LO3: Be able to edit materials in post-production to create an extract for an original TV programme or short film

LO3: Be able to edit materials in post-production to  create an extract for an original TV programme or short film

Transitions and cuts are the initial and essential step of editing: taking my offline edit, I spliced clips together to remove unnecessary sections of takes; this also allowed me to focus on how the short film would be paced as the length of certain takes and the frequency of cuts would determine the connotations (tension or immediate action) of a scene. 

The razor tool was essential for my first scene as I edited the background/bedding music for the scene where I used the 'constant gain' & 'exponential fade' features as well as audio mixers to adjust the volume of dialogue in relation to the bedding music. This allowed scenes which didn't include any dialogue (montages) to be enhanced as they sync to what plays in the background to fade seamlessly into the rest of the scene as dialogue follows. Using Capcut to augment the bedding music with a 'vinyl' filter, the bedding music in the first and last scenes became diegetic.

To further control the pacing of the short, I used 'dip to black' transitions to signify if a scene has been progressed, e.g. the end of a montage sequence.

  

For the bar scenes, to increase tension through connotation, I edited the colours of the scene through 'Lumetri colour' to create low-key lighting. 

Sound Editing: Control of Audio Tracks & Video Effects

For audio transitions, I used primarily the 'constant gain' and 'exponential fade' features on Premiere Pro to fade in and out the soundtrack or allow a given sound effect (e.g. the car engine) to fade into a scene in a less obtrusive, natural way. Fading down the diegetic soundtrack during dialogue in the bar scene, and increasing it during character introduction montages. Upon Jackie's introduction where the music that his headphones play, goes on diegetically in the background, the music fades as he takes the headphone out his ear to further audience immersion/entertainment. 

For the voice sound effects like added echo or reverb, I used the 'Analog Delay' and 'Amplify' features to create immersive audio which fit within the diegesis of the film; applying these effects to dialogue (such as in the stalking sniper scene) and gunshots to give them more emphasis; also applying them to the chatter. 

As an audio transition into the next scene, I faded in and out the audio to make the cut more seamless as it furthers the visual transition on screen. I also imported the 'sound emphasis' for the secret handshake which synced with what was happening on screen to create a more visceral/audible sequence. 

When editing sequences with soundtracks: I cut the visual footage to sync cuts or transitions with the music in the background to make a more entertaining and smooth sequence; fading the audio as it comes in and fading it back out with 'exponential fade' as the sequence transitions to the next scene. When implementing the music from the bar scenes and Jackie's headphones, I wanted the noise to be diegetic and convey age; giving the locations and technology a vintage and classical style that would've been typical of organised crime culture, classical Italian music playing through an old vinyl. To achieve this, I used a 'vinyl' filter on the editing app, CapCut and imported and modified the music with the 'stereo expander' to characterise the 'old' sound of the music. The same was used with Jackie to convey the quality of the technology/headphones he uses to immerse audiences into what kind of character he was. 

When implementing the gunshots, I added the amplification and reverb whilst syncing them to the footage to create a natural coalition between the diegesis and visuals; using the final gunshot to sync into the credits and non-diegetic music in the background to create a cinematic spectacle from the audio. This, the credits and the intro sequence are the film's titles; including the adjustment layers, are the relevant video effects.

Music/Soundtracks

Always Music - Classic Italian Music

Fleetwood Mac - I'm Coming Home to Stay

Anna Yvette - Red Line 

The Doors - Soul Kitchen

The music I used for the short were selected for their characterisation: the classic Italian music referencing the often Italian influence of mob/organised crime culture, The Doors in reference to Custeau's (the protagonist's) shirt which features the same band and Fleetwood Mac as an extension of that for being a band from the same era. Soul Kitchen releasing in '67 as Coming Home to Stay released in '68. The synth music of Jackie's taste then juxtaposes Custeau with something still within that 80's zeitgeist the film is intended to reflect as 'modern music' for the time. 

LO2: Be able to record production materials for an extract for an original TV programme or short film

LO2: Be able to record production materials for an extract for an original TV programme or short film

Evidence of Filming

When filming, the script was a pertinent item in assisting actors and director; reading and rehearsing voice lines, checking shot-types for the scenes and stage directions for the actors to follow. This photo features an actor reading through the script.

Understanding when actors are ready to film was also an important step to ensuring a good take: this photo features an actor giving the green light for the shot to be taken.

Within this shot, the crew discusses how the scene will play out and where each actor and crew member needs to be within the scene.

When developing a shot which changes focus to achieve a shallow depth of field, checking that the shot works and the camera focuses correctly through test takes was a necessary step to creating an effective shot.

During filming, we had advisors to recommend whether a shot or a scene would work as they watched it; allowing us to rehearse the scenes as they were viewed in real time.

How Meaning is Conveyed Within Production Materials

Meaning within I'm So Lucky was created in relation to characterization of the main characters and how they conform to, or juxtapose conventions typical of the crime drama genre. 

The mob boss is characterized through a costume which is comparative to the other mob member who meets with him: adorned in formal attire and accompanied by connotations of dominance and importance through continuous low angles and a representative older age in contrast to the rest of the characters. The object of a whisky glass is also significant in this characterization through signifying maturity and distinguished taste which would be attributive to the head of an organised crime unit, akin to how Coppola's 'The Godfather' is represented. The character of the unnamed, mysterious mob boss was intended to be typical of the crime genre so that his dichotomy with Custeau would be humorously contrasting.

