Grade 10 - Ople report compilation

2. THE EDITING PROCESS: CONSTRUCTING
THE DOCUMENTARY
•POST-PRODUCTION: THETIMEWHENYOU MUST SOMEHOW ORGANIZE
ALLTHEVISUAL AND AURAL ELEMENTS, LIKE PIECES OF JIGSAW
PUZZLE, INTO A MEANINGFULAND UNIFIED STORY
•EDITING: NOT MERELY DISCARDINGTHE BADTAKES; IT IS FINE-TUNING
THE STORY AND GIVING IT ITS OWN PACE AND RHYTHM; CRATES
ORIGINALAND SIGNIFICANT PERSPECTIVE ON HUMAN BEHAVIOR
ANDTHE HUMAN CONDITION

3. VIEWING THE FOOTAGE AND
TRANSCRIBING THE INTERVIEWS
•WHEN YOU HAVE DAYS OFF BETWEEN SHOOTS, USE THE
TIME TO GO OVER THE FOOTAGE YOU HAVE SHOT
•WHILE VIEWING THE FOOTAGE, NOTE YOUR GUT REACTIONS
AND PRELIMINARY THOUGHTS ABOUT HOW THE STORY IS
TAKING SHAPE

4. OFF-LINE EDITING
•STAGE OF THE EDITING PROCESS WHERE THE INITIAL FORM OF THE
DOCUMENTARY TAKES SHAPE
•ENABLES YOU ACTUALLY TO SEE HOW THE DIFFERENT SCENES AND SEQUENCES
WORK TOGETHER
•THIS STAGE IS WHERE YOU CAN TRULY EXPLORE THE DIFFERENT EDITING
POSSIBILITIES AND CREATE THE STORY THAT YOU HAVE BEEN DYING TO TELL

5. •ALL THE 3 STAGES OF MAKING A DOCUMENTARY-PRE-
PRODUCTION, PRODUCTION, AND POST-PRODUCTION ---
SHOULD BE OF EQUAL IMPORTANCE. WITH INADEQUATE
PREPARATIONS DURING PREPRODUCTION, THE
PRODUCTION PHASE SUFFERS AND THIS FAILURE
BECOMES EVIDENT DURING POSTPRODUCTION.

6. VIEWING GUIDELINES AND QUESTIONS FOR
YOUR HANDPICKED CRITICS:
•VISUALLY: ARETHE IMAGES CLEAR, CONCISE, MEANINGFUL? DOTHEY
TELLTHE “STORY”WELL ENOUGH ONTHEIR OWN?
•STORY AND STRUCTURE: ARETHE PREMISE/THEME/DOCUMENTARIAN’S
INTENTIONSANDVIEWPOINT CLEAR?WHY ORWHY NOT? DOESTHE
STORY GRABYOU? DOES IT FLOW? ISTHEREANYTHINGTHAT
CONFUSESYOU? DOES IT HOLDYOUR ATTENTION?WHAT DOES IT
LEAVEYOUWITH? WHAT DOYOUTHINK OFTHE OVERALL
STRUCTURE?

7. •CHARACTERS: HOW DOYOU FEELTOWARDSTHE
CHARACTERS (BE SPECIFIC)? DIDYOU CAREWHATWAS
GOINGTO HAPPENTOTHEM? IF NOT, COULDYOU AT LEAST
EMPHASIZEWITHTHEIR PLIGHT, PROBLEM, SUPERWANT,
OR POINT OFVIEW?
•EDITING: IS ITWELL PACED?AREYOU GETTINGTHE
INFORMATIONYOU NEEDTO FOLLOWTHE STORY ATTHE
RIGHT MOMENTS?

8. ON-LINE EDITING
•AT THIS STAGE, YOU WILL COMPLETE THE EDIT MASTER, WHICH
CONTAINS ALL THE VIDEO EFFECTS, SUCH AS SLOW MOTIONS, AND
DISSOLVES, PLUS SOUND ON TAPE (SOT) OR SYNC SOUND, MUSIC
AND SOUND EFFECTS
•THE EDIT MASTER IS USED TO PRODUCE THE PROGRAM MASTER,
WHICH IS USED FOR BROADCAST AND PROGRAM DUPLICATION
FOR THE PURPOSES OF DISTRIBUTION

9. EDITING TRANSITIONS AND DECISIONS
2 TRANSITIONAL DEVICES IN VIDEO EDITING:
•CUT – WHICH IS AN ABRUPT CHANGE FROM
ONE SHOTTOTHE NEXT
•DISSOLVE – SHOWS AN OVERLAP OFTWO
SCENESVARYING IN LENGTH AS ONE SCENE
FADES OUT AND A NEW ONE FADES IN

