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  • Writer's pictureDorsa Sajedi

Editing Class 2: Planning and Workflow

As I was unable to attend this class, I will be reflecting on and condensing the notes that weres passed on to me. This was, unfortunately, the last class that we had this term.

Scheduling time in the Edit Suites
- 4:1:1 Ratio | Rough:Fine:Lock/Export
- Documentary requires a month of editing allocation per 10 minutes in the film, whereas rough drafts need an hour to an hour and a half per 1 minute.

- Ensure access to rushes to begin review and transcodes
- Always ask for cam audio whether you use it or not, as this will help to sync
- Manual TC sync will sometimes be used, where sound and camera press record at the same time and so only a little adjustment will be necessary
- A Bluetooth syncing device can also be used
- The way that we have been syncing (individually) at Napier is unlikely to be used in the industry, so its better to identify more efficient methods
- The best option for syncing is to get the sound and camera departments to set devices to record the gaps between takes as well as the takes themselves, allowing the option of ‘time of day TCs’
- In an ideal situation, every editor should be able to find someone to go in and transcode the footage for us every single day

Rough Cutting Focuses
- Emotion
- Story
- Rhythm
- Keep it long

Key areas to Keep in Mind When Fine Cutting
- This means you are at the stage where emotional arcs feel complete, the story makes sense, when rhythm and pacing feels right (suggested test screenings to ensure this is the case not only to you but others who are not involved in the making of the film and know nothing about it)
- Good questions to ask those who view it is: when were you excited, bored, or confused?
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