Prelim Post Production

Accessing footage from the final cut server, by checking out edit proxy. Which is a digital copy of the raw material.

Continuity Editing:

Continuity editing makes the selected shots put together in an order that will make sense to the audience. This means that they can then follow the story as clearly as possible. It can manipulate the time and space in the narrative. It also can make the audience understand the characters role. Without it, it would brake up the look of the image, but by doing it it flows and doesn't look like it has been edited.

Logging your shots:

We started by looking through a the footage of a certain shot e.g. all the takes of the wide shot. Decided which shot we liked best then pressed i (i for in)where we wanted the footage to start and then pressed o (o for out) for when we wanted it cut (marking in and marking out). We then modified it, then named it e.g. wide shot. Then we dragged and dropped into the log bin. We made sure that the shot we chose was best, becuase of best lighting, where the actors had made least mistakes and said correct lines and lastly that they had made little unecessary movement.

Organising your shots:

We wanted the audience to be on the woman's side. We showed this by having majority of the close ups on her. To show his exist is a good thing, we had a close up on the door handle shot of him going out the door.

Shot order:

We followed the story board first, cutting all our shots together exactly as the storyboard had told us to. This made the story exactly the same as the storyboardThen we went back and added in our own shots making sure that the story didn't change.

Editing in Final Cut:

When cut correctly all together from following the story board, we saw that the montage was too fast. To slow it down we added in our spare shots that we took that weren't on the story board.

We had a extreme close up of the womans eyes and then tilting the angle down as if we are looking at what she looks at when she looks down, which draws down to the gun on the table in the correct eye-line.