An Editor’s Job

Teresa was the next person to view the Assembly Edit and the three of us (including Julia and Rick) took this chance to really try and get to grips with what was working within the film so far and what wasn’t. We talked about how an editor needs a ‘dispassionate’ eye, and can respond to the material in a way that the cameraperson, producer or director cannot. They can offer some degree of objectivity as they were not present on the shoot itself, and will respond differently to those that were.

We also viewed some of the material from the longer original Assembly edit and thought that there were some gems, that needed to be put back into the programme. We discussed length and Theresa admitted that she felt an hour was fine – and that she could have watched more – this is a very good sign as the film at this stage still had no cutaways or music, or any polished audio mixing – so she still was very much watching a ‘rough’ edit.

We then looked at the structure, as we had done with Liam and highlighted sections we though were strong (see photo below). As Teresa had expressed an interest in directing and scriptwriting, we also spoke about some of the imagery that could be used with the film and viewed some of the cutaways e.g. Bethany and Rick’s tracking shots from the market, Teresa and Clare had filmed many cutaways at Wendy Davies’ farm at the foot of the Hay Bluff, and in particular how the tracking shots could be used within the film.

And lastly we discussed music – Teresa had approached local band Sproatly Smith and Rick and Julia had also been following up on some local composers.

Edit Structure

BTW – the words on the screen are there as a guide for the editors so that they can fast forward through the hours of material – they won’t appear on the final piece.

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