recapturing just the clips that were needed in full, glorious, standard definition. You could make a few fine adjustments and do a bit of grading before outputting the finished product back to tape.

It wasn’t practical to do the whole edit on the Avid because (a) hard drives big enough to store all the media for a film at full rez weren’t really available at that time, and (b) the Avid system was hellishly expensive and therefore time on it was charged at a premium rate.

As I edited the Integr8 BTS on Final Cut Pro, I believed I was using an off-line system similar to the Optima. The images displayed in the Viewer and Canvas were certainly blocky and posterised. But when I recorded the finished edit back to tape, I couldn’t quite believe what I was seeing. Peering through the viewfinder of the Mini-DV camera which I was using as a recording deck, I was astonished to see the programme playing at the exact same quality it had been shot at. This little G3 and the relatively affordable app on it were a complete, professional quality editing system.

I looked across the office to the sign on the Avid suite’s door. It might as well have read: “DINOSAUR”.

Within a few months I had invested in my own Mac – a G4, no less – and was using FCP regularly. The next year I used it to cut my first feature, The Beacon, and three more feature-length projects followed in the years after that, along with countless shorts and corporates. Using FCP became second nature to me, with the keyboard shortcuts hard-wired into my reflexes.

And it wasn’t just me. Final Cut became ubiquitous in the no-/low-budget sector. Did it have its flaws? Definitely. It crashed more often than Richard Hammond. I can think of no other piece of software I’ve screamed so much at (with the exception of a horrific early desktop publishing app which I masochistically used to create some Media Studies GCSE coursework).

And of course Apple shat all over themselves in 2011 when they released the much-reviled Final Cut X, causing many loyal users to jump ship. I stayed well away from the abomination, sticking with the old FCP 7 until I officially quit editing in 2014, and continuing to use it for personal projects long after that.

So it was quite a big deal for me to finally let it go. I’ve got DaVinci Resolve installed now, for the odd occasion when I need to recut my showreel. It’s not the same though.

Timelines aren’t my world any more, light is, but whenever I look back on my years as an editor, Final Cut Pro’s brushed-aluminium interface will always materialise in my mind’s eye.

Goodbye Final Cut Pro

9 Tips for Easier Sound Syncing

Colin Smith slates a shot on Stop/Eject
Colin Smith slates a shot on Stop/Eject. Photo: Paul Bednall

While syncing sound in an edit recently I came across a number of little mistakes that cost me time, so I decided to put together some on-set and off-set tips for smooth sound syncing.

On set: tips for the 2nd AC

  1. Get the slate and take number on the slate right. This means a dedicated 2nd AC (this American term seems to have supplanted the more traditional British clapper-loader), not just any old crew member grabbing the slate at the last minute.
  2. Get the date on the slate right. This can be very helpful for starting to match up sound and picture in a large project if other methods fail.
  3. Hold the slate so that your fingers are not covering any of the info on it.
  4. Make MOS (mute) shots very clear by holding the sticks with your fingers through them.
  5. Make sure the rest of the cast and crew appreciate the importance of being quiet while the slate and take number are read out. It’s a real pain for the editing department if the numbers can’t be heard over chit-chat and last-minute notes from the director.
  6. Speak clearly and differentiate any numbers that could be misheard, e.g. “slate one three” and “slate three zero” instead of the similar-sounding “slate thirteen” and “slate thirty”.
Rick Goldsmith slates a steadicam shot on Stop/Eject. Photo: Paul Bednall
Rick Goldsmith slates a steadicam shot on Stop/Eject. Photo: Paul Bednall

For more on best slating practice, see my Slating 101 blog post.

Off set: tips for the DIT and assistant editor

  1. I recommend renaming both sound and video files to contain the slate and take number, but be sure to do this immediately after ingesting the material and on all copies of it. There is nothing worse than having copies of the same file with different names floating around.
  2. This should be obvious, but please, please, please sync your sound BEFORE starting to edit or I will hunt you down and kill you. No excuses.
  3. An esoteric one for any dinosaurs like me still using Final Cut 7: make sure you’ve set your project’s frame rate correctly (in Easy Setup) before importing your audio rushes. Otherwise FCP will assign them timecodes based on the wrong rate, leading to errors and sound falling out of sync if you ever need to relink your project’s media.

Follow these guidelines and dual system sound will be painless – well, as painless as it can ever be!