10. WITHIN THE FRAMEWORK OF DISSOLVE:
•FADE – WHICH IS ESSENTIALLY A DISSOLVE FROM
BLACKTO A PICTURE (FADE IN) OR FROM A PICTURE
TO BLACK (FADE OUT)
•WIPE – IT ISWHERE A PICTURE IS LITERALLYWIPED
OFFTHE SCREEN BY ANOTHER PICTURE
•SQUEEZE-ZOOMS, PAGE TURNERS, AND SIMILAR EFFECTS ARE
VARIATIONS OFTHE DISSOLVE

11. EDITING STYLES AND TECHNIQUES
•PARALLEL CUTTING – CUTS BACKAND FORTH BETWEENTWO
SCENES OF CONCURRENT EVENTS OR ASSOCIATED
ACTIONS
•FLASH CUTTING – GIMMICKY WAY OF COMPRESSINGTIME
COMMONLY USED INTEASERSATTHE BEGINNING OF
PROGRAMSTO GIVE A QUICK SUMMATION OFWHAT ISTO
COME

12. •THEMATIC OR MONTAGE CUTTING – USED MOST OFTENWHEN
CUTTINGTO MUSIC,WHICH HELPSTOTIE SHOTSTHATARE
THEMATICALLY RELATED
•CUTTING TO CONTINUITY – INVOLVES BEING CONSCIOUS OF
THE LOGICAL PROGRESSIONOF SHOTS ATALLTIMES
•CUTTING ON ACTION – WHEN CUTTING SEQUENCES
TOGETHER,THE EDITOR SHOULD BE CAREFUL NOTTO
HAVE SUDDEN DISORIENTING JUMPS INTHE ACTION

13. PRODUCTION CHECKLIST•THE PRODUCTION SCHEDULE, USUALLY WRITTEN ON A LARGE WHITE BOARD,
SHOULD CLEARLY INDICATE:
ALLTHE PLANNED SHOOTING DAYS, ESPECIALLYTHOSE FORTHE
COVERAGE OF PUBLIC EVENTS,WHICH ARE USUALLY SCHEDULED
IN ADVANCE BYTHE RESPONSIBLEORGANIZATIONS
THE DIFFERENT LOCATION SITES
THE SUBJECTS,THEIR CONTACT INFORMATIONANDWHENTHEY
ARE AVAILABLE
TRAVEL DAYS, ESPECIALLYTHETRIPS OUT OFTOWN
DAYS RESERVED FOR SHOOTING DOCUMENTS,ARCHIVAL
PHOTOGRAPHSAND OTHER GRAPHICS

14. •THE SHOOTING SCHEDULE FOR EACH OF THE SHOOTING DAYS SHOULD
INDICATE:
THE PRODUCTION PERSONNEL SCHEDULED
THETIME CREW AND EQUIPMENTARE NEEDEDATTHE
LOCATION SITE
THE RELEVANTADDRESS OR ADDRESSES,WITH A
DETAILED MAP AND OTHER PERTINENT INFORMATION
REGARDING LOADING/UNLOADING ZONES AND PARKING
AREAS

15. THE SEQUENCEOFVENUESANDTHEIRTIME ALLOTMENTS, IF
THEREARE MORETHAN ONE SCHEDULED ON A PARTICULAR
SHOOTING DAY
EQUIPMENT SETUPAND BREAKDOWN
DISTANCE BETWEEN LOCATIONS
COMPLEXITY OFTHE SHOOT ITSELF
BREAKS FOR MEALS
TRANSPORTATIONARRANGEMENTSAND CREW
ACCOMMODATIONS
PHONE NUMBERS AND NAMES OF CONTACT PERSONSATTHE
LOCATION SITES, IN CASE OF EMERGENCIES; MOBILE PHONE IS
AN IMPORTANTTOOL IN KEEPINGTRACK OF EVERYONE

16. POST-PRODUCTION CHECKLIST•THE FOOTAGE PREVIEW,WHICH COULD ENTAIL SEVERAL
VIEWINGSTO ALLOWYOUTO BECOMEVERY FAMILIARWITH
WHATYOU HAVE SHOT
•THE COMPLETION OF INTERVIEWTRANSCRIPTS
•THE PRELIMINARY ASSEMBLY USINGTHE INTERVIEW
TRANSCRIPTSASTHEIR GUIDE.
•PREPARINGTHE ROUGH CUT,WHICHYOU MIGHT CHOOSETO
SHOWTO COLLEAGUESWHOSE OPINIONSYOU RESPECT,TO SEE
WHETHERWHATYOU ARETRYINGTO CONVEY IS INDEED COMING
ACROSS

17. •MUSIC COMPOSITION, IF REQUIRED, ORTHE SELECTION OF
APPROPRIATE MUSICAL PIECES
•PREPARINGTHETITLES, GRAPHICSAND ANIMATION
•THE SCRIPT
•HIRING NARRATOR, IF CALLED FOR
•PREPARINGTHE FINE CUT
•THE AUDIO RECORDING OFTHE NARRATION, SOUND EFFECTS,
AND MUSIC
•THE ON-LINE EDITING FORTHE FINAL CUT