Editing the Master Shot sequence

Editing the master shot sequence was quite interesting, for one because we shot it all in one day and in sequential order the editing for the rough cut was fairly easy. The hardest part about this edit was trying to be creative with it, I needed to get with the director more often in order to edit it together, but sticking to the storyboard the workflow became pretty quick. One thing that I would like to have done with this footage was apply more effects, but unfortunately because I am just starting off I am unable to know exactly what it is that I wanted to achieve. I think the shoot was pretty solid and once I sit down with the director it will be easier to get an idea of what exactly it is that he wants to do for the visual look of the film. Until later this week there will be another, better version of the film, hopefully a final edit.

Previsualization Experience

Making previsualization material was not difficult once everybody in the group knew exactly what they were doing. I feel the hardest part was starting due to the fact that everybody was still working with their previous groups finishing up the documentary project. Regardless of the early struggles, the previsualization materials are very useful; one can see how many different camera setups are required for a simple scene. I feel the storyboard and overhead diagrams show how complicated we are making this scene. Not that it is bad, but it shows that we are willing to try something challenging, and hopefully we are successful. I was in charge of making the overhead diagram and one of the things I learned from it is that you need to know exactly where all of the camera shot placements will be before you start drawing your overhead. I started the overhead with a general idea, and at one point the camera setups where getting really close to one another. Anyways, this previz stuff is very useful, and I definitely see the benefit of incorporating it into even the smallest projects.