This week's blog post is Step 3 of My Post-Production Workflow In 6 Steps. If you haven’t seen the first step or second step you can check them out here:
So you’ve done the tedious part of sorting through all the footage and setting up your project - and you’ve started arranging the clips into a rough outline (i.e. The Assembly Edit). Now you actually go through, get the best takes and start cutting scene by scene until you have a rough cut of the entire film.
LESSON A - Cutting to Emotion:
I look for the emotion in every scene, it’s intuitive for me. I just tend to feel it. I believe you can learn everything about editing in a few weeks: all the techniques, how to cut to the beat, etc. But the emotion that you bring to an audience is a lot harder to master, I’m not quite sure I’m there yet. No I’m not. I will be. But not yet. I'm very perceptive in reality I always mentally save moments throughout my day to bring to the editing table. Your edit should be seamless, you shouldn't be able to hear audio problems or notice the cuts, unless that's what you're going for intentionally. Your audience should just watch it and absorb the story and ideas.
Have you ever heard the saying “emotion over promotion”? Well that applies to editing - if you don’t give the viewer an emotion or feeling they won’t pay attention. Cutting to beat, and pacing comes after you find the emotion and story.
Hitchcock does a great interview where he explains the role of an editor and how they can bring out the emotion in a scene:
LESSON B - Don’t Spend Too Much Time:
I spend about an hour to three-hours editing per scene. You don’t want to be spending too much time on the rough cut phase. Once you get to the final cut you can spend hours or even days finessing.
LESSON C -
I’ve compiled some of the transitions and techniques I use most below:
Hard Cut - This is probably the cut I use the most, it’s very traditional - When you want to go to a new scene you just cut straight to it.. No need to dip to black before you enter a new scene.
L-Cuts - an L-cut is when you continue a bit of video from your last scene onto the audio of your new scene before you see the visual of your new scene.
J-Cuts - a J-cut is the opposite to an L-cut.
Smooth Zoom Transitions - These transitions are being used a tonne in videos at the moment. They look really cool. Great for Travel, Vlogs, shows, etc.
Cross Dissolve - I rarely use this technique but when you want to see the dichotomy between two things this can be really useful.
Wipes - I’ve use wipes for corporate, cooking shows and online videos. But not a whole lot they can come off cheesy if used too much.
Speed Ramps - If your DP gives you 100fps or 50fps options you can use speed ramps to improve the pacing.
That concludes this week's blog post about the rough cut. I decided not to make this one about the technique, because every editing software is different, I wanted to delve more into my creative process. I hope you enjoyed it. Next week's blog post is about the fine cut which I think is the best part of the post-production process. It's where you can really surprise yourself as an editor, especially when you're cutting fiction.
NEXT WEEK: STEP 4 POLISHING (i.e. The Fine Cut)
This weeks blog post is step 2 of my Post-Production Workflow In 6 Steps.
If you haven’t seen the first step you can check it out here:
Once your raw footage is imported and placed into the labelled bins that you have created. Open up each bin and put it into thumbnail mode so it’s easy for you to find the shot you’re after.
Make sure you click list view sort that way the first shot comes up to the top and the last shot goes to the bottom.
If you’re doing a short film or feature film make sure you write the slate number on your file (example: [Sc1-Shot6-Tk2]). Again the assistant editor will usually do this on big budget productions. If it’s a low budget project I’d just keep the file name the same as what the camera produces (example:[00001.mp4, etc.])
Next up you watch each shot. You can hit “L” on your keyboard to fast-forward through the shot if need be. You want to create a marker on the shot whilst it’s in the source monitor - to create a marker you hit “M” on your keyboard. Put the marker at a syncable spot so that you can sync your external audio recording to the visual. Usually the syncable spot is when the 1st Assistant Camera claps their clapper board, but sometimes it’s just a hand clap or you have to use the actors “T”,“S” or “K” sounds to sync.
Make sure your V1 and A1 layer is selected in your cutting timeline. This is so you can overwrite each shot from your source monitor once the marker has been created on visual and audio.
I use my in and out points “I” and “O” on the keyboard - to assist me with overwriting shots so that they don’t end up cancelling out each other out. You’ll have to do this with every shot. Unless you know you’ll never use the shot in the final cut.
Once all the your raw footage is synced and on the timeline you’ll want to drag all the shots together with mini gaps between each scenes.. And sit and watch hours worth of raw footage. I always take a break for a couple days after I’ve viewed the footage, so I can conceptualise the edit and let it marinate just like you marinate chicken.. You might not get the luxury of a couple days because of deadlines, etc. But at least go and buy a coffee, have your lunch break or go for a walk. This is where the ideas will start to form when you’ve actually removed yourself from your seat. Every night after I have my dinner I often watch 2-3 hours of Youtube to inspire myself for the next day!
I hope this blog post helped you in some way. Drop a comment below if you have any questions.
NEXT WEEK: STEP 3 - GETTING DOWN TO THE NITTY GRITTY (i.e. Rough Cut)
Late last year I was asked by Stephen Kearney (director of Little Day Productions) to edit 'Anzacs and The Rising'... Its a fascinating one-off documentary short film (20mins) looking at the little known involvement of Australian and New Zealand soldiers in the Easter Rising, Dublin 1916.
It's an early morning on Tuesday the 25th of April 1916, Dublin, Ireland. Anzac soldiers including Private Michael McHugh who were on leave in Ireland are called to arms and positioned on the roof of Trinity College. They take aim and fire through the half-light. As the shots ring out through the cold early morning air, 20 year old volunteer despatch rider Gerald Keogh, cycling from St Stephens Green, falls dead in the street. The Easter Rising has begun the day before and McHugh is one of several Anzac soldiers who found themselves unwittingly embroiled in a war that wasn't theirs. This is a story of how these young Anzacs found themselves caught up in Irelands bloody struggle for independence while they were on leave, hoping to visit relatives and escape the horrors of the Western front for a few days.
The Easter Rising changed the course of history and precipitated Irish Independence six years later.
Based on Jeff Kildea's Book "Anzacs and Ireland"
Full Documentary Below:
Teaser to Documentary Below:
I’ve been requested by a few filmmaking friends to do a blog post on my Post-Production Workflow. I’ve decided to publish them over the next 6 weeks, starting from today. Let’s do it!
ORGANISATION IS KEY! IMPORTING YOUR FOOTAGE, FILE NAMES, ETC.
LESSON A - Using underscores in your file names.
Before even starting to edit your film or video you want organise all your raw footage into a structure. In the professional filmmaking world an assistant editor will do this step. But in smaller post-production houses you will find yourself doing this uncreative step of editing too.
Something I learnt whilst doing work experience at Channel 10 network (Australian Television Network) was to use underscores (“_”) in your filenames instead of spaces (“ ”).
Old file name system (with spaces):
This is a big NO.
New file name system (with underscores):
Implementing the new file system into your workflow will not only make your computer very happy, it will make it easy and efficient to search for content. Because, if you search: Version_4 It’s gonna come up with all your version 4’s from the beginning of time because the underscore connects the words together.
LESSON B - What is a file structure?
A file structure is a thread of folders that helps you keep your files sorted, so when you open Premiere or your preferred editing software - it’s easy enough to jump straight to the creative process rather than having to find files, etc.. It’s also very good for those of you on the go, that edit from their desktop at home and then jump to their laptop on the plane. The idea is that all the data is in the structure so no matter where you go, as long as you have the structure… it will open.
So above is an example of different projects I’ve done. I categorise the folders by putting what sort of project they are first (i.e. PASSIONPROJ, CORPORATE, etc.). This groups those particular jobs together so it makes it easier to locate.
So let’s click on one of those folders.
Above is a screengrab of what one of those folders looks like inside. Just remember once you put a file in the specified folder you have to import from that specified folder into your Premiere or preferred editing suite.
001. Projects holds your Premiere project (auto-save files, caches, etc.) it can also have you After Effects project, Cinema 4D, etc.
002. Media has all your camera’s raw footage.
003. Audio is where you put your external recordings from Zoom, can also be for music or scores, sound effects, etc.
004. GFX is where you put all your After Effects renders, assets for you after effects, 3d projects will all the elements, etc.
005. Temp I rarely use but it’s for old versions of premiere projects (example: Version 1)
006. Masters is where you place your final exports and renders… From that folder you then upload to cloud based service, youtube or load to a USB for your client to see.
007. Documents is where you place the screenplay, breif, post shoot report, quote for the client, invoice once the job is done, etc.
LESSON C - Importing into Premiere
Create some bins labelled the same as your file structure. Then open the bin double click and import from your structure… Remember if you are half way through an edit and you get some pickup shots… Load them to your file structure and then import them to your bins in Premiere.. That way if you're on the move you have all the files with you and you won’t have to relink and search for items.
One more thing I’ll mention.. I have an dual screen display set-up at home. I have my sequence, tools and audio level window on my right screen and everything else on my left screen (including: source, project, bins, effects, settings windows).
And you’re good to go.
I hope this Step 1 of 6 Post-Production Workflow helps you in some way. Have you got a different workflow? Have you got any questions? Leave them below in the comments box.
NEXT WEEK: STEP 2 - WATCH RUSHES AND SYNC FOOTAGE (I.E THE ASSEMBLY CUT).
Below you can check out my 2nd Insta story as a compilation on YouTube. This video is to be consumed on your mobile via the YouTube app. As the YouTube app has allowed the viewing of vertical content.
Hey what’s up everyone? Had an extremely fun week! Been relatively active on Insta stories (follow me: @tye_bate). I played with the Zhiyun crane (3-axis gimbal) - balancing the sony A7s ii.
Had a fantastic shoot on Sunday 9th of April 2017 filming for Big Review TV at Nanna Kerr’s (featuring The Divine Company products) in the Hunter Valley.
Check out a dual insta story from @rachelraez and @tye_bate featuring @jaimebolla
A GREAT TIP TO SAVE TIME ON-SET
As you probably already know whenever you're on set you learn heaps. Being on a film set is so important for perfecting your craft. I’m lucky to have gone to a film school that encouraged practical exercises, over theoretical exercises. One time I was continuity on a film set. I was all ready to go 5AM rise for a 9AM call time. But, I had a generic clipboard…
...and I was told that I should try and find a folder clipboard…
…the issue with a generic clipboard is you have to constantly shuffle between papers when you’re trying to find the script for the director or 1st AD and that wastes time. On set you want to be as efficient as possible for your director and 1st AD. You don’t want to be dropping sheets because you can’t find that continuity report, or plan layout in time. This tip can work for on-set producers in the corporate world, to producers on feature length film sets.
In conclusion, I hope the tip above helps you, I know it helped me once I brought one for like $5.00 at Officeworks. My Sony A7s ii (Body) is arriving on Tuesday 18th of April 2017, super excited for that.
Have you got a great tip that you learnt on-set? If so drop a comment below, let’s educate each other.
Hey All! I hope you've all had a good week. I finally invested in some sexy new filmmaking equipment (including: Sony A7s ii, Sony FE 24-70mm GM Zoom Lens f. 2.8, wireless Rode lapel mic system, and an manfrotto tripod) so that I don't have to hire stuff every time I shoot. I had a few meetings with Upasna Ved my filmmaking friend. We discussed some exciting projects and put some actions in place. It was by far one of the most productive two hour meetings I think we’ve ever done. Now this blog is based on the research and pre-production of two of the short films Upasna and myself discussed the other night in our meeting.
With the recent introduction of Snapchat, Insta, and Facebook stories, as well as live stream apps like: Meerkat, Periscope, etc. I feel it's redefining the way we consume content. I thought it would be perfect to discuss this medium as a millennial filmmaker. Making vertical videos is as simple as flipping your camera 90 degrees on your tripod (i.e like you're taking a portrait photograph). This new way of creating video content started because of mobile. Mobile is now the way most of us watch content on a daily basis. I know for a fact that when I commute I watch video content on my mobile for both entertainment and education.
There’s been a lot of controversy surrounding the idea of vertical format filming, because for the last century (since: Silent Film) we've been watching film and tv horizontally. Plus, vertical video is not compatible with desktop computers and you get black bars either side of your videos. However, the same thing happens when horizontal video is watched vertically on a mobile, except you get black bars above and below. Side note: YouTube has recently allowed viewers to watch vertical content on mobiles.
Now I'm not saying all videos should be vertical format. But if you're smart about how you're composing your shots (rule of thirds, leading lines, depth, etc.) you can create good videos. And, you may as well make up the most of your audience's screen leading to further exposure, call to action, etc.
When editing vertical footage… you simply flip your pixel dimensions in your sequence settings of preferred editing software (mine is Adobe Premiere CC). In your sequence settings make the frame height 1920px and the frame width 1080px. Some people are shooting in 4K and then cropping it in the edit - I don't advise this as your subject may be cropped out.. It's better to actually physically move your camera to a vertical position.
Vertical videos eases the viewer's experience of watching video because they don't have to flip their screen to let it re-orientate to horizontal viewing. Content created specifically for the mobile rules the day, as workers watch videos in their lunch break and commutes. You don't want to totally kiss 16:9 goodbye because it's the most traditional way of showing video.. and as a filmmaker, entrepreneur or company you want to be on as many different mediums as possible. I’m intrigued by this format and I will definitely be experimenting with it over the coming months.
Some interesting Quotes:
Source: Ooyala Global Video Index
“Millennials are 2x as likely to be focused on video they watch on their mobile devices as they are on video consumed on a TV.”
Source: New York Times
“Professional videographers tend to regard vertical videos as the mark of an amateur, and they react to these clips with the same sense of wounded outrage that snooty writers reserve for people who confuse its and it’s, or who type two spaces after a period when everyone knows there should only be one.”
Source: Jon Steinberg of The Daily Mail’s North American Operations is quoted in the NYT as saying…
“We’re working to get to 100 percent of our videos vertical. We find the engagement much higher. Users are more satisfied, and there’s a higher completion rate on them.”
Interesting Examples of Vertical Video:
Mad Max Fury Road: Vertical Trailer
Vertical Love.. Staff Pick on Vimeo..
Music Video called Zehn Jahre - Dagobert
Keep posted! Due to my recent equipment investment I'll begin to post some cool vertical videos. So please head over and follow me on social. Please drop a comment and let me know what you think of vertical video. Have you used it before?
Hey! First of all, I hope you're having a great day, and thanks for taking sometime out of your productive life to read my first blog post. My name is Tye Bate and I'm a nineteen year old videographer that graduated high school in 2015 and I've been working in the film & media industry as a video editor and freelance videographer for 2 years. Lemme take you back a bit... I had this fire burning inside me before I graduated high school. I told myself: “I will live, breathe and sleep filmmaking, and I will constantly be on-the-move and creating stuff”. I did exactly that. I attended Sydney Film School for an diploma of Screen and Media in 2016 - I learnt a lot about cinema and making movies, but what was paramount for me was meeting like-minded people. People I couldn’t really find in high school or everyday life. The friendships I formed will be around for years to come. I’ve heard that’s what most people get out of film school? - not the education - but rather the connections you make?
2. Learning Experiences and Dramas:
The films I helped out on during film school gave me many learning experiences:
My Pre-Production Process in 8 steps:
The pre-production process above is so good for your crew, because they understand your vision as a director and that’s the most important thing. Often your director of photography and other creative departments have trouble really grasping your idea, this will clear it up.
3. The Best Job Ever:
On top of going to Sydney Film School I landed in one of the best jobs I could have ever asked for. [Check out one of my co-workers blogs as well on her thoughts on this amasing positive workplace, plus "How to do a working holiday abroad"…https://www.adventureswithjle.com/single-post/2017/02/16/How-to-do-a-Working-Holiday-Aboard]. I was working in the film and media industry as an video editor and videographer before I even started attending Sydney film school. I’m grateful for my father lining that job up for me. And for my mother for encouraging me to do my best.
Actually, how I ended up in the job is quite funny:
I was in tech-class at high school when I got a call from my boss.
I told her “I will call you back during my lunch break”.
I did - I was so excited!
I was asked to “call back after you finish high school.”
I did, in-fact many times. My boss invited me into the office. The rest was history. I’ve thankfully been working there ever since. And I absolutely love crafting creative, innovative and unique videos for clients and business's.
To wrap up, this blog post was just to tell you what I’ve been up to the past year. Keep an eye out for other exciting news, etc. Follow me on social if you haven't already. And above all enjoy and get back to your productive day.
Tye John Matatoa Bate is 19 Years old. Born in the Northern Beaches, Sydney. Video Editor at Big Review TV (Feb 2016 - present). Tye graduated Sydney Film School in 2016.