Blogging While Editing 2 - DYWTGO?

Now I've got them sitting on the couch so I can use the closeups (which are comprised in the first half of the same conversation as when they are trying to sit on the couch). The problem is that these shots show more of the akward “connection” though not as funny. They are also composed georgously, filmicly even. I may have to scratch the last five hours of editing and just get them to the couch before they talk. Again I'm reminded of the writing process involved in editing video.

Fell aslep contemplating next move. Time to pack it up and go to sleep.

Started back up around 7am. Was worried at one point about them having no connection whatso ever show up on screen but then I had a hapy accident. Some footage overlapped while I was trying to figure out the next shot and we see and hear kelli say, “so you repair computers?” and it was followed by her voice saying “that's cute”. The line is one she ad libbed while shooting from the unicorn's POV and the unicorn is what she was talking about. But with a little magic and some help from pre-“action” shy and figity smiles, I was able to make it look like it slipped out of her after he said, “yes”. So then it made it cute-funny when he starts to ad lib and ramble about working on “some laptops and PC's and some Macs – but I'm not really certified” Then another ad lib she gave was to ask him which which was better. It made the question go from good “yes-and” skills to brilliant. Because now it's clear she's asking because she thinks it's cute.

The only problem? The stupid director got in my way AGAIN! I actually cut them off as Mike started to explain and Kelli is really listening. I thought it was funny but didn't think I could use it. Looking back, maybe I sensed the real chemistry happening that goes along with good acting, and then I started feeling shy-akward – because that's what I'm seeing now on screen. Next time I need to wear a shirt that says, “Get out of your way, Jake”.

There's an “Oh” that could go anywhere. I can't figure out where's the best. For some reason I don't want to lose it. It's sort of a strange shot to hold on to.

These closeups are so much better than the full shots. That could be because the full shots don't look filmic. I intentionally left them as full shots, eye level, on tripods, in order to stay true to the film's spine - “Silent Film”. But the problem is that film gramar has evolved so much that this shot has become the mark of the amatuer. And that's a big problem in a short film from a nobody. It could get away with looking like a sitcom, but really I would have had to light it brighter. Or do a lot of timing on the colors. But that would take it away from the warm 16mm film look I had in the beginning.

I'm really thinking about scrapping all the work from yesterday and starting over to get them to sit without saying their lines.

It's interesting how LESS blocking can make something seem more filmic sometimes.

I just found another take with a few more GREAT lines. I'm going to have to get them in but that means going backwards for a bit. It shouldn't be too hard or too time consuming though. It should definitely be worth it.

Okay. Not sure it's worth it. Maybe it slows all that momentum down.

It actually did. Way better without it where I had it but it is perfect for slowing down the momentum just as Mary (Lauren) bursts through the door. I forgot to really push for the surprised “Buster Keaton-esque” reaction from Mike to the door, but I think we have enough to work with to keep it surprising and funny.

Made it to Lauren's entrance. Time for a break.

Blogging While Editing - DYWTGO?

Now I can feel why Kent with the first draft the way he did for the final scene. He took all the angles from the first take because those matched up the easiest. It was more of a rough assembly to get the thing in a sequence. Sort of like writing a screenplay draft without outlining/treament writing or breakdowns. It was a good move. After that first take, the continuity is CRAZY. I'm truly writing with my edits here. I'm using a separate take every 2 seconds. It's hard!

Every choice I make at each 2 second interval changes the story, the lines, everything.

It's crazy how a little outside stress can deflate all momentum. Since Kent has a brand new system, his saved files won't run on my Mac – it's too old. So, I have to borrow Ashley's laptop to get this done. I also don't have a hookup for an external monitor, so it's all on a tiny screen. But... it's getting done.

So I'm switching to something a little more “skill” oriented – putting together the DVD menu. Definitely going to use the poster but now I'm envisioning some sort of opening with all the info being typed in, like a chat room thing.

Maybe I don't design DVDs so well without the finished product.

