Title: Pre-Production, Production, Post-Production Unit: PER007-1 Applied Choreography: Dance and Innovation Course: Dance and Professional Practice Institution: University of Bedfordshire Tutor: Dr Louise Douse

1. Pre-production, Production,
Post-Production
PER007-1 Applied Choreography: Dance and Innovation
Dr Louise Douse

2. Editing Techniques
• Creating Rhythm through the edit
• Cutting on music
• Quick edits for fast paced work
• Longer shots for slower paced work
• Editing shorter shots to increase suspense
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3. Editing Techniques
• Creating Rhythm through the edit
• Cutting on Dynamic Action
• Cutting mid-action rather than at the end of a phrase
• Enables continuity of pace
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4. Editing Techniques
• Creating Rhythm through the edit
• Cutting on Dynamic Action
• Cutting on Different Spaces
• Breaking convention/ playing with continuity
• Changing scene
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5. Editing Techniques
• Creating Rhythm through the edit
• Cutting on Dynamic Action
• Cutting on Different Spaces
• Jump Cuts
• No change in angle, jumping the shot forward/backward in
time/space
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6. Editing Techniques
• Creating Rhythm through the edit
• Cutting on Dynamic Action
• Cutting on Different Spaces
• Jump Cuts
• Reversing and Repeating
• Playing with continuity
• Challenging conventional time/space dimensions
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7. Editing Techniques
• Creating Rhythm through the edit
• Cutting on Dynamic Action
• Cutting on Different Spaces
• Jump Cuts
• Reversing and Repeating Footage
• Playing with continuity
• Challenging conventional time/space dimensions
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8. Construction of a Dance for Camera Work
Pre Production:
•Planning (set up of project, initial ideas, themes,
filmic relations, filming schedule)
•Location scouting (Find your suitable locations
gain permissions for use)
•Cast/ Crew selection (Select performers
behind the camera roles)
•Storyboarding (Plan the film out in
chronological order)
Production
•Filming on location
•(Working in public spaces,
spatial awareness, time keeping)
•Continuity (Vision, ‘in house
style’, costume, locations)
•Shot Logging (A log of all shots)
Post Production:
•Uploading footage (getting all your footage in
one place)
•Edit decisions (transitions between
shots/sequences)
•Editing ‘the rushes’ (Creative choices on films
structure)
•Credits (Roles of group, any thanks to help or
location)
•The final film (sign off the final film product)
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9. Task 1 – Storyboarding
• A well-conceived storyboard can:
• Give you an overview of your video dance, which can help
you to work out if you have planned for what you need, if
there are obvious gaps, or sections that could become
‘optional’ if you run out of time
• Help you to work out your daily shooting schedules, as well
as the all-important logistics of a particularly complex scene
or series of shots or frames
• Be the focal point of planning discussions between you and
your creative team, including the choreographer, lighting and
camera person and production designer
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10. Task 2 – Practical Recces
• Scout out various locations around the uni. Go without a camera.
• Before you set off, make a list of the kinds of practical questions you
would need to resolve if planning a shoot there.
• When finished, decide whether this would be a suitable location for
filming, both from a practical and aesthetic point of view.
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11. Next Workshop
Teaching week 8
Calendar week 48
Week beginning
Monday 24th
November
Workshop 3:
Project
Development
McPherson, K. (2006)
‘When the shoot comes’
and ‘Light and sound on
the shoot,’ in Making video
dance: a step-by-step
guide to creating dance for
the screen. London:
Routledge, pp. 118-138
and pp. 141-155.
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