Tip #64: Editing tools and techniques

By Dan Parkes (Editor/director)

In the previous blog we looked at the importance of establishing a workflow. Organisation is certainly one of the most important qualities an editor must have -along with a large dose of patience! Here are some other valuable and practical tools and techniques when editing:

1. Naming system
Especially if you are editing a large project (which may itself become divided into several projects) it is good to establish a logical naming system. Numbers and dates should be used. Ensure files are put in properly named bins and the files themselves named sensibly (no "untitled" files and sequences!). Your editing project should be organised well enough so that if another editor had to take over they would have no issues working out where everything is. This will ensure that if weeks or months down the line you have to return to the project you can quickly pick up from where you left off.

2. Cuts
Inevitably you will have different "cuts" or versions as you alter and improve the edit i.e. first, second and third cuts. Always create a new sequence (or even project) for a new cut. For example, when a new cut is about to be edited I firstly "lock" the old cut to ensure I don't accidentally alter it, then create a new duplicate sequence which I then proceed to edit. This means you can easily go back to older cuts if you are looking for something you have subsequently changed or deleted.

3. Shot order
It is sometimes difficult to know where to start on an edit. The most logical and classic method is to edit in the same way the film was shot -likely laying down the "master" shot first, and then cutting in the "medium" and "close-up" shots.

4. Pacing
The pace of a film is critical. This will likely be dictated by the script or director but also editors must use their own instinct to decide where is a good place to cut and how fast and slow the feel should be. One method to help is to use music, or temp tracks. If you know the music that will be used you can put marks on the beats and then cut to that if appropriate. Or if the director has a certain type of music or score you can "temp" it in the edit to help ensure you get the right feel and pace.

5. Audio
Audio is often the secret to helping make cuts work. Although any extensive audio editing should be left for the actual audio mix, a picture editor can use overlapping audio and wildtracks to help make a cut work. Sometimes a certain cut does not work until ambient audio or sound effects are added to help sell the continuity.

6. Edit tools
It is important for an editor to become familiar with the different tools his NLE offers such as slip or ripple cuts and other ways and means of cutting and moving clips on a timeline. It is also necessary to learn the keyboard shortcuts to those most commonly used to speed up the process.
7. Saving and Back-up
Make sure your NLE either automatically saves or save your project after any substantial changes. An editor must be aware of the need to constantly back-up. If not using a RAID system (which will automatically mirror the drive depending on the configuration) then at least regular duplication of the project and files used should be made on an hourly or at worst daily basis. There is nothing worse than losing a project due to harddrive failure -as it is almost impossible to completely recover or remember all the creative edit decisions that were made.

Tip #63: Establish an editing workflow

By Dan Parkes (Editor/Director)

Good organisation is key to any editing project, especially when you are dealing with a film that will be at least 90 minutes and over 20 hours of HD footage has been shot for it!

So we very early on devised a workflow that would ensure we could achieve this, even though we were editing on essentially a domestic computer using software that is not widely known for feature film work: Adobe Premiere Pro. I have personally used most Adobe products, starting from when I was a graphic designer at a newspaper using Adobe Photoshop and Acrobat. It seemed natural to later progress to Premiere Pro for editing and After Effects for compositing and effects. But many widely regard Premiere Pro as not being up for the task of a feature film, believing Avid or more recently Final Cut are better tools. I had used Premiere Pro for some large projects including a 45 minute feature film, but this was in HD and so was possibly going to be an issue.

Above: Here is one of the 5 'reel' projects
(click to view at 100%)

The answer lay in two simple factors.

1. An intermediate codec
In Final Cut, when editing HD, the Quicktime files are often encoded using ProRes 422, developed by Apple. So I decided to use Cineform as an intermediate codec, converting all the m2t files from the camera harddrive into Cineform HD .avi files. Although much larger file sizes these worked very well in Premiere Pro and meant I could edit in HD without any issues. It also ensured no colour information loss when rendering out, maintaining the quality of the picture.

Above: Here is 'master' project
which combined all 5 'reels'.
(click to view at 100%)

2. Project structure
Although the Cineform intermediate codec made for easy editing I was under no impression that I could have one single project that would end up being 100 minutes long and still be stable. So I divided the film into 5 logical sections, which I called "reels" (inspired by the reels projectionists use) each being about 20 - 25 minutes in length. I worked on each reel independently (sound included) until I was satisfied with the cut. Then the 5 reels were combined into one single master project. This was the only difficult part, as I had to create a guide track and sync points for how these reels were joined for when the sound was mixed later but in the end did not prove to be too difficult.