Next time, all akward humor gets choreographed. Like a dance. I remember Kent trying to figure out when Kelli said the line and when Mike stood back up. I told him to forget it and basically I told him we'd fix it in post! He said, “who's editing this thing?” and I said, “me”. So he let it go. Then I tried to pay him way under his rate and he got to deal with it. Man, I really tried to screw Kent on this one! This is tough! But then it all came back to me and now I've screwed myself... This is why Ashley needs to be there during the reshoot. She's the only one I ever listen to when she says to stop and pay attention to continuity.

My son just showed a growth spirt in development. The kids called to say goodnight and he was telling me all kinds of things. Still can only pick out words here and there, but there is definitely a marked difference in his speech. Man that's awesome. And there's that little inspiration I needed.

Working really hard to stretch each beat of akward. They play it really well, it's just that there's no breathing room for the audience. We found so much good stuff while shooting! It was basically a really great rehearsal. Had we had this and then gotten to shoot, it would've put more of that funny into the silence. I'm still so impressed with my actors. I haven't had this great a cast to work with since Rich, Jubal, and Brent did a scene from A Simple Plan with me (that I totally screwed up in the editing of that one – I edited with Movie Maker while hiding in the editing lab at CSF over night on the last day of finals.)

Dad wants me to eat the last piece of chicken. Because it's there. I already ate one... and potatoes, but he said “eat that last piece of chicken.”

“No, Dad.”

“But it's dark meat.”

See: Blogging While Editing 2 - Entrance to Delerium for more funny on this very topic.

Made it through “sit on the couch play”. On to finding a connection. Having some continuity would have helped me already be there. I need to wear a shirt on my next shoot that says “I will NOT fix this in post”.

Dad's sleeping through Rocky IV blasting in the living room. Appolo Creed just died. I don't care if you are Russian and a Commie Sypathiser, that Rocky IV is a good show.

First Cut Nightmare

I met with my editor on my latest short film over iChat via the new built in Final Cut Pro viewer. The experience was really awesome. I thoroughly enjoyed it and rarely experienced even the slightest lag time (and that's with AT&T wireless too!).
I told myself, "Now Jacob, this is only a rough cut. This is going to be the worst day of your life in this production. Prepare for that and maybe you won't take it so hard."

You see, it's a rule. It's just one of those "givens". The director's worst day will always be the day you see the rough cut. You should plan on drinking afterward.

When the footage started rolling, I followed right along... Rolling that is.
The rough cut looks AMAZING! I'm laughing just thinking about it! Sure there were things to fix, but nothing major, and certainly NOTHING wrong with it. I'm excited. I'm overjoyed. This could be big.

I was ecstatic.

I had the privilege of viewing another two sequences and I couldn't tell you how awesome it felt. This is really coming together.

My editor (Kent Jones) finished another sequence. The final sequence. The stuff with talking. The culmination. The punchline - the button. I was so excited to see even the footage in a rough assembly. Kent told me he was scrapping the first cut of this sequence all together and approaching it another way. But it didn't matter, I was just so anxious to see a cut, after seeing the other sequences - I'm a brilliant auteur destined for greatness.

Pride. And I forgot to warn myself about that little rule. Well, two rules, now that I mention it. One about Pride and before the falling. The other being the said "Rough-Cut-Ready-to-Drink" Rule.

I watched it. What in the Sam Hill was I thinking? Why did I let the actors get away with that ... that crap? How did I not see the life being sucked out of the room with the pure lack of energy?! I remember telling them to mumble a bit - and even talking my main character out of playing it up too much. What was I thinking?! They were doing exactly what I told them to do!

Lauren Ryan is playing a mean person - why didn't she stay in character after the take - and SLAP ME! Michael Price is some sort of genius, right? He should of told me. He should have said - the physics don't work here, Jake. It's some sort of conspiracy. I know it. Those three actors don't like me. They did it on purpose. It was probably because I didn't feed them - I mean, that is sort of a cardinal sin in film production.

It's everyone on set's EFFING FAULT. No, it's my fault.

Oh saxophone!

This is the worst day of my film career. And my last too. I'm sure of it now. It's obvious.

It's bad. I'll never work in this town again.

Someone tell me it's okay. Kent is starting over. It's going to be okay, right?

I...

Oh nightmare before Valentine's Day. Don't let it be so.

I should quit filmmaking. I seem to be doing pretty well with that EdTechSpecialties thing over there.

Son of ---