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.