'Bitter Little Twist' Edit

Documenting my edit for Paul Manning's short-film 'Bitter Little Twist'.

Edit timeline of 'Bitter Little Twist'

Before the editing process began, we had to convert the footage off the camera Paul had used. Due to the nature of the clips the camera produces, we couldn't put the footage through MPEG Streamclip as the software doesn't support footage conversion for the Canon XF305. After downloading various amounts of software in an attempt to convert the footage, nothing came to light. The usual software I used in the past named 'XDCAM Footage Converter' wasn't functioning properly as Final Cut Pro 7 has been taken off every single iMac on the university system. Fortunately, Paul had the required software at home so he took undertook the task of converting the footage before handing it over to me. 

ROUGH ASSEMBLY - 

Paul created the initial rough assembly, and stuck closely to the shot-list he created. We discussed and agreed beforehand that we should follow the shot-list closely and make any changes necessary afterwards. Due to the nature of Paul's simple cinematic approach, it meant that there were no more than 15-20 shots for the whole film. This meant that although the piece had little breathing room for manoeuvrability, it allowed us to create a clear, concise and relatively simple edit. 

ROUGH CUT -

• Cut down the duration of the dance/broke up the sequence
• Refined the opening sequence of the male protagonist on his knees 
• Cut out certain clips and added stronger takes
• Exported latest picture-cut for sound designer Emma Tackney 

FINE CUT -

• Added Emma Tackney's sound design
• Picture-lock
• Overlaid a jump-cut of the black-dressed woman over the dance sequence

Bitter Little Twist - Editing Research

The director's (Paul Manning) vision for his film 'Bitter Little Twist', is one that falls into the 'experimental' category. By creating a church/religious setting, he wanted to explore the choice the male protagonist had between sticking with his religion, or falling in love with the 'femme fatal' character. His short-film (in my opinion) can be viewed and understood from various angles, and there are many questions raised throughout e.g. 

Which shot is reality and which is not?

Are certain aspects of the film figments of his imagination? (Money in her dress, petals spiralling down onto the floor) etc.

Are the white dress scenes/shots flashbacks of past moments spent with her, or is this what he wishes she was (instead of a femme fatal dressed in black shown towards the end of the piece). 

Taking Paul's rough-cut onboard and watching it through multiple times, it was clear that he wanted to create a piece that highlighted the male's pivotal choice between sticking with his religion or siding with (doomed) love. 

NOTE - Paul created the first rough cut/assembly of 'Bitter Little Twist', because I'd been tasked with editing not one film but two - Jordan Deakin's film 'Leaving'.

"RANDOMNESS & PACING"

After discussing Paul's vision for the short-piece, I thought back to the concept of 'randomness & pacing' (a study written by Ken Dancyger, 2007), but manipulated it and applied it to 'Bitter Little Twist'.

After working on films in the past that feature experimental aspects, I have learned the effectiveness of cutting to 'random' shots whilst a sequence is taking place. It puts the audience on-edge and makes them ask "What's the meaning of this/why are we looking at this... what's going to happen next?". Taking this on-board I applied it to the edit of 'Bitter Little Twist', but instead of including snippets of 'random shots', I included certain shots that contributed to the development of the (short) narrative and ones that raised awareness of things to come. For example during the dance scene, I implemented a shot to break up and fragment the action (shown below) 

The middle shot in the above image is the shot I chose to break up the action of the dance scene

The 'jump-cut' is shown in the timeline displayed

THE POSSIBILITIES OF RANDOMNESS UPON PACE

"One of the remarkable elements of editing is that the juxtaposition of any grouping of shots implies meaning. The pacing of those shots suggests the interpretation of that meaning. The consequence of this is seen in microcosm when a random shot or cutaway is edited into a scene: it introduces a new idea. This principle is elaborated where there are a number of random shots in a scene. If edited for effect, the combination of shots creates a meaning quite distinct from the sum of the individual parts. This shaping is, in effect, pure editing."

