Edit Fest LA – An outsiders view
Living in London there was very little way for me to get to LA for Edit Fest but thanks to the mighty internet, and some gracious tweeters here is a round up of what sounded like a great few sessions with professional editors sharing their hard won wisdom.
Industry Happenings has some good summaries of the event from someone who was actually there so it’s a good idea to give them a read too!
Following the #EditFestLA provided the best alternative, moment by moment view of the fest and delivered some great comments from the various panelists. (Tweets from Monica Daniels, Jamie Cobb, Stacey Pietrafitta, Dan Wolfmeyer, Robgwilson, Tim Wilsbach)
“If you can afford to do it, always take the cutting job” – Pam Martin
“When cutting comedy play it as real as possible. The comedy will come through naturally.” – Pam Martin
“Pair it down to the crux of the scene. Be as economical as possible to the point before it falls apart.” – Pam Martin
“Luck paired with right attitude = success as an AE.” – Shoshana Tanzer
Tyler Nelson on technology – “Expectations are never going to end. Everything is going to grow & expand & you have to prep for it.”
“Sometimes what’s interesting is what you don’t use. by losing line, created more tension.” – Carol Littelton
“Selecting right music is intuitive. You know when it’s right.” – Carol Littleton
“After a scene is shot and performances delivered, nothing can change the tone of a scene more than the music.” – Richard Halsey
“Regarding takes, don’t forget about the story. If the story isn’t progressing, don’t be seduced by the shot” – Carol Littleton
Question: So do you need to learn Final Cut X? Lori Jane Coleman – “No. No one is using Final Cut X”
Moderator: “Art of editing on film is tactile” Carol Littleton: “So is washing dishes. But I still use a dishwasher.”
“Convergence is the 3D equivalent of depth-of-field. It can control where the viewer’s focus is directed.” – Steven Rivkin
“You get less coverage on 3D films because of the slower, more cumbersome process on set.” – Tim Squyres
Sometimes it’s good to run out of time. It forces a decision.
Stats from Editing Brave
Nicholas Smith – “At Pixar the good news is you can do anything. The bad news is you can do anything.”
Post Production on Brave took 5 and a half years. Some frames took 36 hours to render.
Nick Smith on editing Brave – “When you work on a film for 5 yrs, it’s hard to remember what was funny.”
Without production tracks, editorial needed to cut sound for every character’s movement and breath to give Brave life.
When cutting storyboards, add motion or action after the edit as soon as possible, to instruct your eye where to look.