So, as part of undergoing my role as Editor during pre-production, I have been reviewing drafts of the script to date to give my opinion from a post-production view point, and most importantly, checking, altering and giving feedback on our DOP's coverage shot list so far.
Before I completed this task, I thought it could be very helpful and supportive of my work, to conduct research into why and how an Editor should participate in the pre-production phase of a project...
Research
Gathering information from a particularly helpful source, I found the following quotes to be the strongest..."Although the cinematographer and editor work in different phases of projects, by collaborating early, their synced efforts will result in a better final film." [1]
- I strongly agree with this, while I will be working with our cinematographer/DOP during post-production when he colourises the material. I need to have a strong professional relationship with him on the project in order to obtain the best possible shots for editing.
"The D.P. shoots and the editor takes the footage and turns it into a movie. However, the one phase where they should collaborate is pre-production, which Alfred Hitchcock considered to be the most important stage of filmmaking." [1]
- Again, this a strong point. If the best possible shots are not planned and then captured during filming, and if there's no chance to re-shoot, the final result will never be as strong as it could have been if the DOP and Editor had collaborated on shots in pre-production.
"If the editor participates with developing the shot list, he or she will have a clear understanding of what to expect upon delivery of the footage. Oftentimes the editor sees the footage for the first time while watching the dailies and then must make sense of all the disparate images they receive. However, if the editor participates in pre-production, then he or she has a clear sense of what the director wants in the final film." [1]
"Editors are storytellers, but from a technical end. They know how the pieces fit together to effectively communicate dramatic and emotional expression to the audience, as well as determining proper pacing of the story. All films will benefit if the editor is involved in the early stages of planning, working with the cinematographer so that both are on the same page about how the director wants the story to unfold visually." [1]
- These are key reasons as to why I am very pleased to be involved in pre-production, as it will benefit my work in both creating dailies/rushes (to be further explored in another post), and in post-production. Having been knowledgeable on why certain shots are used, how, and where in the story they are meant to be, due to collaboration and planning in the early phases of production.
"An editor can identify other potential editing problems ahead of time and suggest supplementary ideas for coverage. For instance, if the director is planning an extended take, an editor can see opportunities for alternate shots to cut to in case the extended take doesn’t work. The editor can also point out places where insert shots and cutaways can be used for the best effect." [1]
- This is my exact mind set during pre-production checks, and will continue to be how I approach my work during rushes editing in the production phase. While the Director and DOP may have a large focus on more drawn out master shots, I will consistently make sure that there a large amount of cutaways, establishing shots, and general coverage. This will ensure that nothing has been left out by the time we get to post-production, and that I have a lot to work with in order to tell the story to full effect.
Coverage List
Before checking and altering the final draft shot list to be created for Double Exposure, I have made a large amount of changes where necessary to the unofficial coverage list, created by our DOP. This will benefit how detailed the final shot list is, and allow me to only need to make small alterations to that list.
Highlighting my additions and changes in yellow, and adding Editor Notes under each scene, I carefully read through the DOP's general coverage shots alongside the Director's matching 7th draft of the script, altering all 23 scenes in detail. An example of this is below...
The Coverage Shot List document with my alterations can be found here.
While this is an overall version of the shot list, I noticed how the mindset of an Editor and a DOP differ when it comes to considering coverage. I think that while a DOP may think of the main shots, an Editor thinks of every area that could provide extra, but important material for editing. Along with alternatives to any risky or ambitious shots such as in Scene 18 above.
I think that by collaborating on this list, it will benefit the quality of the final shot list - which in turn will highly benefit the entirety of the film. Making sure that every single effective shot is captured, and allowing me to have full understanding of each shot when creating rushes and working on post-production.
The DOP, Director and I will be discussing my feedback and changes to the coverage list in a meeting this week, and I will soon be making changes to the official shot list and discussing it further here.
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