Vagas Editor De Video
Pilato Hull
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In general, I follow the same procedure, when I start each scene. I sync audio. I watch all the footage and put markers in places which seem interesting. When I see a clip which I know should make its way into the edit, I put it on the timeline right away. Then I choose the master shot or several, which I consider to be the best take, that will serve as the backbone that drives the whole scene, and finally I look for the weakest moments or the moments that could use more detail. Tightening up involves usually cutting to another shot, but also sometimes extending a given shot beyond its originally intended length to get the most out of it.
Subsequent viewings and feedback from other people allows to tighten the edit more or to experiment with other takes. Sometimes the best take does not sit well with the rest of the footage and has to be discarded or used creatively. Sometimes an edit is challenging, sometimes the best parts are interspersed between the takes and it takes some skill to tie them together. Sometimes the performance has to be created from different takes within one frame.
I adjusted the timing in such way that after each line there was a brief pause, to let viewers catch up with the message, and that each sentence is read as a single thought. Overall I was happy with the result. We came back to this animation only once, when we decided to remove part of the next to last line.
I received the wheelbarrow walk as the second scene, shot in 4K. This turned out to be the case when DoP was thinking as an editor, and went against my explicit instructions, which turned out for the better.
At first, I treated the multiple takes I got as continuous medium shots, and I felt that there was not much to choose from. No single take would work on its own, there were always some glitches in the performance here and there, as they usually are. There was one medium shot, where the middle portion was great, but the beginning was off. There were a few details, close-ups on the barrow wheel, but I felt I would not be able to use them to their full potential. I began by laying down the part of this shot that worked, and started looking for what I could do with the opening.
Even the best medium shot was not perfect. In principle it worked sort-of-fine, but there were a few pauses here and there, maybe a bit too much talking, sometimes they got too far apart and there was a dead space between them. It could have been tightened. I was looking at various close-ups of details, but these cut-aways always look awkward to me, like a crutch, and actually detracted from the already emotional exchange that the two heroes are having between each other. I wished for a close-up of one or the other. Well, I had to do with what I had, and I decided the medium shot to play out. Sometimes knowing when not to cut is also an art.
Technically speaking, there are three scenes in here. One is the approach to the door (A), then there is the corridor scene (B), and finally the lab (C). However, they all flow together, and all were recorded together, so I treated them as a single entity.
The dumbbell scene itself had much more material to choose from. There were several wide takes, one of which was really good on its own, with great timing on part of all actors, that I decided to build upon. Each actor and both doctors had their own close-ups, and finally there were several takes of the final action of the gun being repeated. When I was cutting it for the first time, in the script we had at least two or three more afterwards. There was a temptation to keep it wide and distant again. However, the acting was too great to go to waste. I would prefer to have the first close-up of the older hero to be a medium shot, and then progress to close-ups in subsequent cuts, but despite the abundance of material, that unfortunately was missing. I had to choose between rushing to confrontation, or staying longer in the master and cutting to the medium shot of the doctors. The second option, however, would put too much emphasis on the characters that are not really part of this story, so I decided to go all-in. Let it be the confrontation almost from the start. So we had the close-up, a medium, and then a close-up again, this time absolutely justified, as the older hero becomes more and more pushy. Then we go back into the master shot again to catch some breath, see what the situation is with the younger one, and guide the movie to the moment that will be the heroes undoing.
If I had to name a single scene in this movie that we could go back and fix, this would be it. I think it only works because of its overall mood, and the magic of the fire. It distracts enough from the weak parts, and introduces this dreamy, unreal feeling of it all, that allows it to flow and forgives a lot.
Going from the establishing shot to the detail was a simple cut. There was no need to do anything else here. The camera move added in scene 2 helped, as well as the explosion sound that connected both together. That one was easy.
There were multiple takes from different angles. The first ones started with the soldier and both guys already kneeling. I could have cut to those, but the dialogue delivery was also not that good. I chose therefore the last master shot that starts with an empty frame, what worked even better. Then I examined the close-ups. This emotional moment was definitely calling for us to go as close as possible. The audience needs to feel these emotions, be immersed into the cowardice of the younger hero, and embrace the realisation that the game is over for the older one.
The idea to end this scene with a shot was there from the beginning. But at first I put it at the very last video frame and added a three frame cross-dissolve. The feedback I received made me roll back the video and cut without fading. The shot would ring half a second afterwards. In the end it does look better.
Selecting the proper gunshot sound was also crucial. I wanted a single shot, and I wanted it to be loud. The time was precious, but I managed to find something suitable, even if it was not exactly a single shot from the gun that the soldier was carrying.
A straight cut between the soldier shot in the background and the empty frame with the wall worked well. The time compression was clear, as was the change of place. One might be tempted here to also fade to black, but it would draw unnecessary attention. At this moment we want to see the immediate continuation, the resolution to this absurd, unfortunate situation.
It was a difficult transition. At first I did not have anything to work with. I so missed the two heroes leaving the frame, it would be perfect. In lieu of that, I asked for a specific shot to be filmed: a soldier coming into frame from the right and leaving on the left, camera dollying forwards towards the lab. It did not work out as well as I hoped, but the team shot several other ideas just in case. The one I chose was also hardly perfect, but it had to do. It was static, the transition felt artificial. I added a delicate zoom into the center to underscore the movement to the inside, and pan to the left to match with the camera movement in the previous shot. It felt better. To match this movement I also had to tweak the in point of the following hand close-up. Once that was done, we had a decent transition.
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