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Focusing on the picture lock workflow

From: Documentary Editing with Avid Media Composer

Video: Focusing on the picture lock workflow

As some editors say, the film is mine until the fine cut. Reaching the fine cut means the film has entered a stage of intense collaboration. It is during this period that an editor must ensure that the film's story, direction, and style are in sync with the film's vision. This begins with a screening of the rough cut and proceeds through several more versions of cuts until picture lock. So, after you've completed the rough cut, you should screen it as much as possible and take very detailed notes on people's feedback, both good and bad.

Focusing on the picture lock workflow

As some editors say, the film is mine until the fine cut. Reaching the fine cut means the film has entered a stage of intense collaboration. It is during this period that an editor must ensure that the film's story, direction, and style are in sync with the film's vision. This begins with a screening of the rough cut and proceeds through several more versions of cuts until picture lock. So, after you've completed the rough cut, you should screen it as much as possible and take very detailed notes on people's feedback, both good and bad.

You should not only screen it for a director and other stakeholders, but, also to general audiences that are not invested in the success of the film. Screening the film to people who are not too close to it can be extremely valuable in telling you what works and what doesn't. Now first, the editor usually works closely with the director to tweak, reorder, cut, and add scenes, combing through every shot and every sequence and discussing every element of the story and structure. Because of this, this version of the fine cut is often called the Director's cut.

For a documentary, the time spent on the Director's cut can be pretty extensive, especially if the editor was not working from a defined script. This collaboration is really important in closing the gap between the director's original vision and the editor's creation. So, if you think about it there exists this tension between three different stories that will flush out during this process. You've got one, the story the director tries to tell based on the original concept for the film. In almost all cases this idea evolves during production as does the director's overall vision.

Then you have the story the editor realizes through editing the film's rough cut. And finally, you have the final edited version, which is the collaboration between these two visions. Now, after the director has had an opportunity to oversee the cuts, he will often show the film to other important collaborators and during this period the film is further aligned with the interests of all involved. Of course, going through all of these various versions of cuts, that must address all of these people's intentions and desires can be interesting and sometimes stressful.

Conflict between editors, directors, producers, and other stakeholders have been known to occur, whether it be over creative control, budgetary issues or contradictory goals. But usually a successful film results with the picture lock aligning near the goals of most all involved. Once this agreement is reached, the editor arranges for the final color correction and sound design and then distributes the film in multiple formats depending on the deliverable requirements.

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This video is part of

Image for Documentary Editing with Avid Media Composer
Documentary Editing with Avid Media Composer

39 video lessons · 4157 viewers

Ashley Kennedy
Author

 
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  1. 6m 12s
    1. Welcome
      1m 36s
    2. Using the exercise files
      4m 36s
  2. 10m 49s
    1. Interpreting a creative brief to establish goals
      3m 3s
    2. Examining project assets
      3m 43s
    3. Defining the project approach
      4m 3s
  3. 11m 52s
    1. Understanding the documentary postproduction process
      2m 15s
    2. Focusing on the preparatory phase
      3m 33s
    3. Focusing on the rough cut phase
      3m 27s
    4. Focusing on the picture lock workflow
      2m 37s
  4. 36m 51s
    1. Beginning a project
      10m 28s
    2. Screening and assigning qualitative information to clips
      7m 3s
    3. Looking for stock footage using the Avid Marketplace
      4m 27s
    4. Marrying high-quality audio with video
      4m 54s
    5. Using the Find tool and PhraseFind to search the audio in a clip
      5m 58s
    6. Understanding transcoding
      4m 1s
  5. 14m 11s
    1. Preparing a script for script integration
      4m 17s
    2. Syncing a script using ScriptSync
      5m 9s
    3. Manually syncing a script
      4m 45s
  6. 59m 56s
    1. An overview of the rough cut process
      3m 38s
    2. Making the paper edit
      3m 9s
    3. Using a two-column script
      3m 33s
    4. Assembling the radio edit
      7m 15s
    5. Building scenes with B-roll
      9m 30s
    6. Editing process footage
      6m 29s
    7. Using montage and parallel editing to manipulate time and ideas
      8m 20s
    8. Adding natural and environmental sound
      6m 11s
    9. Correcting audio
      6m 22s
    10. Putting it all together: Completing the assembly edit
      5m 29s
  7. 32m 52s
    1. Dealing with multiple formats in a project
      5m 2s
    2. Adding movement to static images
      6m 6s
    3. Stabilizing shaky footage
      3m 23s
    4. Changing and fixing portions of the video frame
      8m 7s
    5. Compressing and expanding time in video and audio
      5m 23s
    6. Repairing jump cuts using the FluidMorph plug-in
      4m 51s
  8. 22m 25s
    1. Getting feedback, making adjustments, and receiving approval
      3m 16s
    2. Creating multiple titles and lower thirds
      5m 39s
    3. Understanding the finishing process
      5m 46s
    4. Delivering the project
      7m 44s
  9. 1m 28s
    1. Next steps
      1m 28s

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