DANCYGER, KEN, (2007), The Technique of Film and Video Editing: History, Theory, and Practice. Oxford, USA, Focal Press.

I think the overall meaning of this is that any shot within a film can create meaning. If you were to throw in 'random' shots that can sometimes break up the pacing entirely, it creates a new idea depending upon the context of the scene itself. In the context my edit for 'Bitter Little Twist', the example shown above is a random shot, but as the film develops and draws to a close, the shot plays a key part to the overall mies-en-scene/development of the (experimental) film.

I am still beginning to understand the proper meaning of this technique despite reading the passage shown above. After seeing many films and how they use cutaways, I think the primary use is to adjust the pacing of the piece. Whatever or whenever cutaways are used, I believe the audience link the images to the genre/style of piece they're watching. In our case, the jump-cut ties in with the experimental, fragmented vision Paul and the crew were striving towards. 

'Leaving' Edit

Documenting my edit for Jordan Deakin's short-film 'Leaving'.

Edit timeline for 'Leaving'

Logging and organisation of footage

Prior to logging the footage, I converted the footage under the 'Apple Pro Res 422' format using 'MPEG Streamclip'. This ensures the footage is of high quality and will allow me to edit fluently without any drops in frames or coding.

ROUGH ASSEMBLY - 

• I stuck closely to the shot-list Jordan and I created, but took the initiative and decided not to include the 'cutaways' Jordan instructed me to capture on-set, as they weren't deemed necessary for a short-film. 

ROUGH CUT - 

• Attached the external sound recordings to the clips to ensure higher quality audio.

• Refined the rough assembly by shortening certain clips

• Discarded camera sound

FINE CUT - 

• Further refinements on clips were made

• Stabilisation' feature added to certain clips that appeared too shaky. 

• Picture-lock exported for sound designer

Post-Filming Review - 'Leaving'

The screen grabs below are stills taken directly off the Canon 5D MKll, upon first glance I am happy with the results. What really draws my attention is the richness of the lighting I managed to achieve, and that each still is taken from a different lighting setup but the continuity of light levels is there.

The post-production stage of the film will now begin, so I will begin to label the footage and create a rough assembly using the shot-list Jordan and I created as a guide. 

'127 Hours' - Character Driven

After researching further examples that have an emphasis around people and character driven storylines/relationships, I came across '127 Hours'. I broke down and began to analyse the opening scene of the film as it features interesting/effective editing techniques

'127 Hours' directed by Danny Boyle, is a film based on a true story about a mountain climber who becomes trapped under a boulder whilst canyoneering in Utah.

The opening scene in '127 Hours' features split-screen, and most obvious of all, people. Lots of people, different cultures, the images connote globalisation, mass congregations, a kinetic world, all in which parallel/relate to Aron Ralston's (James Franco) character who is an active, fit and out-going person.

The split-screen and imagery work so well because later in the film, when Aron is alone and trapped in the canyon, we sub-conciously acknowledge that the world is still moving and progressing forward, whilst Aron is trapped and unable to move/progress anywhere.

The non-diegetic soundtrack is a modern piece that boasts instrumental sounds and almost 'erotic' singing. "Take it, take it" repeated multiple times possibly relates to Aron's temptation of embarking on this journey without telling anyone about his plans. The instrumental effects, which are obscure, sharp, different in tempo, pace and volume I feel are there to make the audience un-settled, to perhaps prepare them for the events that will take place later in the film.

The quick, snappy editing symbolises Aron's fast-paced lifestyle and the repeated imagery of mass-congregations, that appear to be worshiping God symbolise hope and a sense of belonging in the world, two themes that I feel are important throughout the film.

The dripping of the tap, juxtaposed with a busy highway could connote the idea that time is ticking away until he meets his fate in the canyon.