Tip #62: The Importance of Paperwork

By Dan Parkes (Director)

Film making can be a creative and at times very exciting process. However, such is not possible without the all important paperwork that goes behind it. I know what you are thinking, this sounds all rather boring. But like a lot of things in life, sometimes it requires the old adage of 'work before play'.

There are two very important reasons for ensuring the paperwork is never overlooked:

1. Legal obligations
If you are really serious about film production then you will likely be setting up an individual company with separate accounts -either for the film as an entity or as a production company. Becoming a company has its own set of obligations, including the paying of tax and the use of equal opportunity and privacy policies and annual reports. The film itself will require contracts over pay, public insurance liability, ownership agreements, location permits and ever important health and safety and risk assessments forms. To try to avoid any of the above -no matter what budget you are on- is a recipe for disaster. But it is also good practice for the future. And most definitely comes in useful for Errors and Omissions insurance and other festival/distribution paperwork.

2. Organisation
Ensure your paperwork is well organised and always on hand. For example, have a main file that you keep all your documentation in. Have a system for keeping receipts for items purchased or expenses from cast and crew. Have a naming system for your script so you clearly identify what version it is on every page (if the script changes during production) or use a colour coded system (different colour paper for different versions).

Make sure you have plenty of generic release forms always on set. You never know when you will need to include an extra person in a shot! And make sure they sign it before they go on camera rather than having to chase people afterwards. We experienced this on location in the village of Alfriston. While filming an establishing shot to our delight a woman on a horse rode by, perfectly completing the scene. We asked if she could do it again, but not before ensuring she had signed a waiver that producer Sinead Ferguson had on hand for such a possibility. And with a location permit, make sure you have at least two copies on set, along with the associated risk assessment paperwork, so that if asked by a passing police officer or -in a worst case scenario- there is an accident you are well prepared to answer any questions.

Your Master Film File should include:

1. Several copies of the script (they always get lost!)
2. Cast and crew contact list (with names, telephone numbers etc)
3. Call sheets (plus extra copies)
4. Shooting schedule
5. Shot list
6. Storyboards
7. Accounts/receipts/expenses
8. Maps of the area
9. Emergency contact name and numbers
10. Cast and crew contract/agreements
11. Background actors release/waivers (plus loads of extra copies)
12. Location permits
13. Health and safety policy
14. Risk assessments
15. Insurance details
16. Note pad/paper/pens

Anything we missed? Please let us know in the comments below.
Need some example forms? Check out University of North Carolina School of the Arts site.

Tip #61: Don't forget to document the process

By Dan Parkes (Director)
When we began work on Ambleton Delight we soon realised it was ambitious enough to warrant some form of documentation (...a feature film with a named actor, dozens of locations and speaking roles, from pre-to-post in 9 months and on less than £6000...?). However the busy rigors of preparation and organisation meant we did not follow through on it, something we later regretted. We did have a couple of handycams on set at different times and Itsuka Yamasaki (Producer) and Andre Marshall (camera assistant) did film some behind-the-scenes when they had a a rare opportunity. This material can be seen in some of the 7 part Making of series now on YouTube (Part One starts here).

Above: Producer/writer Itsuka Yamasaki
films the actors in make-up.

We previously mentioned about having a dedicated stills photographer for at least one of the days, if not all. But also not to be overlooked is to have someone to officially document your behind-the-scenes process on video. Having a film that is about how you made the film is something that is not only going to be of sentimental value; for publicity having an official Making Of that can also later accompany the film on DVD is an essential part of any marketing strategy.

Often film students are crying out for an opportunity to work on a film set for experience. If you do not feel confident enough giving them an actual position in the crew then it is well worth thinking about having them film you making it. Make sure they are aware of what you expect -for example possibly interviewing key members of cast and crew on the day when appropriate.

Tips for organising a Making Of:

• Don't forget to ensure cast and crew contracts include information on also appearing in the Making of, so it is part of their contract
• Have somebody separate from cast and crew organise it (such as a film student)
• Keep them in the loop on the production as much as possible
• Give them a list of not-to-be-missed scenes to film
• Give them a list of cast and crew to interview, with some possible questions if need be
• Ensure they do not interfere with main filming
  
• Make sure they also follow any legal or health and safety guidelines (such as waivers etc)
• Let them know what you expect as a final product (e.g. a 20 minute Making Of documentary) and also your expectations regarding the quality.

