Oh la la. Ready for action.
Before the tute on Tuesday, Ian and I organised our project. We named all the shots, made bins and sequences for the different scenes, made bins for the sound effects and the foley, etc.
Next time i’m in the suites I’m going to take a picture of it. My mum will never believe I created a system that organised.
Oh and BY THE WAY! It was Norway day yesterday! Here’s some pictures
So when Sunniva, Ian and Ed sat down in the editing suites to pimp up our movie, everything was laid out perfectly. While Ed did some radiostuff Ian and I edited the sequences separately. We decided to give the nested sequences a go, and for a while it looked like it would work; it is clean and easy. It was good to look at every single sequence separately, finding the pace and the right length, and this part of the editing was indeed very clever. I feel like each individual scene has more to give now then when I smashed everything together in the rough cut.
However, when we put it all into the nested sequence it became messy. Yeah sure, it looks like a control freak has gone all in and left no room for mess and loose bits, but unfortunately my head isn’t put together that way. In the end we copied all the different shots in a sequence, and pasted it in a master sequence (so not the whole sequence as one chunk, but all the small bits). It is harder to edit this way because you have to keep all the small bits in mind when you move things around, but that’s the way I have to do it.
When we had structured it the way we wanted, we decided to add the voiceover. Ed, our scriptwriter, was in charge of placing the voiceover in the right spots; after trying out different approaches we settled on something all three were happy with.
For me it was important that not only did the voiceover sound good, but it also had to be paced right. If the pause was too short, it sounded rushed, and our assassin might appear nervous. If the pause was too long, the voiceover didn’t feel like a continuous piece; it becomes disturbing when it suddenly comes in after a long break of silence.
Ed made sure that the monologue matched the clips; for example, when Bryden says “It is possible to kill a man with bare hands”, you see “the marks” hands in a closeup, buttoning up his shirt. When he says “Hell, I’ve killed a man with a sharpened toothbrush”, the toothbrush is being placed in a cup.
When we were happy with the placement of the voiceover, we took on a most daunting task: Colour grading.
The amount of work I’ve done in this field so far has been minimal. I’m able to change the colours with the 3 point Colour Correction tool, but I rarely use it. I’ve also worked a little bit with Brightness and Contrast, but again, it is on very rare occasions.
However, in the lecture Paul showed some very useful tips on how to use Final Cut to its full (for second year students anyways) potential.
EIGHT POINT GARBAGE MATTE LADIES AND GENTLEMEN!
I feel invincible! I can conquer the world with this tool!
It was pretty awesome. BUT! It did become a bit more complicated when we added it to shots where the camera is moving. It feels a bit like you’re looking through a telescope; the edges are rounded, feathered (like your peripheral vision would be if you were looking through binoculars). It could work against or for our purpose. After all, our protagonist is being watched, so it could function as a subliminal message about this. However, it might also just look disturbing and weird..
As soon as we started working with the colour correction I fell into an editing coma; I just couldn’t stop. Seeing the extreme transformation on our film was breathtaking; I suddenly saw the shot I had visualised in my head when we made the storyboard (okay, this isn’t completely true. I saw the shot in Se7en, a film by David Fincher. My point is, it looked so much more like it now!)
Dark and menacing, just like our voiceover.
We lowered the saturation, made the black range even darker, the mid tones became darker as well, and in some instances we pumped the whites up a bit.
In the lecture Paul talked about shot matching, at this became essential here; one type of colour grading might look amazing on one shot, but it has to match the other shots we have.
It is a tedious process. I’m as patient as I am organized. The redering is probably going to make me crazy. Which might be exactly what I need to become a successful film maker; after all, they’re all a bit crazy.