-
Edit Points on Scenes from a Single Cam Not Continuous
I’m cutting a short similar to a soap opera, however, the people who shot it used only one cam. There are four angles total, 2 wide shots and two close shots of each person talking back and forth in a conversation, four different takes total. The problem is, I’m trying to go back and forth on their faces when talking and switch to CU cams, but since it wasn’t multicam with timecode, the audio and everything else is not continuous and is way out of wack. My question is, is this normal and what is the best way to piece these scenes together? I want to make seemless cuts, not jumpy dirty ones.
-
10 Replies
-
You can line up multiclips with an In Point. Try that.
Kevin Monahan
http://www.fcpworld.com
Author – Motion Graphics and Effects in Final Cut Pro -
Right- I’ve used that function hundreds of times before but the problem is that the continuity is not the same. For instance, I can’t cut when a person is laughing and the other person in the conversation starts talking over that. Also, another example is when the guy is drinking wine and when you cut to another angle, he isn’t drinking the wine yet.
-
Sounds like you have to edit and not treat this as a multicam switch, because it’s not.
Sorry if that sounds flip.
-
Start by making a traditional edit of the CONVERSATION only.
Get the audio track to work. In other words, let the laughs finish, then when someone starts talking, cut to that person. It’ll probably be a bit boring, simple “show him when he’s talking – show her when she’s talking editing.
Once you have that edited so the rhythm of the conversation flows. Then go back and look for cutaway shots that will cover the stuff you don’t like.
You can use ANY shot of her listening to him if you want to get her reaction to what he’s saying.
Essentially, I’m saying edit with your EARS first. Then work with visuals that support and amplify what the characters are saying.
It’s a LOT more time consuming than just switching 4 synced cameras. But nobody ever said good editing was easy.
(right telly?)
Good luck.
-
Daniel,
I’m sorry if this sounds a little harsh, but it seems like what you’re asking is “can I, the editor, dodge the task of proper editing.”
A conversation between two characters in a feature film is not generally shot on multiple cameras – they do numerous takes and the editor has to piece it together in the best way. That’s their job. It’s about storytelling, and for a fellow editor to be asking how they can get around bothering to tell the story is a bit of a shame.
Multiclipping works great for sports, concerts etc, but when you have the luxury of post-production to tell a story in the best possible way, you should take it! It’s much more satisfying.
Bill Davis’ advice was a really good starting point.
Good luck,
Alex Elkins -
The footage is editable, but like the above poster said, its going to be boring because I have to wait for a break in the conversation, and wait for the continuity to be there. With multicam I can switch over cams in the right places no problem. I spoke to one of my friends who is a well known director of photography on major feature films, and he said using a single cam is a thing of the past. He hasn’t had to use a one cam set up since the 80’s. Maybe it just me that is picky with cuts, but to me they must be perfect and seamless. I just watched Twilight and it has to be the worst movie I have ever seen in regards to editing and continuity. I don’t know how someone could produce such a bad film.
-
[Daniel San] “The footage is editable, but like the above poster said, its going to be boring because I have to wait for a break in the conversation, and wait for the continuity to be there.”
Editing is all about the breaking of the space and time continuum. FInd your moments, use shots you think might not work at first.
Also, it sounds like the conversation was not covered well at the shoot.
If you want to see a masterful shoot and edit of a conversation, watch North by Northwest.
[Daniel San] ” spoke to one of my friends who is a well known director of photography on major feature films, and he said using a single cam is a thing of the past.”
And his actors nail the same take every time? I doubt it. He changes direction and focal length while that one perfect take is being filmed? I doubt it. Even a couple camera dialog shoot can be taken from all kinds of different angles. There’s the Master, the two shot, the closer two shot, there’s the over the shoulder, there’s the over the other shoulder, there’s the CU, the other CU, the MCU the other MCU, the through the window, the down the street, the helicopter shot, the jib arm shot, you get the idea. It is the job of the DP to cover all the angles to give the editor the most to work with. If you won’t have enough to work with, it is up to you to make it work as best as you can.
[Daniel San] “Maybe it just me that is picky with cuts, but to me they must be perfect and seamless.”
Well, then they must be shot right in the first place, and even then, you still have to find your moments based on performance. If it was easy, everyone would do it. Dialog is not a multicam switch.
-
[Daniel San] “I spoke to one of my friends who is a well known director of photography on major feature films, and he said using a single cam is a thing of the past. He hasn’t had to use a one cam set up since the 80’s.”
Daniel,
If I just spoke to an unnamed source who said the sky is falling, how many here would believe that? I for one would like to know who your well known friend is who told you that.
David
David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, and Indie Film & Documentary forums.
-
I’m not trying to get away with doing it easy, I just want it to look right. Editing really isn’t that hard in my opinion, but maybe it is for you.
-
[Daniel San] “but maybe it is for you.”
Yes. Somedays it is. I have to try and match scenes from totally disparate shoots. Or edit 6 total hours of footage from a documented event down to a coherent 60 and 30(!) second spot. Within those 5 hours, about 20 stories were told, which ones go in and which ones go out? The ones that do stay in, what do you present to the audience? It’s not exactly rocket science, but sometimes it’s hard to bring out the best, but I enjoy every minute of it, except for the days that suck. Is that a blight on me? Maybe it is. I will be the first to admit that I am no academy award winner.
Also, if was so easy, you wouldn’t be posting your problems. I am not trying to shoot you down, I am trying to get you to look at your footage in a different way. Since I have not seen your footage, it’s hard for me to comment on what exactly it is you need to do. I have said it before and I will say it again, a dialogue is not a multi camera switch unless you are cutting a talk show. Use your close ups to cover any inconsistencies in movement. Ever watch your footage frame by frame?
Reply to this Discussion! Login or Sign Up