Tip #60: Continuity is critical

By Daniel Parkes (Director)

Not long ago film sets had a "continuity girl". This term has been replaced with the more politically correct "script supervisor" a job that entails more than just continuity. But that should not undermine the importance of continuity. Since most films are shot out of sequence and on different days, maintaining the consistency of characters, wardrobe and props over the duration of the film is an unenviable but critical task. However, failure to do so can cause an audience to be distracted from the story.

The fact that it is important is seen in that almost every film ever made has some at least some minor continuity issues. The most common are:

Common Continuity issues

• different head positions (especially when filming reversals)
• changes in hair position (especially women e.g. -behind the ear or not)
• hats/clothing (buttoned or unbuttoned, collars up or down?)
• food (if an eating scene how much food is on the plate at different stages of the scene)
• cigarettes (length of)
• weather/lighting (bright day, dark day)

With the popularity of such film websites as IMDB, it has now become a popular pastime to spot continuity errors in films (check the goofs section on most IMDB entries). Apparently, one of the earliest continuity errors appears in Charlie Chaplin's The Property Man (1914) when his hat momentarily disappears when he steps into a room.


Five Famous Continuity Errors

1. The Wizard of Oz. Dorothy’s hair noticeably changes length when she first encounters the Scarecrow. Her ruby-red shoes shoes inexplicably become black when she and the Scarecrow fight with the apple tree.
2. The Godfather. When Sonny and his car are shot up at the toll booth the shattered windshield is shown undamaged in the next shot.
3. Pretty Woman. When Julia Roberts’ character is eating breakfast, she goes back and forth between eating a pancake and a bagel.
4. Return of the Jedi. When Lando says to Han Solo, “Go on you pirate,” his whole outfit changes. Not only does it change colour but the strap and rank changes sides.
5. Harry Potter and the Sorcerer’s Stone. When Harry is sorted into Gryffindor he sits down on the right side of the table, and a few moments later he is magically sitting on the left side of the table next to Hermione.

The solution to avoid continuity errors in the pre-digital age, was to have not only a person dedicated to taking lots of notes, but also use a Polariod camera to catalogue a visual record. With now even the average mobile phone taking high resolution images, photographs can play a major role in helping prevent possible issues.

Preventative measures:

• Keep actors aware of their own continuity
• Shoot a master shot that becomes the template for all close ups
• Have a script supervisor who pays close attention to details
• Make notes in the script to remind you and the team of potential issues
  
• Take digital photographs of the cast and set at all times

When you discover continuity issues and errors during post-production, an editor's trick is to cover these by cutting to wide shots or cutaways that distract the viewer from noticing.

Tip #59: Getting extras (background actors)

By Itsuka Yamasaki (Producer/writer)

An extra is someone who appears in a film in a nonspeaking or nonperforming capacity normally in the background and hence also known as background actors or background performers, background artists or simply background.The easiest and proper way to find extras is to approach an agency. There are many around that specialise in sourcing background artists. However for most indie films you won't have a budget for this and you will need to find extras yourself. Here are some ideas for finding them inexpensively -or possibly even for free.

1. Production team/cast/crew members.

2. Family and friends.

3. Interested organisations/drama groups
What we mean here are organisations that have an interest in films in general or the theme of your film, maybe a local theatre group or a community group. For example, in Ambleton Delight we had a village council scene with 12 male councillors. Producer Sinéad approached a local drama group and we could find enough men perfect for the scene. You could also approach model agencies as some models are interested in moving into films as well.

Above: Some of the councillor extras in Ambleton Delight
came from a local drama group.

4. Schools/Colleges/University.
Film students are probably ideal but they don't have to be. I did my degree (nothing to do with films) in New Zealand and while I was there Edward Zwick was filming Last Samurai; We would find ads in our canteen for young lads (of any nationality) who could play soldiers. Thought it was a great idea.

A word of caution....

Although your budget may be limited, you would want to make sure that the extras are right for the scene. Recently I saw an indie film that had a cinema release. There was a press conference scene in the film and the extras playing the reporters were more like grandads in a tweed jacket, mums who had been shopping, and students - nothing like reporters! It's important to find the "right" group of people as well as to dress them appropriately.

What you want to watch out for is that a lot of people who have never been in a film tend to look directly at the camera. Plus unlike professional actors they are not "continuity-aware", so you need to pay extra attention to their continuity too.


Another very important thing to remember is that you need to have everyone sign a waiver, even if they are your friends or family. OK, you probably won't need it but having a habit to take care of the legal side is very important and can save you possible heartache in the future....

