Serious Shooting, Earnest Editing
We use the Evernote app in quite an interesting way in this session. As it syncs / updates automatically on all devices every few minutes (or you press the sync button manually) this means that the film crew can have an updated list of what shots need to be done and by whom wherever they are in the building.
We have 2 groups and a roving stills photographer: the film crew who alternate their roles shooting Clone Ellen [CE] approaching the tunnel, and then the editing group who start looking at the footage in iMovie from previous weeks and then start sequencing the shots, deciding which are the best. Michelle [MC] has already uploaded the clips to the Mac Book and organised them into recognisable folders. The discarded ones are either deleted or put in a ‘Blooper’ or a ‘Making of’ folder for later editing. MC reminds the editors how iMovie works: how to view their clips, select the bits they want, drag them onto the timeline, review again, refine some more, split the clips and build the story… and the tension.
This session works well – perhaps helped by last week’s reflective talk with John Potter and the film makers. The production crew work well together and come up with a variety of great shots to capture CE as she locates the hiding Clara and Wizard23. In one shot Cara shoots Clone Ellen by following her into the Tunnel classroom; it ends in a close-up of her head and shoulders leaning against the entrance to the tunnel (thanks to Wizard23 for that). There’s another one featuring a long shot – where the ipad is resting on the floor framing the corridor with a light-filled doorway at the end in deep focus – with Wizard23 and Clara running towards the camera in a panic and then past it out of the frame.
Meanwhile the editors work on a sequence near the beginning of the film where Dual2 exits the library and goes downstairs and then outside, quickly followed by CE going downstairs but turning in the opposite direction into the school. In previous weeks they took a few shots from different angles so these cuts work well as nearly simultaneous actions. They’re learning that they can’t use footage where people get in the way of the shot, the actors look at the camera, smile or simply act in unnatural or unrealistic ways.
Great work here from Gman – I love the way he’s experimenting with angles and framing whilst capturing the process: