CTPR 335 - Intro to Motion Picture Editing Script Form vs Complete Form PDF

CLASS: CTPR 335 - Intro to Motion Picture Editing DATE: January 22nd, 2024 CLASS TOPIC: Script form vs. complete form Initial Vocabulary Coverage is having the footage that you need Dailies are the footage that editors get Keep up to camera is...

CLASS: CTPR 335 - Intro to Motion Picture Editing DATE: January 22nd, 2024 CLASS TOPIC: Script form vs. complete form Initial Vocabulary Coverage is having the footage that you need Dailies are the footage that editors get Keep up to camera is when you edit as they film In TV you are 100% expected, but in features they may give you a little more time In features, a DGA will give director a certain amount of weeks to work with the editor In TV, you will not be with the director, but most likely the show runner It is important because the editor can tell if you have what you need Make sure you have… OTS Over the shoulder Closeup Master You will be communicating with script supervisor with any coverage you are missing Script supervisor will also keep track of Writes down all continuity errors Any missed coverage In the first assembly, you have to stay as close to the script as possible However, it may change after audience test screenings to make sure everything works Line form / Script Form Script supervisor is in charge Shots will be labeled the scene’s number and a letter (eg: A, B, C, D) Zig-zag lines will indicate which character has coverage in the shot They will shot in this order [wide] -> [medium] -> [closeup] and other person You have a facing page and lined page Lined page will be on direct script and have lines over writing Facing page will describe the name of each shot on lined page Write down every take of the shot and circle the ones that they may want to use Every time a character is mentioned for the first time, it is CAPITALIZED If you see a arrow pointing down, it means that the scene is continuing Each different number on the script is the scene number, but often is just used to express a change in location They break up each page by fraction because often they will ask editors how many pages they have edited If actors mess up, script supervisor will take notes on line script  Unedited footage Slates help the assistant editors sync up footage and audio The clapper will have the take, the shot name, the scene, and the card Takes will often feel more unnatural and have pacing issues when they are not edited together The more takes their are, the tighter the pace The master is usually the shakiest Performances may be inconsistent, it may be harder for the editors You have to ask yourself, “which version of the character do you want to give into?” Actors may be hyperaware when its their closeup, and the opposite when they are not There are a lot of different factors that can force you choose and mix-match certain shots Audio if not on a closed set May require ADR (Automated Dialogue Replacement) May sync another piece of audio from another take Continuity errors Complete form Continuity issues may go unnoticed if the pacing of the scene is fast Editors need to temp in music and audio that exists in the script Cut with your gut to what the script says Beat shifts should be noted in the cuts How do you edit tonal changes It’s very important to know when you shouldn’t cut 180 degree rule is obeying an imaginary lines with a 180-degree axis in which the camera travels in our shots. Breaking the rule can A1 Breaks Follows 180-degree rule 180-degree rule make the viewer feel discombobulated or A2 confused It can work if you show the camera moving CONTINUITY IS IMPORTANT BUT IS NOT YOUR #1 PRIORITY If the audience is so invested in the performances they may not notice