Do you want to be an extra? Here are some links to check:
www.nasaa.org.uk/site/home/
www.bectu.org.uk/get-involved/background-artistes
www.universalextras.co.uk
www.extras.co.uk

Tip #58: Give actors what they need

(Interview with 'Ambleton Delight' cast member Andrew Elias)

Following on from our interview with leading actor Jos Lawton, we have asked supporting actor Andrew Elias, who provided a memorable performance as Town Clerk Colin Wilkinson along side the Mayor played by Brian Capron, regarding practical ways of making life easier for an actor on a low budget film.

What do you need from a director prior to filming?
I really appreciate being able to sit down with the director to discuss my character. It sounds obvious, but it’s amazing how many directors send supporting actors a character description, and then expect them to turn up on set and ‘act’ without any further character discussion, whilst focusing entirely on the leads. Every director works differently, but being able to sit down (even just for five minutes) and chat about the character is essential. It helps the actor know what the director’s expectations of both the actor and the character are. It also means that there doesn’t need to be any ‘what is my motivation?’ questions on set during filming, which can be infuriating to a director trying to stick to a tight schedule.


What do you need from a director on set?
I like to feel that my contribution to the production, no matter how small, is integral to telling the story and fulfilling the director’s vision. A great director is one that makes an actor feel important no matter how small the part. Contrary to popular belief, most actors are insecure about their abilities, so a bit of praise after a shot is also really helpful. I personally liked to be pushed to my limits as an actor. I worked with a director years ago who was making me repeat the same scene over and over, and the rest of the cast said to him ‘Give him a break’, to which he replied: ‘I will only push Andrew as far as I think he can take it, and he’s got a little way to go yet’. How right he was.


What do you need from a director afterwards?
Evaluation is always helpful, especially in a social setting (a pub!) away from set, where you can both relax and discuss informally how the scenes went.

What should they not do?
Break down in tears, smash things up or hit people. Seriously...it happens, and it doesn’t inspire confidence! A pet hate of mine is when directors say ‘do it like this’ and do a specific action, or ‘say it like this’ and adopt a strange accent/intonation. Not only does this make a mockery of the casting process, it is also incredibly soul destroying for an actor and has nothing to do with building character. As I’ve already said, I do liked to be pushed, but there’s a big difference to being stretched as an actor and being asked to do an impersonation of the director.

What can filmmakers/producers do to make your job easier?
Detailed call sheets and frequent correspondence are incredibly helpful. This helps concrete the feeling of ‘belonging’ rather than just ‘passing through’.


What should actors do/not do to make filmmakers' job easier?
Where do we start? Well, Spencer Tracy famously said that to be a good actor you merely have to learn lines and not bump into the furniture! Patience, flexibility and a good sense of humour go along way on a film set. It’s also very important to know where you, as a performer, stand in the ‘pecking order’ on set. For example, the Star can make Big suggestions, a Supporting Actor can make Small suggestions, but an Extra should keep schtum! Patrick Tucker’s Secrets of Screen Acting outlines basic, accepted, screen acting etiquette and is an essential read for actors wishing to avoid any faux pas on set.

For more, check out Andrew Elias' insightful acting blog: http://andrewelias.blogspot.com/

Tip #57: Film day-for-night

(By Dan Parkes, Director)

As mentioned in the previous post, night shoots are never easy, so it is sometimes more practical to film day-for-night. By means of camera settings and filters and then some post-production colour correction you can take a shot filmed during the day and turn it into night. In Ambleton Delight all of the exterior night shots of the restaurant and Chris' house were done this way. But remember that day-for-night does not always work. Depending on the scene sometimes sunlight can be too strong, building or street lights are not turned on and it can become a post-production headache.

Tips:

• Underexpose the image, and then add different filters such as graduated filters to change both the quality and sharpness of the image
• Use ND filters so you can shoot at or near wide open as you would actually at night
• An overcast day is generally better -less shadows. If strong sunlight attempt to turn this into moonlight by underexposing.
• At night colour has less contrast and is more subdued, as it is lit by moonlight. White balance on a yellow or orange card to force a blue tint.
• Blue gels on lights can also help sell the effect (especially when filming night interiors).
• Day for Night effects can be added in post in compositing programmes such as Adobe After Effects (check Andrew Kramer's tutorial on this here: http://www.videocopilot.net/tutorials/day_to_night_conversion/)

Tip #56: Surviving night shoots

By Dan Parkes (Director)

Even for those who consider themselves 'night owls', filming at night is never easy and poses numerous challenges. But before we look at surviving night shoots, let's establish two key reasons for doing so, which are:


1. Filming an exterior night scene at night
2. Filming interiors at night due to cast/location availability

The first, also described as 'night-for-night' is likely the most obvious reason. The rain scene in Ambleton Delight was filmed this way. It is good to note that our eyes see night in a very different way from how a camera does as our eyes naturally adjust to the low light levels while most cameras struggle to compensate. The two key mistakes filmmakers can make is to either force the camera to see more light (using a wide open aperture or a gain increase) or by overlighting the scene with too many lights. Both will make the camera see more, but the result will not look authentic, either being overlit or too grainy.