9 Tips for Easier Sound Syncing

5 Tips for Successful Pick-ups

Discussing the next set-up on the Ren pick-ups shoot with director Kate Madison. Photo: Michael Hudson
Discussing the next set-up on the Ren pick-ups shoot with director Kate Madison. Photo: Michael Hudson

Recently I’ve been involved in pick-ups shoots for a couple of projects I lensed last year: action-comedy feature The Gong Fu Connection and fantasy series Ren. Both pick-up shoots were strange experiences, featuring some very familiar aspects of the original shoot – locations, sets, costumes – but noticeably lacking others – certain actors, crew members and so on. The Ren pick-ups in particular were like re-living principal photography in microcosm, with stressful crowd shoots followed by more relaxed, smaller scenes and finally night shots with flaming arrows again!

A CTB-gelled Arrilite 1000 stands in for the 2.5K we used for backlight during principal photography on Ren! Photo: Michael Hudson
A CTB-gelled Arrilite 1000 stands in for the 2.5K HMI used for backlight during principal photography on Ren! Photo: Michael Hudson

I’ve blogged previously about how a director/producer can prepare for pick-ups – by keeping certain key props and costumes, for example – but today I have a few thoughts from a DP’s perspective.

1. Keep a record of lighting plans. I have a pretty good memory for my lighting set-ups, but not everyone does, so keeping notes is a good idea. Your gaffer may even do this for you. I frequently use this blog as a means of recording lighting set-ups, and indeed tried to access it during the Ren pick-ups shoot but was foiled by dodgy wifi.

2. Keep camera logs. On a properly crewed shoot this will be the 2nd AC’s job. The logs should include at least the following info for each slate: lens, aperture, ASA, white balance and shutter angle. This can be useful in principal photography too, for example if you shoot the two parts of a shot-reverse at different ends of the day or different days all together, and need to make sure you use the same lens.

Production assistant Claire Finn tends the brazier which provides smoke in the absence of the Artem smoke gun we used during principal photography. Photo: Michael Hudson
Production assistant Claire Finn tends the brazier which provides smoke in the absence of the Artem smoke gun used during principal photography. Photo: Michael Hudson

3. Have the original scene handy when you shoot the pick-ups. Load the edit onto a laptop or tablet so that you can compare it on set to the new material you’re framing up.

4. Own a bit of lighting kit if you can. In the shed I have some battered old Arrilites and a few other bits and pieces of gear that has seen better days. On a proper shoot I would leave this at home and have the production hire much better kit. But for pick-ups, when there’s often no money left, this stuff can come in handy.

5. Keep gels. If you employ an unusual colour of gel during principal photography, try to keep a piece of it in case you need to revisit that lighting set-up in pick-ups. Production will have to pay for the gel once it’s been used anyway. On the Ren pick-ups shoot, after pulling all of my gels out of the plastic kitchen bin I keep them in, I was relieved to find that I still had two pieces of the Urban Sodium gel I used in the flaming arrows scene the first time around.

Urban Sodium gel provides the grungy orange light for the flaming arrows scene, just as it did last November. Photo: Hermes Contreras
Urban Sodium gel provides the grungy orange light for the flaming arrows scene, just as it did last November. Photo: Hermes Contreras
5 Tips for Successful Pick-ups

How to Cut a Behind-the-Scenes Featurette

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Cameras roll on the set of Kate Madison’s web series, Ren. Photo: Richard Unger

Despite my big plan to quit editing last year, I somehow ended up cutting nearly all the behind-the-scenes material for Ren, including a dozen YouTube videos and 30-odd exclusive set diaries which have just been released for sale. Guess I just have a fondness for BTS stuff.

Brett Chapman shoots B roll on Stop/Eject as Hadrian Cawthorne looks on. Photo: Paul Bednall
Brett Chapman shoots B-roll on Stop/Eject as Hadrian Cawthorne looks on. Photo: Paul Bednall

So here are some tips for editing BTS videos for the web. Many of these apply equally to any talking-head-based documentary.

