These are my notes from the SXSW 2007 mini meeting on editing. [Personal comments and observations are in square brackets].<\/p>\n
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First off, it doesn’t really matter which format you shot on. It’s about story. [This comment from one of the editors on the panel].<\/p>\n
David Lynch shot [parts of?] Inland Empire<\/em> on a PD150.<\/p>\n Hardware: All brands of firewire drive have failures in a given 12 months. ATA drives are better. It’s really important to have back up drives and projects.<\/p>\n Directing: If you say everything is terrible, the editor will never go out on a limb and create something that’s never been seen before. Hopefully, you’re experimenting all the time.<\/p>\n Often a dialog scene will be too long; flexibility is needed. Reactions and body language can tell story as well as lines. You need different angles; coverage. A scene may not play in the context of the longer film. One shot masters don’t always work.<\/p>\n On set: Don’t just start shooting the close up at the point you think you’re going to cut in; actors can’t start at “intense” straightaway.<\/p>\n Fix small things first. Don’t edit from a place of panic.<\/p>\n The original Superman<\/em> (and the new Casino Royale<\/em>) reached a pinnacle of fast cutting. Also Don’t Look Now<\/em>.<\/p>\n DD Allen [panellist]: Watch and learn about rhythmic editing, eg. Reds<\/em> and The Limey<\/em>, especially the conversations in the latter.<\/p>\n Label tapes correctly!<\/p>\n ====<\/p>\n","protected":false},"excerpt":{"rendered":" These are my notes from the SXSW 2007 mini meeting on editing. [Personal comments and observations are in square brackets]. ==== First off, it doesn’t really matter which format you shot on. It’s about story. [This comment from one of the editors on the panel]. David Lynch shot [parts of?] Inland Empire on a PD150. … Continue reading Editing: notes<\/span>