Part 7C
Advanced Postproduction
CHAPTER 31 FROM TRANSCRIPT TO FILM SCRIPT
What You Need for Transcripts Selecting the Materials Assembling the Paper Edit
Two Approaches to Creating Narration
Alter Syntax to Match Screen Logic
Trying It Out: The Scratch Recording
Narration: Auditioning and Recording
Recording and Directing the Narrator
Creating the Improvised Narration
CHAPTER 33 USING MUSIC AND WORKING WITH A COMPOSER
When and When Not To Use Music
When the Composer Comes on Board
When There’s a Temporary Track
Keys: Diegetic and Nondiegetic Music
Conflicts and Composing to Sync Points
CHAPTER 34 EDITING: REFINEMENTS AND STRUCTURAL PROBLEMS
How Editing Mimics Consciousness
Looking At and Looking Through
Editing Rhythms: An Analogy in Music
Using Your Instincts While Editing
Subtexts: Making the Visible Significant
Long-Form Structure: Where Instincts Aren’t Enough
Editing is procedurally similar for both short and long projects, except that in longer films structure, length, and balance become much more difficult to get right. For one containing interviews you are likely to work from transcripts, so this chapter shows how to select and mark transcript sections and how to assemble them into an initial script for the editor. You are also more likely to need narration, so Chapter 32, Creating Narration, describes various methods of creating it. If you are using music you’ll need Chapter 32, Using Music and Working with a Composer. Chapter 34, Editing Refinements and Structural Problems, deals with methods of balancing your story and testing it on an audience.