From Monday 20th April through to Thursday 23rdApril 2009, we edited our final piece of thriller footage. First we uploaded the footage from the camera directly to the Pinnacle software; this process is called capturing and loaded the recordings by individual scenes. This is because it is easier to edit, cut and change the scenes rather than have to cut down the whole recording yourself. Once all our scenes were loaded, we started to choose and insert the most appropriate and professional pieces of video. The process involved choosing match shots, so that our filming looked fluent yet still included a variety of camera shots. We had a wide range of shots and re-takes of footage so choosing the best and most fitting one became quite easy to do. We also had to consider the transitions we featured within our film, with the decision mostly being whether to add a fade or just make it a straight cut. We did not use any other fancy and complicated effects as these can down grade the quality of footage and gives a dilettante feel to the project.
We were faced with many decisions when editing the film, and as a group we all discussed and then choose the best outcome possible. One of the major parts of our film is the low angled shot of when the glass shatters abruptly on the floor, at first we wanted to add a slow motion effect onto the frame to give the film a more dramatic effect. However Pinnacle did not offer this feature, so instead we decided to lengthen the speed of the shot, making it much slower and giving the full effect we wanted to achieve. Also to show that the woman had died, and the film then moves onto her past, we used a long fade to emphasise that it was an action before narrative and we are now going back in time when she is featured alive again.
After the film was put in place and finalised, we began working on the sound aspect of the project. Before the editing process, we listened to a variety of different soundtracks from legal non-copyrighted music; we then chose two specific scores of music to be placed over the footage as the non-diegetic soundtracks. We decided to position the first piece of music as the film begins, as the last title fades into the footage, we hear the quiet classical soundtrack start to play, and the outside noise of birds twittering and trees rustling to give convey a more real affect to the audience. The music continues to play but cleverly stops when the woman character turns off the running tap, to create suspense and build the tension to a climax. Then the sound of a striking “boom” sound is coincided with each shot of the characters body part to heighten the impact on the audience. We then added the soundtrack to the “deal” section of our film. This soundtrack is slow yet upbeat to match the fast paced action of the meeting and the double crossing. We had to edit the volume of the sound when the dialogue is spoken so that is was low and can be heard above the music. As the last shot plays, the music descends in volume completely and ends on a musical sting sound so the audience starts to create enigmas on where the woman character has disappeared to.
We were faced with many decisions when editing the film, and as a group we all discussed and then choose the best outcome possible. One of the major parts of our film is the low angled shot of when the glass shatters abruptly on the floor, at first we wanted to add a slow motion effect onto the frame to give the film a more dramatic effect. However Pinnacle did not offer this feature, so instead we decided to lengthen the speed of the shot, making it much slower and giving the full effect we wanted to achieve. Also to show that the woman had died, and the film then moves onto her past, we used a long fade to emphasise that it was an action before narrative and we are now going back in time when she is featured alive again.
After the film was put in place and finalised, we began working on the sound aspect of the project. Before the editing process, we listened to a variety of different soundtracks from legal non-copyrighted music; we then chose two specific scores of music to be placed over the footage as the non-diegetic soundtracks. We decided to position the first piece of music as the film begins, as the last title fades into the footage, we hear the quiet classical soundtrack start to play, and the outside noise of birds twittering and trees rustling to give convey a more real affect to the audience. The music continues to play but cleverly stops when the woman character turns off the running tap, to create suspense and build the tension to a climax. Then the sound of a striking “boom” sound is coincided with each shot of the characters body part to heighten the impact on the audience. We then added the soundtrack to the “deal” section of our film. This soundtrack is slow yet upbeat to match the fast paced action of the meeting and the double crossing. We had to edit the volume of the sound when the dialogue is spoken so that is was low and can be heard above the music. As the last shot plays, the music descends in volume completely and ends on a musical sting sound so the audience starts to create enigmas on where the woman character has disappeared to.
There was also the hard task of importing our “Empire production” company’s logo into the frame. We then learnt from advice that we had to simply drag and drop the image into the frame and then imply title overlays over the top to make it work. Although when we tried to burn our finish product onto disc, the image was found to be corrupt and would not let the film play so we had to exclude it from our finish piece to make sure it worked correctly.
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