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What is the most time/labor efficient workflow for parsing best takes when editing narrative in the timeline? Tips, tricks?
At this stage what I do is I have ALL the footage open in the timeline. I find the first line of dialogue per take, razor cut all the takes and watch them side by side and use the best one. Then I move on to the next piece of dialogue, do the same thing, etc.
I’ve learned a while ago not to refine cuts until I have the full sequence, but are there any better ways to parse through all the takes? Should I go through every take and group them sequentially, i.e. separate the timeline into all the takes of the 1st line, followed by all the takes of the 2nd line, and do this all at once? I mean, I’m going to be doing that regardless at some point, it would seem more efficient. Is that what a proper stringout should look like? I’ve never done a stringout.
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1 Reply
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The key to an efficient Post workflow is to come into the edit with as much organisation as possible. When I step into the edit suite I want my creative juices to flow and having to sift through dud takes is counter-intuitive.
Obviously with low budge productions it’s not always easy to have shot lists/edit sheets available but if you can get into the habit of having these documents prepared yourself or by a crew member you’ll find your Post ebb and flow to be much slicker.
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