[Rocco Rocco]

Well now I feel a little short changed after reading that entire thread! ;o)

[Rocco Rocco]

Sooooo… Does anyone have a link to the leaked screenshots?

[Rocco Rocco]

Show them this next time: https://www.youtube.com/watch?v=4MNg3sSZ9F8

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[Rocco Rocco]

Bruce Blocks “The Visual Story” has an excellent chapter explaining this.

In a nutshell, you think about how long to hold a rhythm and when to disrupt it. Remember though that it doesn’t necessarily refer to the moments where your cuts happen; its more to do with what’s going on inside the scene, (but also to do with the cuts.)

Watch any Sergio Leone western and pay attention to rhythm especially in moments of tension.

[Rocco Rocco]

I’m not sure if “arc” is the right word, but the Tron featurette definitely has an evolution. It arcs from showing you small things to showing you big things.

For example take a look at the end: the phrases used are “A whole new era of film making” and “an incredible sight” a “digital universe” – they want you to leave with a big picture of everything (large).

Had they started with those phrases, they would have had nowhere “to go” so to speak and it might feel slow.

Instead they open by showing you individual elements (small); the bikes and the suits followed by the actors and characters. Then they get bigger and show the overall technology, plus Olivia’s “intense training” which gives us a personal, emotional “hook” (too much tech talk = dry), then they get bigger by showing the massive sets before concluding with all that big picture stuff.

So it’s not really just one thing after another, with a basic intro and wrap up; there’s a clear thematic progression from small to large; there’s your arc right there.

[Rocco Rocco]

For there to be a story (and therefore an arc), there needs to be a hero. The Tron featurettte could have had an arc in it if focused on the actor’s journeys, i.e.:

1. “When I first read the script I was excited but nervous”
2. “during this scene I could barely handle the demands and wanted to quit”
3. “I learned a lot, grew as a person and can’t wait to work on the sequel”

But the Hero is the movie itself, not the actors. And the goal is to sell the coolness of the movie not empathize with the individuals, I think. I don’t know if injecting an arc is helpful or not in this case, that’s really up to the producers.

[Rocco Rocco]

Docs that focus on individuals (rather than historical events or concepts) will often be crafted with a dramatic arc in mind; gradually revealing more information about that person as we travel with them along their journey:

Super Size Me
Catfish
We Live in Public
Exit Through The Gift Shop
Dear Zachary
No Impact Man

Are all examples where the “protagonist” evolves over the course of the documentary (more or less). The common thread here is “a mission”; there’s a clear goal in mind and we join them as they try to obtain that goal.

They begin in their normal world, an event happens to put them on a new trajectory, they face obstacles and challenges and finally return home with the “prize” having become wiser for the journey. Which is exactly what Mark was referencing.

However, retrospectives such as:

What The Bleep
The Secret
Dog Town n Z Boys
No Distance Left to Run
King of Kong

Tend to present the information in a more of a magazine type format, flicking through pages one chapter at a time as you say. I suppose the reason is there’s no single hero to follow throughout, hence no arc. Although I’m certain there are several mini-arcs within some of these docs.

[Rocco Rocco]

One day I’ll pull my head out of the rock ;o)

I have heard good things about PP however; I’d be curious to go back to it after 10 years for sure…

[Rocco Rocco]

Fascinating. I thought I knew all the editing software out there, but just learned a new one!!

One of the benefits of using popular software, like FCP, is that when you stumble across a problem there’s a massive user base online. So much so that you can just Google your error window or what-not and you’ll find a solution within 10mins.

Also, if they need freelancers, the FCP talent pool is so huge when you make the call it’ll be like opening sales day at Barneys. “Edius Freelancers”? Cut to: sound of crickets…

[Rocco Rocco]

But what do you want to do? What is your dream editing job?