PLAN FOR SIX WEEK DOCUMENTARY EDIT
(Written by David Charap)
WEEK ONE
Digitize and plan
Format DV/Digibeta/film. Ratio 16:9, 14:7, 4:3 Back up, cloning, reasonable risk, Logging, Aroll Broll Language, translation, transcripts
memory 20hrs capacity .
SELECT OUT material
Avid log and batch digitize advantages, disadvantages PREPARE NOTES Bins (characters, themes, locations) and labels Avoid obsession + tiny detail, avoid plunging in blindly, establish cutting room rapport
Target: no more than 20 hours rushes, close relationship in cutting room, understanding of film's themes and characters, lots of talking about strengths and weaknesses NOTES
First of all, do not take the time to subtitle the rushes. I would wait until you have a rough cut or a cut of about twice the length of your film. And, even then, you might just do short, rough translations so that anyone watching the film knows what is going on. My way would be to have a quick scan of the rushes and talk through the film with the director, maybe looking at certain scenes with him translating. Then, if possible, have him select maybe 10 hours to transcribe. Is there a lot of talking? From that transcription make a paper edit. While you do the first assembly, he can get on with transcribing additional material. Hopefully, by the time you get an assembly he will have transcribed everything that might be needed and you can add more scenes to the assembly. At various times during the edit, you might go back and look at material that had been deselected to see if there is anything useful either in terms of voice or image. Or ... don't do anything until he transcribes the whole film. If he really can do it in four days that isn't too long to wait. Then he can do a paper edit in a day and you can get on with the assembly. A rough paper edit should not take too long. And it will have to be rough because you will not make fine cuts for some time; the assembly and further edits will be in chunks until you come to terms with the content. You don't want to get hung up on transcribing a lot of material that has no chance of being in the film. On the other hand, as the editor, you want to know what's in the footage and be aware of every possibility for expanding the ideas the director puts forward.
WEEK TWO
Assemble and structure SELECT IN key elements Bin for leftovers Paper edit, overall feel, include duplicate scenes Beginning and End Refining purpose Avoid getting into editing issues but highlight key visual elements and start considering editing potential Establish Rules of the game, nature of film, necessary info Define cutting room etiquette establish private but open discussion
Target assembly of no more than 4 times anticipated final duration containing all the crucial ingredients, if necessary with a few odd elements tacked on not with a certain place
SCREENING & DISCUSSION What is this film about? What will make it compelling? What does it want the viewer to go away with? How will the film achieve this? What sort of a film is it? (tone, length, how it addresses the viewer) What should be its structure?
WEEK THREE
Towards a rough cut Get the structure right before obsessing about editing details Work systematically sequence by sequence; try to work fast enough to get a momentum and keep the whole film in your heads SELECT OUT superfluous, repetitious or inadequate sequences Start talking about music, rhythm, style only when appropriate
Target an edit that is around twice final length that flows logically but feels bloated, all relevant material should now be included and integrated and the shape of the film be clear
WEEK FOUR
The film is born SELECT IN only the elements of the edit that satisfy what should now be demanding criteria Work through the film considering visual language, rhythm, mood Do not be afraid to experiment with different versions Pay particular attention to opening and ending
Target an edit that might even make sense to an uninitiated viewer, it may still be lumpy but it should bear some resemblance to the final film.
SCREENING AND DISCUSSION Does the film make sense? What elements are missing/superfluous? Is it compelling? How can it be enhanced? What does it feel like to watch it and where are the danger areas? Has the cut fulfilled potential from rushes? What is the suitable duration?
WEEK FIVE
Towards a fine cut Address screening notes where possible and if not decide why not Iron out any structural adjustments Plan outstanding tasks, viewings etc. Discuss music, key sound or visual effects Work through film systematically concentrating on style and technique Erradicate any material that stands in the way of the film no matter how much you like it
Target a cut you can show to a friend, appropriate length, accurate translations if necessary, ideally pause for sleep reflection inspiration etc.
WEEK SIX
Fine cut Discuss post production timetable/requirements Integrate music/ effects Trim and tighten Consider opinions you respect Address technical faults Neaten sound tracks
Target a film that exceeds your own expectations that takes every viewer into an enthralling new world where most can hear what you set out to communicate
Although I don't intent to follow this schedule to the letter, I will use it, and Cross cultural Film making by Barrabash and Taylor as a framework and reference.
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