Tips:

• Only illuminate key objects or areas - for example using practicals from logical sources (i.e. real lights within the scene, such as streetlamps)
• Use reflectors and white cards to reflect light
• Use natural elements such as snow if filming during winter, or rain (or by wetting the ground) to create natural reflection and illumination
• Use natural light -shoot during dusk or twilight -although remember this lasts for less than an hour!
• If possible do some test filming beforehand at the hours and location you intend to film

Overall night filming survival tips:

• Preparation/planning -treat it as a normal day with a 'lunch' scheduled
  
• Have a well thought out schedule that wastes no time...dead time at night is demoralising and can cause people to go to sleep
• Make sure actors are scheduled only where necessary (it is good to schedule scenes with the most actors first so that some can go home earlier and only those who are required stay for the whole night)
• Food and drink are important -liquids such as water and coffee can help keep you awake
• Consecutive night shoots can for many be easier than one-off shoots, as you can get your body into a pattern
• Prepare the day before by getting more sleep (like travelling overseas try to adjust to the time zone before you arrive)
• 4am - 5am is the most difficult hour both mentally and physically -schedule easier scenes to be filmed at this time or have this as the 'lunch' break.

Tip #55: Prepare for the prima donna actor

By Dan Parkes (Director)

If you are a filmmaker chances are, at some point, you will come across a "prima donna" actor. Although a small minority of the acting community, due to their personality the probability of encountering them is in fact higher. For a low budget filmmaker it can be severely detrimental. All three of the Ambleton Delight production team shed literal tears during its production due to the behaviour of prima donnas in various forms (not any of the main cast I hasten to add!) and in the last three years I have personally had to handle three such actors.

Originally an operatic term, prima donna literally means "first lady" in Italian and designates the leading female singer. In modern times it has also become widely used to describe a vain or "temperamental person; a person who takes adulation and privileged treatment as a right and reacts with petulance to criticism or inconvenience." (Random House Dictionary, 2010)


Several actors have openly said they perform because they 'crave attention' which in itself is not an issue (a camera shy camera actor is a different problem!), unless it leads to egotistical behaviour. In the case of the three prima donna actors I had to deal with they were, somewhat surprisingly, all male; two were in their seventies and the other middle-aged. The causes for their behaviour, although quite different, have one common thread: money and unjustified allegations of ill-treatment. Two were aging actors who to be honest had not "made it" but relied on unknown bit-parts in TV shows or films to boost their egos; the middle-aged actor on a similar path (an unknown actor yet complaining for receiving 'only' £250 an hour).
So how to handle such an actor? You might think the answer is not to cast them in the first place. However, while warnings and references may help, any actor has the potential for this behaviour (the two aging actors mentioned previously were incredibly 'nice' to us and then seemingly 'snapped' over perceived ill-treatment). And unlike the workplace environment where a prima donna can be reassigned, you will most likely not have that option, especially if footage has already been shot. This 'cannot be done without' factor can also be one of the principle causes for their behaviour; they think they can get away with it.

So here are 10 factors to think about:

1. Treat all actors as special, have faith in them, make them feel wanted and secure, allow them creative space and value their hard work and input.
2. Pay your cast as well as you possibly can.
3. Make sure you are not the prima donna! If you are a dictatorial director who lacks respect for cast and crew then you will only make matters worse.
4. Prepare for it. It does happen and it could potentially ruin your film. Have contingency plans. It is always dangerous to be relying on one actor alone.
5. Make sure actor's contracts and agent negotiations are comprehensive and signed, so there is no potential for confusion that can lead to unnecessary issues.
6. Have a balanced approach. Make sure you are not being walked over or conversely making unreasonably demands. If required, be assertive and stick up for yourself and the team.
7. Try to understand their point-of-view or motives. They may well have a good reason for complaint that should be addressed.
8. Make room for it -the moment may pass. It could be just a phase and everything may be fine the next day. The actor could possibly be suffering from mental health issues.
9. Find compromises. If you can calm them down by finding some middle ground then do it rather than needlessly fanning the flames if you also feel wronged.
10. If the behaviour has got to the point of being detrimental to the project, make a final decision that is best for the film. That could simply mean recasting.