  • Plan for it before the shoot by lining up a competent BTS camera crew and being clear about the kind of material you need. Here are some tips for shooting B-roll.
  • Start the edit by creating a new timeline and putting in some text generators with category headings you think you’ll want to cover, e.g. “plot”, “characters”, “casting”, “action scenes”, “concluding remarks”.
  • Watch through all the interview material. Every time you hear something you think you can use, dump it on the timeline after the relevant text.
  • Play back your timeline. You’ll immediately see that some of the material you’ve included is dull or repetitious. Whittle down the material until your timeline is only a little longer than you intend the finished piece to be. (I suggest 2-3 minutes should be your target length for a web piece.)
  • Pay attention to your in and out points. Don’t cut while someone is drawing breath – cut before or after. Beware of breathing time if you’re hacking someone’s sentences around. If your editing makes a couple of words sound unnaturally close together, interpose a few frames of atmos or silence. If you cut someone off in the middle of a sentence, firstly be sure the intonation doesn’t make it sound cut off, then add in some silence or atmos before the next clip, and paper over the edit with B-roll as the interviewee’s face will often give away that they’re not finished speaking.
  • Speaking of papering over the talking heads with B-roll, it’s time to do that now. I often start with the obvious stuff. Clearly shots of the fight scenes being rehearsed need to go over the actors talking about fight scenes. Then I’ll move onto the less obvious stuff – an actor talking about their character might go with almost any shot of that actor on set, so I’ll see what’s left at the end.
  • Avoid cutting in the middle of quick movements – an arm going up, a head turning- unless that action will be continued in the next shot. This goes for the talking heads too – don’t cut on or close to a blink. Also avoid cutting on an emphasised or particularly loud syllable, because this too will jar.
  • Take out the text generators and replace them with a few seconds of B-roll that doesn’t have any interview sound under it. This gives you dividers between topics without blatantly signposting them, and allows the audience a breather. You could bring up the audio on the B-roll, or put in a bit of music. Usually it’s best for this B-roll to serve as an introduction to the topic that’s up next. For example, if the next topic is “what it was like working with the director”, kick it off with B-roll of the director explaining the next scene to the actors. After hearing him or her talk for a sentence or so, fade down the audio and bring in the interview sound.
  • Get some music from somewhere like incompetech.com, if your composer hasn’t started work yet, and cut opening and closing montages of B-roll to it.
  • Put in your lower thirds and opening and closing titles. If the video’s going on You Tube, it’s a good idea to allow for annotations linking viewers to other videos on your channel. Do not put in credits – sorry, but no-one cares who made this.
  • Watch the whole thing through and try to take out another 10-30 seconds. Remember, pace is everything. Do not give people the slightest excuse to stop watching.
  • Do a colour correction pass so everything matches.
  • Go through again balancing the audio. People start their sentences loudly and get quieter as their lungs deflate, so counter this by ramping the audio up over the course of the sentence. Use EQ filters if necessary to counter tinny or boomy sound, or reduce hiss or wind noise. See this Nofilmschool article for some handy audio tips. If any of the audio cuts are popping or clicking, put on a 1 frame cross fade. If you don’t have decent speakers, do this on every cut because you won’t know which ones are dodgy.
  • If any of the speech is still hard to make out – and remember that your viewers haven’t heard it a million times like you have – then subtitle it.
  • Watch it one last time to check everything’s smooth, then compress and upload it. You’re done!

If you’ve found this post useful, please consider supporting Ren by purchasing or sharing the trailer for the Daily Diary videos. Buyers get the first 7 videos now and the remaining 29 when the series is released this summer. They’re all different, some following the above pattern and others being much more candid, fly-on-the-wall affairs. There are plenty of bloopers, interviews and filmmaking tips to be enjoyed throughout. Or check out our free behind-the-scenes videos on YouTube.

How to Cut a Behind-the-Scenes Featurette

How to Make an Electronic Press Kit (EPK)

Lately I’ve been working on the electronic press kit for Kate Madison’s web series, Ren. An EPK is a collection of footage that a broadcaster can use to edit their own piece about your film or series. It should contain:

  • a trailer (optionally with versions without music and without dialogue, so it can be dubbed);
  • clips from the show (again, versions without dialogue are handy if you’re expecting foreign coverage);
  • interviews with the director and principal cast;
  • B-roll, i.e. behind-the-scenes footage.

You may also want to include a short (5 minutes max) ‘making of’ featurette.

The whole thing should be about 20-30 minutes long.

You need to think about your EPK in preproduction. Assign someone with camera and editing experience to film behind-the-scenes material on a few key days of the shoot. This post has lots of tips for shooting good B-roll.

Here’s some B-roll from the Avengers: Age of Ultron EPK.

