1.  Requiem for a dream trailer http://www.youtube.com/watch?v=lgo3Hb5v WLE http://www.youtube.com/watch?v=lgo3Hb5v WLE

3. What makes a good editor?

4. An Editor is many things  A Storyteller  A Listener  A Diplomat  A Geek  A Project Manager/Organiser  A Lateral Thinker  A Problem Solver  An Experimenter  Most Importantly: A Vision for Storytelling

5. The role of the editor “The editors job goes far beyond the physical task of assembly, and the good editor- really someone of undoubted author caliber… is highly aware of the material’s possibilities. Directors are handicapped in this area through over-familiarity with their own intentions. The editor…. Comes on the scene with an unobligated and unprejudiced eye and is ideally placed to reveal to the director what problems or possibilities lie dormant with the source material” Michael Rabiger (2004: p408)

6. The role of the editor “The editor must be able to make selective judgements. Editing is far more than following instructions, just as music is far more than playing notes in the right order. In fact, composing is a close analogy to the editors work, and many editors have music among their deepest interests” Michael Rabiger (2004: p408)

7. Art conceals craft: Creating the Illusion “Watching a show on TV, our thoughts are normally centred on the programme material: the story-line, the message, the argument. We become interested in what people are saying, what they are doing, what they look like, where they are and so on. Unless we start to get bored, or the mechanics become obtrusive, we are unlikely to concern ourselves with how the production is actually made.” Gerald Millerson (2001: p185)

8. The role of the editor- 3 levels  The ‘technical’ level refers to the ability to use appropriate technology… to create a sequence that has a particular meaning – ie learning the software/hardware tools  The level of ‘craft’ refers to the ability to select clips which lead to ‘second order meanings’: that is the ability to join 2 shots to yield a meaning that isn’t apparent from either shot (juxtaposition)  The level of ‘art’ refers to the ability to induce emotions in the audience. When the meaning of the shot is taken to the next level- to create excitement, insight, shock, tension, sadness, epiphany or discovery. Ken Dancyger (1997: xiv)

9. The Cutting Edge: 2004  http://www.youtube.com/watch?v=xJcQg QHR78Q http://www.youtube.com/watch?v=xJcQg QHR78Q

10. Analysing the Edit: For the Following Sequences What is the narrative function of the sequence? What emotional response is it trying to achieve? How does it do this? What role has the edit played in this? Could it have been done differently?

11. Clips  Chase the Chicken. City of God http://www.youtube.com/watch?v=RoNA TPsOsZk http://www.youtube.com/watch?v=RoNA TPsOsZk Raging Bull Fight Scene http://www.youtube.com/watch?v=jvt OkDSZRA4 http://www.youtube.com/watch?v=jvt OkDSZRA4 One Flew Over the Cuckoo’s Nesthttp://www.youtube.com/watch?v=B 5NyyC-UjBMhttp://www.youtube.com/watch?v=B 5NyyC-UjBM

12. Useful Terminology – Narrative Techniques  Cutaways- relevent shots that are relevent (ie showing reactions, or messages in the dialogue)  Continuity Editing (creating action that flows between shots without jarring). Antonym- ‘Errors of Continuity’  The cross-cut (cross cutting between scenes). Parrallel Action  Jump-cut (a cut that breaks the continuity of time, or the traditional continuity of the edit)  Montage (seemingly unrelated shots that when combined produce meaning or a series of shots that lead the viewer to a desired meaning) http://www.youtube.com/watch?v=JU9Uwhjlog8 http://www.youtube.com/watch?v=JU9Uwhjlog8  Relational Editing- editing shots together to suggest a relation between their ideas  Sequence shot- where a whole sequence occupies a single shot  Eyeline-match/shot-reverse-shot. Match-Cut. Match on Action

13. Editing Key tools  Time  Pace  Your relationship with the audience. (reveal and conceal, suspense)  Exposition (Reveal/Conceal from audience)  Example: Psycho (1960) http://www.youtube.com/watch?v=8VP5jEAP 3K4 http://www.youtube.com/watch?v=8VP5jEAP 3K4

14. Need to think about the edit early on!  In pre-production and production stages.  Include terminology in storyboards where appropriate/applicable  Log in production- To communicate with the editor/save time  Get editor on board early, make sure they have a clear vision with the director The process of the edit

15. Differs depending on project. 1. Logging Rushes and Deciding on Shots - EDL 2. Capturing and Digitizing 3. The Assembly (based on storyboard/script) 4. The rough cut (reconsideration of the narrative approach/experimentation) 5. The final cut 6. Mastering

16. Getting Organised An Editor may use the following Paperwork  The script  Camera Report Sheets/Production Log Sheets  Sound Report Sheets And produce  An Edit Decision List (EDL)  Other Appropriate Paperwork (Music Cue Sheets for Copyright)

17. Edit Decision List  Forces You To Make Decisions  Communication with others  Much of this can be achieved in advanced editing programmes (you can tag clips with metadata in FCP)  Should consist of following: Scene/Shot/Take Tape No./Timecode in/Timecode Out Comments Decisions made

18. Tips and Tricks  Make it easier for yourself: Shooting Ratios/Log & Make Decisions in Production- Professional Edit Suites Cost Time & Money!  Lay down the story/narrative first. Details can come later.  Use Music for emotion. Work with the beat if approprate. Spend time choosing, listening to music  Think Carefully About Time  Audience, Audience, Audience Understand them. Imagine someone. Be Aware of their ‘Media Literacy’  Always get others to look and listen  Rest it. Fresh eyes can do wonders.

19. Common Mistakes  It doesn’t make sense  Bad film making- don’t be afraid to lose scenes  Too slow/Too fast  Over editing- always edit for a reason  Forgetting the story. Edit for Affect/Effect, not to prove how good you are on FCP, or how many shots you can fit into 30 seconds!  Bad script- reshoot?

20. Narrative  When thinking about narrative Read the script What is the message? What emotions do I want to convey? How can I use my footage best to show this? (Using time, sound, other techniques) Can music enhance this? What does the audience need to know, what do I need to make clear (or overstate) Get familiar with Narrative/ Storytelling – ○ Robert Mckee (1999) Story. Methuan Publishing Ltd

21. The Poetics of Editing  Editing is like Poetry/Music Flows Rhythms Beats

22. Further Example Kill Bill Scene http://www.youtube.com/watch?v=kHbfI PjmZys http://www.youtube.com/watch?v=kHbfI PjmZys Donnie Darko (Hardly any edits!)http://www.youtube.com/watch?v= VWJPa0bvWnMhttp://www.youtube.com/watch?v= VWJPa0bvWnM

23. Further Reading  Michael Rabiger (2004) Directing the Documentary. Focal Press  Ken Dancyger (1997) The Technique of Film and Video Editing: History, Theory, and Practice. Focal Press  Gerald Millerson (2001) Video Production Handbook. Focal Press  Steve Dawkins & Ian Wynd (2010) Video Production: Putting Theory Into Practice. Palgrave Macmillan  Chris Jones (2003) The Guerilla Filmmakers Movie Blueprint. Continuum

24. Resources for Editors  http://www.bbc.co.uk/filmnetwork http://www.bbc.co.uk/filmnetwork  http://www.apple.com/finalcutstudio/reso urces/ http://www.apple.com/finalcutstudio/reso urces/

25. Advanced Editing Techniques  Compositing  Titles  Sound FX  Special FX