STUDIO: WW2 SHELTER ROUGH CUT REVIEW

TUTOR FEEDBACK:

When looking over the edit for the WW2 VT of our studio project there is a list of things that must be addressed and tweaked going forward:

1. The most notable issue visually is close ups and a lack of variety in them. For the close ups on the 2 characters they have turned out to be quite profile and this was pointed out as a problem. This screenshot from the edit clearly shows the characters face side on and very close to the edge of screen, both things that are visually unappealing and distracting to an audience.  
   As part of my research into this area I watched this video about the Coen Brothers filming of conversations. I think the video is incredibly useful in showing how very successful directors have filmed people talking, not to mention their way of editing.              As shown by their films as well as Roger Deakins multiple Oscar nominated cinematographer the placing of the camera is key to how the viewer sees the characters on screen.
2. There is also the problem of sound syncing because of many different audio tracks and many separate shots to use. That is something I as editor must get around as it is not an incredibly serious issue and can be fixed with some clever editing on my part. 
3. There is a time issue with this VT as the aim is for it to be around 1minute 15seconds, but currently stands at 1:30. The feedback was that I should use sharper cuts making use of the close ups more than wides. Again using the video above from video essayist Tony Zhou, I can take inspiration from the scene in the boardroom where many men are talking. The scene is from the Coen Brothers film 'The Hudsucker Proxy' (1994) and during the scene the camera cuts fast and rhythmically hearing lines from many different men around the table I will have to take the inspiration and try and cut down the VT we have if I am to get it down to the required length.   

As a side note this wasn't an issue in the feedback, but for me the sound design of this video is important as to create an authentic sound experience as well as aesthetics.

STUDIO: SET-UP WORKSHOP

With our shoot day looming over the horizon we needed to have a go at the set-up with cameras and actors. This was very good as it made us aware of a few problems that need to be addressed before too late. Here is the short video we filmed to give us an idea of where we are at:

           

Issues to address: 

1. The Sidekick - in the practice above we have our presenters sidekick sitting right next to them. After doing research into shows that use a sidekick as an element of the program I have noticed that the general way to do it is to have them off screen only coming in when they are needed.                                                                                                                                                                                              The Late Late Show with Craig Ferguson which is no longer running the host Ferguson leaving in 2015, makes great use of 2 sidekicks one a talking skeleton in a suit and the other a silent horse. In the clip above they find a great way to use the skeleton to read the mind of the horse. Even thought he uses sidekicks they are off screen so the main interest is the host, but to aid comedy the sidekicks can come in at any point. We have already made new plans to change this and will have our nerd off screen.
2. Technically the things to look out for were shot sizes and too much headroom as seen in this shot below
                                                 as opposed to this better framed shot below which leaves less empty uninteresting space for the audience.
   

As VT editor this was an exercise for me in itself as it gave me a feel as to what the role of the vision mixer will be, all be it with a bit more time to compile the shots. We had the right shots that would be needed close ups of each person, 2 shots for each pair and a wide safety shot. The role of the director will be to make sure these are interesting and eye catching so the vision mixer will be able to cut together whats needed. Although these are not specifically my roles it is still good to know hoe each element is coming to be. 

STUDIO - WORKSHOP NO. 1 AND MY ROLE AS PA

Having now spent some time in the studio gallery experiencing a bit of what my role entails I have discovered as I first assumed that the job on the shooting day will be fairly straight edged. This is not to say it won't be easy especially with a 30 minute program with breaks and VT's interspersed it will require a lot of quick arithmetic and working out as explained by Del, so as to make the show run for the allotted 30 minutes.

However despite my role on the face of it being pretty straight forward in the industry itself a P.As job is variable job that requires versatility and good personal skills. This is well outlined in this shot clip about a PA on an American TV show.



What I get from this is that if I were to end up as a PA it would be a much more energetic role that would mean jumping between different departments being a liaison and logistical organiser.

The deeper I look into this role the more I find that the role encompasses so many different things for example this PA on KRNV news works from time to time as a GFX and sound operator.



It just so happens that for this production my role its time keeper, but by the looks of things if the show were to continue I may not be restricted to just one position.

For me the thing about this role is that it is just about the position I would most not like to be when it comes to a career so this is an experience that will hopefully make me appreciate just what it is that is required from a PA.