Personally, I think that putting black slugs between every shot is excessive. With the Ren EPK I loosely edited half a dozen montages and titled them ‘Filming crowd scenes in the village’, ‘Filming fight scenes in Epping Forest’ and so on.

Here’s another example, this time from the Chappie EPK.

When shooting the interviews, encourage people to keep their answers brief. Answers of about 30-45 seconds are ideal. Remember that an EPK is not a finished product: you can’t have jump cuts or paper over edits with B-roll, which means you can’t cut stuff out of the middle of people’s answers; all you can do is trim the beginning and end.

Typical EPK questions are:

  • What’s the film about?
  • Who is your character?
  • What was it like working with the other actors and the director?
  • What was it like filming the action scenes / scary scenes / romantic scenes / scenes where you had to be painted blue from head to toe?
  • Why should people go and see this film?

Put a title card before each answer, giving the question (or a brief description of what the person talks about in their answer), the duration of the clip, and the person’s name and role.

Here’s an example, again from Age of Ultron.

See how the picture kicks in before the sound? That’s to give someone editing the clip into their show more flexibility – they could dissolve into the shot, for example.

Here’s another example, this one from Far from the Madding Crowd.

Once upon a time you would deliver an EPK on Beta SP, but clearly those days are gone. For Ren I’ll probably put the clips up on VHX, a VOD platform we’ve been using for our behind-the-scenes Kickstarter rewards. We can create a package of videos which people can be invited to, with a nice, slick interface, and the videos – one for each interview answer and B-roll segment – will all be downloadable by invitees as 1080P H.264 MP4 files. If anyone wants less compressed versions, they can contact us directly.

If you missed it, check out my post on lighting the Ren EPK interviews.

And for another perspective on making an EPK, you can read Sophie Black’s guest blog from 2012 in which she talks about making the one for Stop/Eject.

Find out more about Ren at rentheseries.com

How to Make an Electronic Press Kit (EPK)

Traction: A First Time for Everything

Me (far right) with the cast and crew of Traction in December 1999
Me (far right) with the cast and crew of Traction in December 1999

Fifteen years ago I made my first professional film, Traction. Okay, it wasn’t professional in the strictest sense – I wasn’t paid – but I racked up a number of important firsts on the project and learnt a lot. Based on a true story, it’s about a teenaged boy undergoing traction for his juvenile arthritis.

Today you can go out and make a film on your smartphone and reach an instant audience via YouTube, which is great, but you need to collaborate with others if your work is ever going to reach its full potential. Here’s how Traction challenged and improved me.

  • First time having a production company to answer to. Traction was produced by The Rural Media Company as part of its youth media programme, in which I was a participant. It was a completely new experience for me to have to submit a draft script and take on board the feedback of the company’s senior staff. I was probably resistant at first, but their advice was good. You’re not compromising your artistic vision by asking for and acting on feedback from others, you’re making it stronger. And when you work with a budget, you will always have to answer to the people supplying that budget, so get used to arguing your case and sometimes losing.
  • First time directing anyone other than my friends. I had to learn to be clearer and more communicative to get the best out of the other young people who were acting as my crew. They were all into the project far more than my corralled schoolfriends had ever been into my amateur films, which was great and really energising for me as a director.
  • First time directing anyone with acting experience. How to work with actors is something I’m still learning to this day, but the process started right there in 1999 when I ran my very first audition at Hereford College of Art and then directed Rowan Middleton for the two days of the shoot. It’s been said many times by many people, but don’t just cast your mates in your films. Unless your mates are really good actors and right for the parts. Obviously.
  • First time having to stick to a schedule. Although the only costs of Traction’s production were travel and catering expenses, and the youth worker’s fee, I still had a responsibility to ensure that Rural Media did not have to pay for more than the agreed two days’ worth of those costs. This forced me to be prepared, disciplined and ready to compromise when time ran short. Staying on schedule is always a challenge for a director, and the sooner you can start to learn this skill, the better.
  • First time shooting on digital video. Traction was a great opportunity for me to learn a new medium, having worked exclusively on the analogue Video-8 format up to that point. Most filmmakers own a camera, but have you considered hiring or borrowing a better model for your next project? Push yourself, learn to use a new bit of kit and raise your production values at the same time.
  • First time using lighting. Many new filmmakers are scared of lighting, and I probably was too before Traction. Don’t be afraid to experiment; it’s one of the best ways to learn.
  • First time having to use only copyright-cleared music. If you’re only posting your films on YouTube, you can get away with using copyrighted tracks and the system will just put an iTunes link under your video. But dipping into the vast catalogue of pre-existing music can make you lazy. Why not advertise for a composer – there are so many out there desperate to get a start in film scoring – and get some original music for your piece?
  • First time being limited to a final running time. Traction was made for a competition which had a strict five minute time limit. Nothing sharpens your editing skills more than a hard running time limit, and for that reason I’d recommend that every filmmaker try entering a competition at some point in their career.

