Dialog editing??

[Wshultz]

Thanks. I’m finding that it seems easy to hold the shots too long. The best takes are no brainers but reactions, breaking up a standard wide to cu progression isn’t quite as easy as I anticipated.

[Charley King]

Be careful, it is just as easy to overcut as it is to hold shots too long. Feel is key, if it feels good, do it.

Charlie

[Chaz Shukat]

As someone who is also new to narrative editing with multiple takes of the same action from multiple angles, yes, it’s a lot different than the usuall predicament you and I and Charlie find ourselves in having not enough options, and it can be a little overwhelming. Try visualizing the scene in your head as you would ideally see it cut, and then try to make that happen with what you’ve got. See if it plays that way. If not, determine which cuts/shots are not working for you and replace them. Maybe you might want to start from scratch and take an entirely different approach to the scene. You can cut a scene many different ways and they will each come across a little different. Remeber to not get too caught up with matching action and always use the best performance if at all possible. Bottom line, there is no formula. If there was, then it could be an entirely automated process. It would be interesting to program a computer with a formula and see how it cuts scenes. Wouldn’t that be wild?

Chaz S.

[Wshultz]

Thanks guys. I’m going to do it till it feels good then.

[Chris Bové]

You know, every time I do it one way, the Director turns out to be the kinda Joe that prefers it the other. Every time.

Anyway, if I’m presented with performances that vary drastically between takes, I create performance reels (half-assed dailies) with back-to-back takes and hand them off to the director. Usually a take never works all the way through, but at least you can get a better idea of what impresses the director (one might gravitate to facial expressions before noticing audio problems, where another might be paying a little too close attention to the audio script).

If time, budget or fate doesn’t allow me that much attention to detail, I ALWAYS start by cutting the perfect “radio show”. Usually when investors are involved, producers will initially need to show them drafts that match the script as best as possible, and then worry about which actor gets more face-time later.

For more in-depth answers, go to one of my favorite cheat sources… https://www.filmsound.org/murch/murch.htm

______
/-o-o-\
\`(=)`/…Pixel Monkey
`(___)

[Stylz]

Good site. bookmarked it, thanks.