The repeated imagery of global brands emphasise that he lives in this globalised, modern, consumeristic state/country but he is potentially about to leave this all behind... as he drives down the highways and roads, Aron appears to be the only one driving in that direction, as if he is approaching the end, his doom.


The editor Jon Harris, who was nominated for an oscar for his work on '127 Hours', describes his difficulty in keeping the viewer engaged with a story that focuses on one man's survival. He goes on to talk about not falling into the trap of repetition, between flashbacks, him stuck in the canyon/reality, back to the flashbacks and back to reality again.

The flashbacks and imaginings that broaden the scope of '127 Hours' are a large part of the story and proved to be a particular challenge when it came to editing. I can understand where Jon is coming from, as when I watched the film for the first time, the flashbacks were indeed key to the progression of the story. They kept the viewer engaged and created a strong emotional bond, connection and sympathy towards to the main character. My knowledge in editing has expanded in the last few months, and I keep hearing more and more that creating an emotional connection to the characters in the film is key. Without that, you have lost your audience's attention... why should they bother watching something if they feel no connection whatsoever to the characters in the piece, why would they care?

Aron is half in the cave, half in the memory. They tried to make that blend as much as possible, so that it's as if we as the audience/Aron are drifting in and out of his head.

James Franco's performance is key to the success of this film due to amount of screen-time he has. Whilst shooting the film, they tried to make it as real as possible. Franco would be stood in the same position, under the boulder for a long period of time. If it took him an hour to rig his harness together, it took him an hour.

In conclusion, I highly respect and admire '127 Hours', from the emotional connection it creates between Franco and the audience, to the tempo of the film, the editing, the sound, cinematography and more.

I will continue to conduct further research into my specialisms (cinematography & editing).

John Harris, editor of '127 Hours'

'Breaking Bad' - A Focus on Characters

As the 'Working with Actors' workshops are driven by the characters on-screen, I researched existing texts that have utilised their character driven stories to full effect.

'Breaking Bad', one of the most acclaimed TV series' to date is a masterpiece when it comes to creating a successful drama. From it's characters, the twists and turns, the storyline, the beautiful 35mm film they shoot on, the editing and more.

"It's all about the characters"

When it comes to editing, Lynne Willingham the editor (seasons 1 & 2), discovered finding the time for leaving characters in open spaces would help define the rhythm of the show. Breaking Bad is a character study and the people in it are the most important, therefore the performances are one of the key elements to the success of this critically acclaimed drama. 

Lynne says it's about blending the best performances from everybody and the fabulous look of the show. They attempt to make the show appear like a small movie by taking the finest actors they could find and putting it all together. Each episode (in my opinion) feels like a movie itself. The wonderfully lit and framed shots on 35mm film with the superb acting all help this drama come together. 

Breaking Bad's style utilises wide open spaces, to emphasise some of the character's solitude. The shots also set the tone for the show, they establish the locations and feel of the piece. The director said it unsettles the audience and throws you off your expectations.

Lynne says editing is "the invisible art", and indeed it is. A successful editor is someone who can edit a piece together and no one notices or picks up on it. If it feels natural and smooth, then the editor has done their job. Throughout my three+ years at university whilst editing my projects, I have tried to sit back and put myself in the shoes of the audience. If the piece feels right, then I've done a good job. If there are certain cuts that unsettle me then the edit needs altering. I certainly have a passion for editing as well as cinematography and I believe that I will be able to create a visually striking piece that fits the director's vision.

Aaron Paul (left) & Bryan Cranston (right)

"What I’ve been able to, in my history of editing, is marry what the director wants and what the writer wants, and help them achieve their vision without compromising either one." A quote that I stand by during the production of each project I undertake. 

Michael Caine - Working with Actors

During one of our scheduled sessions, we watched Michael Caine's video on 'Acting in Film'. After watching the video numerous times and taking notes, I thought back to the advice given whilst we were shooting our piece 'Leaving'.