If you’re a new filmmaker trying to raise your game, ask yourself if you’ve pushed in every direction you can to improve your work, or are you stuck in your comfort zone?

traction6
Left to right: sound recordist John Galloway, me, and actors Rowan Middleton and Rosie Laws
Traction: A First Time for Everything

Amelia’s Letter: The Edit Continues

Tristan, Steve and insufficient chairs.
Tristan, Steve and insufficient chairs.

A week after the test screening, I sat down with editor Tristan Ofield in a corner of Steve Deery’s book depot to take a final pass at Amelia’s Letter. Steve balanced on a pile of boxes beside us. Who says exec producers get all the luxury?

The main aim of the day was to make the film clearer. This became a fascinating exercise with notes from the test screening like, “I didn’t get that Barbara was a writer,” although she spends most of her screen-time sitting at a typewriter. How could we configure these images to more effectively tell the audience that Barbara is a writer, without the benefit of dialogue or ridiculous captions? And without showing her actually writing, because the whole crux of the film is that she’s suffering from writer’s block – and that needs to come across too. How? By really getting into the nuts and bolts of how motion picture editing tells a story, that’s how.

The previous evening I’d been watching 2 Reel Guys, a YouTube series about the creative filmmaking process. It’s incredibly cheesy, and a little bit soporific, but it does make some excellent points. Like how just two different shots can be edited together in three different ways for very different effects.

So how did we make it clearer that Barbara was a writer suffering from block? First, Tristan altered the scene to open on a shot of Barbara standing thoughtfully over the typewriter, with the machine dominant in frame. He held the shot for quite a while to let the audience take it all in. “A reminder of the power of not cutting,” he pointed out.

The Letter of Undue Importance
The Letter of Undue Importance

The second step was for us to really consider when to cut to the keyboard, or to the blank paper. The scene’s previous iteration had started on the blank paper, but I think that image failed to sink in for viewers, who were too busy trying to work out where they were and what was going on. Moving it later in the scene made it much more powerful.

It was also important not to cut to something else at the wrong time. There was a cutaway of a letter that had to be included somewhere for plot reasons, but I was convinced that if we showed that immediately before the typewriter CU then we would be telling the audience that Barbara was trying to compose a reply to the letter. Context is everything in editing. Put a different shot before or after a certain shot and you can completely change the meaning of that shot. By cutting to the letter as Barbara puts a teacup down next to it, Tristan was able to avoid it gaining undue importance.

Tristan's got one of those proper, colour-coded editing keyboards. Cool.
Tristan’s got one of those proper, colour-coded editing keyboards. Cool.

Another big lesson/reminder of the day was: less is more. I had been feeling for a while that Amelia’s Letter had one too many layers of supernatural mystery. Would the film be clearer if one was removed?

Steve was sceptical, and understandably so. No writer loves having chunks of their material hacked out. But to his credit, he let Tristan and I try it. After watching this revised version through, all three of us were convinced it was the right decision. Everything else in the film had become stronger because this one thread had been removed. Minor characters gained more importance because they weren’t competing with the removed element, and major characters’ challenges and emotions shone through more clearly. And the audience would have a much better chance of solving the film’s two remaining mysteries without scatching their heads over the third one too.

At the end of the day, we left greatly satisfied with what we had accomplished. Soon Amelia’s Letter will enter the next phase of postproduction: sound design, music composition, grading and visual effects. Stay tuned.

Amelia’s Letter is written by Steven Deery, directed by me and produced by Sophia Ramcharan of Stella Vision Productions. Visit the Amelia’s Letter Facebook page.

Amelia’s Letter: The Edit Continues

Amelia’s Letter: Test Screening

Test-screening2

On Saturday morning, Broadway in Nottingham kindly gave us the use of their lounge to screen the present edit of Amelia’s Letter to a select audience. As is normal for a test screening, the film is still in a very rough state, but the aim was to identify the weak points, primarily in terms of pace and clarity.

