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.