The Editing Process

The Editing Process

 

The trickiest part of editing was going to be effectively editing the flashbacks because we want them to be rapid yet still understandable. The flashbacks, true to the genre, have to be confusing but not confusing enough to throw an audience. They must evoke enough thought in an audience to make then question the story line and make an attempt to figure out what the flashbacks in indicating towards. We have to be careful not to make the flashbacks too rapid to the point that you cannot actually understand what it happening. A psychological thriller can be easy to do wrong and make an audience too confused and disengage from the film. Therefore, we decided to bring in people that were outside of the group to have a look at our film and see whether they understood, once a brief synopsis was explained, what was going on. The results were mainly positive and the audience did understand. One person said that although the editing being quick paced positively effected the film and made it seem more thrilling, the first flashback needed to be slowed down. So, showing above, that is what we tried to do.

 

One of our targets for this second year film was to make the film actually look like a real film. We felt that in our first year the film seemed very exposed and although it did have many good reasons for this, we felt that the second year we should make it seem a lot more like a film. Above, is us putting a filter on all of the clips to make the film seem a little more grainy. We did so because when you look at professional films, even the indie films, they have a certain physical quality that make it look a lot more professional. We found a filter that makes the film look this way and still makes the film fit in our genre. The filter made the film a lot more gritty and dark, not in a physical sense. But the way the film is lit makes for negative foreboding to the rest of the film, which is something we were intending on doing. So the filter was a success. 

 

 

Deciding on how we would insert the credits on the title sequence seemed difficult. We were torn between inserting them on the actual clips or having a separate clip to put them on. A positive of putting them on the clips themselves would be that there is no split between the title sequence so that it doesn't lose the fluidity and break up from that attention that the audience is meant to be paying from the title sequence. This title sequence is very important as, according to a theory of narrative presented by Bordwell and Thompson, it is the inferred events. This is the section that isn't quite the plot yet but is inferred to the audience and understood but not actually scene. For us this is that the character of Kyle has gone through something that has caused him to be homeless and the Employer to become powerful. These qualities are understood by an audience by inference but not actually stated or obviously presented. 

 

This scene needed a mirrored transition between the character of Kyle and the Employer. We needed to make sure that there wasn't too much jump cuts between the characters and to almost mirror the characters actions and movements. This took a lot of fine cuts and a lot of replays and we needed to make sure that the characters were at the same distance to make sure that it was fluent and would make sense to an audience. We wanted to mirror these 2 characters because they are binary opposites. So, having them in the same situation and mirroring each other would be in interesting thing for an audience to see.