The audience was attentive and gave very useful feedback, though there wasn’t so much of a consensus as there has been at my previous test screenings. I think this might be par for the course for a film based on mystery. Some people like not knowing what’s going on, and some people don’t.

Personally, I like clarity. When I used to make amateur films as a teenager with my friend Dave, I remember how much it galled me when he reported that his mum had watched our latest cinematic effort and couldn’t follow the storyline. So I think we will do what we can, with the footage we have, to make Amelia’s Letter a little clearer.

Some people wanted the film to be longer, to reveal more about the minor characters, while others felt it could be shorter. Since we can’t make it longer, we’ll try to nibble some more out of the first few minutes to get it moving more quickly.

Test screenings usually throw up some surprises too, and this one was no exception. Some people briefly thought that a middle-aged character was supposed to be a future version of a younger character. (This is why, like Chris Jones says in The Guerilla Filmmakers’ Handbook, you should avoid casting actors that physically resemble each other.) And more than one person failed to realise that some minor characters were supposed to be writers, despite these characters spending much of their screen-time sat at typewriters. Who would have seen that one coming?

There was plenty of positive feedback. Amongst the words and phrases people could tick to describe the film, almost everyone ticked “well acted”, with “emotional”, “involving” and “I want to see it again” coming in joint second.

All in all, a useful exercise. Hopefully it won’t be long now before we can get the edit locked and move onto music, grading and sound design.

Amelia’s Letter: Test Screening

Directing the Edit of Amelia’s Letter

Georgia Winters as Amelia
Georgia Winters as Amelia. Photo: Sophie Black

Working with editor Miguel Ferros on Stop/Eject in 2012/13 was a big eye-opener for me, demonstrating how much better my films could be if I didn’t edit them myself. It also helped me realise how little I like the isolated job of editing compared with the fun, stress and teamwork of being on set. Since then I’ve been gradually letting go of my editing work, both corporate and creative. My business card used to say ‘Director, Editor, DP’. Now it just says ‘Director, DP’.

Editing can be a thankless task, particularly in the corporate world. Once upon a time, when I had a cut I was happy with, I invited the client along to the edit suite, played it for them, then we discussed how it might be improved. But since broadband happened, clients wanted me to Dropbox the edit to them and then, rather than a creative discussion, I was typically emailed a list of instructions for changes. This is the point at which I would shut off my brain, carry out the instructions, often feeling that I was making the film worse, take the money and run.

So there’s much to be said for being in the same room as your editor. Not all the time, of course, but enough so that revisions can be made – or least discussed – collaboratively rather than imposed authoritatively.

Which is all pre-amble to saying that I travelled up to Nottingham yesterday to spend the day working with Tristan Ofield on the edit of Amelia’s Letter. He set up his Mac Mini in a darkened room in the Broadway and, after I popped out to be interviewed for the EPK, we got to work knocking the film into shape.

The letter. Photo: Amy Nicholson
The letter. Photo: Amy Nicholson

I hadn’t realised until then how difficult a film it must have been for Tristan to assemble: multiple time periods; intercutting scenes that were numbered separately on the page but shot together as one; a cheated geography of the cottage relative to the lake. The one advantage of editing your own film is that you know where everything is supposed to go, but Tristan had to figure it out the hard way. He’s put a lot of work into wrangling and shaping the material over the last few months.

It was a very productive day. We started at the beginning of the film and went steadily through, nipping, tucking and often completely rebuilding scenes. The film we had when we finished at 5pm was streets ahead of the one we had at 9am. We got the running time down from 15’30 to a much more festival-friendly 12 minutes, trimming most in the first few scenes to get the story going sooner. The emotional core of the film was already shining through in Tristan’s cut, but now the creepy and tense moments work nicely as well.

The next stage will be to screen the film for a test audience. This is an essential step I’ve taken with all my films since The Beacon in 2001, to make sure that the story is clear, the pacing is right and the desired emotions are coming across. For more on why test screenings are important, read my blogs about test-screening Stop/Eject and some of the problems that it highlighted.

Update: You can read Tristan’s thoughts on editing over at belowthelinefilm.blogspot.co.uk

Amelia’s Letter is written by Steven Deery and produced by Sophia Ramcharan of Stella Vision Productions. Visit the Amelia’s Letter Facebook page.

Directing the Edit of Amelia’s Letter