This juxtaposition in costume and attitude was also applied to editing sequences: the introductions of the unnamed mob member and the protagonist Custeau, parallel one another through montage and opposing costumes which characterize them differently. The connotations of organised crime signified by organised, similar, costume whilst Custeau entirely juxtaposes that serious, organised tone, with an unkempt outfit consisting of a bath robe, trainers and sunglasses indoors. This therefore, conveys a comedic contrast as Custeau defies conventions of the crime drama genre through this editing parallel. Having these montages synchronise with classic Italian music furthers this disconnect as the diegetic music of the location characterizes the bar in a way typical of 'old school' Italian influence mob culture.

Characterization was further achieved through props: this is evident in the whisky glass and Jackie's cigarette in a later scene. This in conjunction with his generic costume and non-cholent attitude create connotations of a 'stoner' personality as Jackie partakes in a cigarette during his introduction; eyes closed whilst nodding his head rhythmically to the diegetic soundtrack.

LO1: Footage Log

Footage Log 

Name: Oliver Clements 

Date: 6/01/25 

 

Production Title: I’m So Lucky 

tape	Shot	Take	Description	Quality	Time code IN	Time code OUT
1	pan	1	Panning shot to introduce pub location	1080p	00.01	00.05
2	Close-up	1	Close-up of the mob-boss' hand	1080p	00.05	00.08
3	Cowboy-shot	3	Shot of mob member walking into pub	1080p	00.0.8	00.12
4	Close-ups/pan	1	Short shots (montage) panning to mob member’s clothing	1080p	00.12	00.22
5	Medium Shot	1	Shot of mob member walking to mob boss’ table; bartender delivers drinks	1080p	00.22	00.38
6	Extreme close-up into over the shoulder	1	Shot-reverse-shot of mob members talking	1080p	00.38	00.45
7	Cowboy Shot & montage	3	Shots of Custeau entering bar and same montage panning to articles of clothing	1080p	00.45	01.02
8	Tracking Shot into low angle cowboy-shot	2	Shot follows Custeau as he walks to the table where the members are seated	1080p	01.02	01.12
9	Medium-close-ups	1	Shot-reverse-shots of the three characters talking, high angle of the other mob member to juxtapose low angle of Custeau for eyeline match	1080p	01.12	01.24
10	Wide Shot	2	Shot of Custeau between the two mob members as they talk	1080p	01.24	01.30
11	Medium close-ups	1	Shot-reverse-shot of the two mob members talking	1080p	01.30	01.40
12	Tracking-shot	2	Shot follows the other mob member as he leaves and switches focus to Custeau as he sits down	1080p	01.40	01.52
13	Medium close-ups	3	Shot-reverse-shot as Custeau and the mob boss speak	1080p	01.52	01.57
14	Panning	3	Shot pans from table downwards to reveal a gun pointed at Custeau	1080p	01.57	02.00
15	Medium close-ups	3	Shot-reverse-shot of Custeau and mob boss speaking	1080p	02.00	02.22
16	Medium shot into close up	2	Low angle medium shot of the mob boss which cuts to a close-up of Custeau as the shot transitions into scene 2	1080p	02.22	02.31
17	Close-ups, tracking shot	3	Eyeline match of Custeau looking at a bottle; tracking shot as he gets up	1080p	02.31	02.36
18	Medium shots & close-ups	5	Montage sequence of Custeau playing music in sync to him making a cocktail	1080p	02.36	03.15
19	Panning shot, full shot	2	Shot pans up on Custeau drinking; transitions to him on a sofa as he gets a phone call	1080p	03.15	03.28
20	Over the shoulder, back to full shot, into close-up	1	High angle over the shoulder shot of Giovanni calling Custeau; cuts back to his phone ringing in the full shot. He answers in a close-up	1080p	03.28	03.47
21	Sequence of tracking shots and full shots	1	Phone call sequence as shots cut as Giovanni & Custeau speak. Transitions to scene 3	1080p	03.47	04.13
22	Wide shot	2	Wide shot of Custeau and Jackie sharing an elaborate handshake	1080p	04.13	04.18
23	Tracking over the shoulder into medium shots	2	Camera tracks Custeau & Giovanni as they walk to the car; upon arriving a shot reverse shot denotes them speaking	1080p	04.18	04.27
24	Close-ups, wide-shot	2	Shot transitions to a new location as a foot gets into and out of Custeau’s car to signify the transition; Giovanni & Custeau talk as they get out – wide shot	1080p	04.27	04.38
25	Tracking shot (medium) into wide shot	2	Shot follows Giovanni & Custeau walking to a new location atop a staircase, signifying the transition to scene 4	1080p	04.38	04.46
26	Panning medium close-up	3	Shot pans around a tree to reveal Jackie smoking and listening to music as Giovanni suddenly appears into frame and wakes him up	1080p	04.46	04.58
27	Medium-shots, two shot	2	Shot-reverse-shot of Jackie talking to Giovanni as the shot introduces Custeau to him through a two shot of Giovanni & Custeau together	1080p	04.58	05.03
28	Wide shot	1	Wide shot of the three talking as they’re interrupted by a gun shot where Jackie throws a case at Custeau and runs away	1080p	05.03	05.28
29	Wide shot	2	Wide shot from outside the car as Giovanni and Custeau talk	1080p	05.28	05.39
30	Close-ups	3	Shot reverse shot of close-ups as Giovanni convinces Custeau to take the drop-off	1080p	05.39	06.02
31	Medium shots	2	Low angle back to the mob boss in the pub in a short shot-reverse-shot between him and Custeau in scene 5	1080p	06.02	06.08
32	Medium-close-ups	4	Tracking shots of medium close-ups denoting Custeau being held at gun point as he and the mob boss walk outside	1080p	06.08	06.16
33	Medium-shots	2	Eyeline match of a medium shot of the mob boss being shot and falling which transitions into a low angle of Custeau looking at him in horror	1080p	06.16	06.25
34	Wide shot	2	Wide shot of Custeau looking around frantically	1080p	06.25	06.29