Michael focuses on many issues:

• Continuity
• Positioning of the camera to the character's eye-line
• Movement within the shot
• Setting markers for close-ups
• The importance of the actor picking an eye to focus on
• Blinking

All of these factors can affect the overall immersion of a piece.

Whilst shooting Jordan's film 'Leaving', I was sure to capture the characters emotions and body language language on-screen. There were instances in which I had to think on my feet to capture Claire's emotions, as certain angles we tried didn't capture her actions or emotions because her eye-line was off at an angle. Therefore I brought the camera around more towards her eye-line to create the affect that the person she was talking to was just off-camera. This off-camera effect helps create a connection between the two characters on-screen and the audience.

There were no severe continuity issues that arose during/after the shoot, and any issues that occurred were documented by script supervisor/overseer Dan Walsh. The documents he provided are displayed in the previous post.

Markers were used in some instances, for example when Claire stepped off the bed and approached the male protagonist. The distance between the bed and the door was significant therefore markers helped myself, the crew and the actors know how far to walk and stop.

Michael Caine's workshop has taught me the importance of working closely with actors, and I will take his advise onboard for future projects.



https://www.youtube.com/watch?v=Njs6ZNSoFC0 (Last accessed 03/12/14)

Continuity/Edit Notes

Dan Walsh has provided me with a set of continuity/edit notes from the 'Leaving' shoot (directed by Jordan Deakin). I will have these notes by my side whilst editing the film incase any problems in terms of continuity arise.

Creation of the Set

Throughout the production stage I felt it was important to record certain stages of the production, therefore I created three short time-lapse videos that best represented the process the crew and I went through to produce a workable set. 

Floor & Lighting Plan

Displayed above is the general floor/lighting plan I have created after visiting the set before the shoot. Due to the restrictions on not being able to view the set until the day before the shoot, this has meant I haven't been able to create a storyboard. However, a storyboard itself is not required as we have created a shot-list and the producer is in the process of creating a schedule for it. I firmly believe we will stay ahead of our time schedule as the crew and I have planned the way in which the set will be made (shown above), and Jordan and I have a thoroughly thought out shot-list that features no complications or restrictions.

The lighting setup shown above is the most general setup I will strive towards, as most of the action takes place in the middle of the area markings between the lights shown on the plan. The colours displayed above are not finalised, I may decide to go for a harsher, shallower colour such as pink instead of purple. As a cinematographer, it is my job to create the look and 'feel' of the film. I sat down with the director and we discussed the visuals we were looking for. We both decided that an atmospheric, coloured, almost-neon look would create an 'arthouse' piece. We took inspiration from director Nicolas Winding Refn and his work on 'Drive' and 'Only God Forgives'. These films feature ambitious lighting and distinctive visual approaches.

'Only God Forgives', 2013, Directed by Winding Refn

'Only God Forgives', 2013, Directed by Winding Refn

'Drive', 2011, Directed by Winding Refn

This will be the first time I have had the opportunity to be in control of the lighting and camera on-set, therefore I aim to take full advantage of the time I have available. 

I believe that lighting is just as important and significant as camera, therefore I plan on spending an adequate amount of time prepping the lighting for each individual shot. I am aware that with the numerous amount of different camera setups we plan on using, I will have to think carefully about the lighting continuity.

The use of chiaroscuro lighting will be utilised when filming the male character Billy, as I believe it is an effective way of conveying two-sides to a character on-screen. In this case, it will convey Billy's decision to choose between his wife and son, or the woman in his bed. 

Jordan chose the red (Dedo) spotlight to be situated outside the outside the window shining in, as to display the pair are in a sleazy hotel room with a red, neon light outside. The blue filters combined with the purple and pink will connote a colder side to Billy's character, whilst the pinks aim to heighten the lust and romance in the scene. 

The empty space to the right of the bed is where the blocking of the two characters will take place. The amount of room we will leave ourselves available will give me enough space to adjust the lighting and camera angles to suit my taste.