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Week 10 Reading (Chapter 15)

Process:

Review all footage to see if there is anything missed

Then begins the sound design, editing and mixing

SOUND DESIGN

The design of the sound track and effects needs to reflect the video that it's beside

Using cliches can allow for quick recognition of

Automatic dialogue replacement can be used to help with dubbing if original sound quality if lacking

Foley allows for recreation and creation of new sound effects. Sounds libraries can also be useful to find these

SOUND MIX

Equalisation in the sound allows for the mixture of sound and music

Customising the volume and amount of the different dialogue, music, effects, narration, and atmospheric noise to make the important aspects of the sound mix clearly to the audience

Noise reduction can also assist with unwanted noise that might have been recorded

Week 9 Readings (Chapter 14/18)

The process of refinement

*I have previously studied editing through my Diploma of Screen and Media (Film and TV) so much of this chapter is already known to me.

After watching assembly edits there can often be issues with the pacing and 'flow' of the project.

Once there is an order using techniques such as 'L-cuts' in order to splice audio and video from two different parts together.

Juxtaposing image and sound together allows for these cuts to flow together better

Doing so can decrease the length of the edit, which makes different pacing and keeps and audience enthralled in the final product.

You can use the innate interpretation of the audience in order to both uses and counteract their expectations. The use of this 'audience participation' can allow you to think of new methods to understand the order or flow of the edit.

There are other methods to examine and diagnose what needs to be changed and fixed in the editing process. Dissecting different sections, displaying it to an audience, and deciphering the feedback.

Dramatic Development, time and strong structure

Week 8 Readings (Chapter 13)

Usual post-production workflow is

Sync video/audio

Showing dailies

Logging media

Edit script

Assembly

Rough cut

Fine cut

Supervising narration

Supervising music recording

Constructing other sound tracks

Mixing of audio

Graphics

Colour correction/grading

Take notes from director about dailies/cuts/edits

Use own or crew/directors reactions to judge power/emotion of certain edited elements

Within the larger story, there exists smaller stories (or scenes) which combine to create overarching plot

Structure can come from story, action, or narrative

Length of project decides how the story is told/edited together

When reviewing, diagnose all elements of the edit. Question why things are the way they are, is there a better way to tell the story, or a better story available.

Week 7 Readings (Chapter 17)

Point of View of the Storyteller

Depending on the style of documentary/storytelling the storyteller/director/camera will be positioned differently in the dynamic of the story and it's characters

Staying distant, becoming part of, or using a specific character as a point of view

When using POV it must get the audience to engage with the character or otherwise they will not be able to see things from their perspective, distancing themselves from the subject matter

Multiple POVs can be confusing, but if done properly can create mystery or other complex perspectives/feeling for the audience

Directorial/Personal POV can be extremely subjective but also incredibly relatable/personal/engaging

Through post-production this can all be modified and changed to at least slightly differ the perspective, especially with added narration

Week 6 Readings (Chapter 15 & 28)

Editing: From Fine Cut to Sound Mix

Having studied audio recording and editing at TAFE and in my spare time/freelance work I will only breifly summarise a lot of this chapter.

From video being locked, the sound mix becomes the forefront of importance

Sound can indicate time periods, locations, characters, feelings and genres of the project, and changes in this can help to smooth or disrupt those feelings

Less is more – foley does not always need to be added to something on screen

ADR – try to avoid if possible

Foley – doesn't need to be captured on set due to it able to be replicated/produced in a studio/use a sound library

Equalisation will allow elements to sound louder or quieter than they currently do, eg. Voices become more clear

Dialogue can be tricky. Recording in different environments, with different gear, at different volumes can all make it seem disrupted/disjointed. Can be fixed somewhat in the audio mix.

Organisation, Crew, and Procedures

Producer

Mixture of agent, salesperson, production manager, and accountant

Predict changes, audiences, finances, knowledgable about pieces of all areas

Is not a director, and should not want to be

Sound

Usually small crew depending on scope and budget, where things such as boom operators and assists can be used

Shot Identification

Allows for editor and production managers to track and log/organise media. Also allows for sound sync in post-production. Mixes with using a clapper.

Week 5 Readings (Chapter 30)

Conducting and Shooting Interviews

During research, do not use questions or material that may be actually used in the project, as it will spoil the proper answers if/when they are done.

The setting of the interview will affect the interviewee and the final product, comfort and context wise. Also allows for easier cutaways to similar settings/things in that setting

Secondary people can affect interview quality and context

Interviewing multiple people at once can produce more natural conversation

Group interviews can be less formal if needed to look like a casual conversation

Think about use of interview in final product, does it contribute to main force/story? How do they take part in the story?

Rehearsal of questions in extremely important

Getting different angles/shot during interview or as the interviewee is having casual conversation before/after interview allows for good cutaways/b-roll in editing

Can edit in/out interviewer depending on focus of product and how it is shot

Vary shot sizes enough to make them not seem like jump cuts

Answers can always be somewhat restructured/reordered in the edit, but do not use this as a safety net

from the album blank space [.full album]

from the album recreation

"I'm home, I'm where I want to be." download: https://fanlink.to/bb029-dl Hypem

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Quick edit of footage from 30/08/17 w/ Alex Preston, Gabe Parker, and Mitchell Catt.

Read youtube description for full details.

#Mitchell Catt #ABC Open #The Hidden Hunter

Calm music track may work for some of the time-lapse or transitional elements between interview sound bites.

#Mitchell Catt #The Hidden Hunter #ABC Open

Quick edit idea that had from a moment of inspiration with footage we took the other day.

#Mitchell Catt #The Hidden Hunter #ABC Open

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Music Idea - Very repetitive, probably use underneath interviews/as transition piece

NoCopyrightSounds, We Upload. You Listen. Free Download: http://bit.ly/tobu_itro_cloud9 • NCS Spotify: http://spoti.fi/NCS Tobu & Itro are finally back with ...

Music Idea - Especially like beginning, maybe too fast?

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