This blog is about the way that I approach creativity and some of the methods that I’ve used as an editor and cinematographer.
But before we get into my methods, I’d like to share a few things with you. They’re not rules exactly, and you don’t have to follow them, but I have found them helpful.
1). Never try to make what you think someone wants you to make. If you do this, you will be frustrated when you receive feedback and it won’t help you to grow because you will not feel ownership over the work--your work. Instead, invest yourself in the things that you make. Be confident in the artistic choices you make, and be prepared to both defend them and allow them to change as you learn more.
2). Find ways to leverage everything. Constraints make creativity. If everything were perfect, why would we need to make or do anything? Art happens when we find creative solutions to limitations. This is a broad concept, but an example might be workshopping your process. Take the time to codify the way you do things and then figure out better, more creative, and more efficient ways to accomplish the same things.
3). Learn how to solve your own problems. You will not always have the luxury of googling the correct answer or finding someone who knows the answer. This one ties into the first point--when you are creating new solutions, make sure they live up to your standards (otherwise you’ll be pretty unhappy with the results!).
4). Find inspiration everywhere (watch "The Gap" by Ira Glass). Seek out work that challenges and intimidates you. Study it, analyze it, and save it (I use Pinterest).
"The place between your comfort zone and your dream is where life takes place." -Anonymous
EDITING METHODS
"There in a nutshell is the essence of creativity: There are a number of possibilities, but only one solution looks inevitable.” Twyla Tharp
Talking Head - Multicam Methods
It’s very important for me to take notes during production. First I attend the pre-production meeting so that I understand what the speaker is trying to accomplish (and get a copy of the outline). Once production starts, I keep track of the takes in my notebook, labelling what is happening in each take and putting a star by the best ones.
When I start editing, one of the first things I do after importing and syncing the footage is transfer my notes on the different takes into markers on the timeline, cutting out all of the chatting in between takes. Then I duplicate that sequence (so that I have an unedited copy) and begin editing.
(different sections are color coded here)
Motivated Cuts
With multicam talking head editing, you want to ask the question “why am I cutting between cameras?” Many times you’ll have to cut to remove stumbles or remove dead space, but when you have the freedom to cut freely between cameras it’s important to be intentional. With a speaker who’s teaching the audience something, I aim for invisible cuts--I don’t want to distract from the message. This is done by cutting on movement.
What if the speaker is super stoic and doesn’t move much? You can cut on the word they emphasize the most, so that it still feels motivated.
Another thing to think about is using different shots to communicate different things. A close up will likely feel more intimate. Speaking directly to camera feels like an appeal. A side angle may feel like we are looking in from outside. I usually pick a different pattern for each speaker (it depends on the way they move and speak), but then I stick to that so there’s a subconscious pattern for the viewer. It’s fun to vary this though, as you don’t want it to be predictable.
(An example of the different angles to think about what each one communicates)
Interviews / Documentary / Service Segment
In the beginning, my method for editing interviews was to watch the entire interview the day before I planned to start working on it. That way I would have time to think it over when I was away from the project.
Now, however, I skip that step because what matters is not so much internalizing the particulars of the story, but in quickly identifying the important story elements. So, now my first step is to go through the entire interview and place markers throughout so that I can easily identify those key story points by glancing at the markers overview. It’s important to me that these markers read exactly what the person said (although I don’t often complete entire thoughts, I will just mark especially good and relevant points). Otherwise it can get very frustrating when I search through my markers and think I have something that I don’t (the difference phrasing makes!)
How do I identify the key story points? I mark the beginning of any story a person tells or any information they’re conveying. Then, I mark any particularly emotional or clear points they make as they’re telling it. I don’t know yet which pieces I will end up using, so it’s helpful to have the different sections clearly marked. I’m essentially creating a searchable database for myself. Sometimes I will include any additional information in brackets, such as the question that was asked or asterisks as a rating system to alert me to something that seems especially useful. However I find rating to be less helpful than simply identifying all the important points.
After creating the markers (it usually takes me no more than double the time of the interview to create my markers), I start working on the story cut.
I also like to use transcripts while I’m editing. I just open a wordpad document and I write down what I have for the story so far (literally what the person is saying as the piece develops). I find it really helps me to read the words, even out loud sometimes.
What’s your hook? + Use of Movement and Time
To begin, I know I need a good hook. Something to tease what’s to come while maintaining mystery about the details. I want my editing to be intentional. How am I framing this piece? I need all the details to be in place to signal information to the audience. (Do I intend for them to be instantly impacted emotionally? For them to be curious? Amused? Empathetic?)
Storytelling through video editing happens through movement: movement of story, movement of emotion, and the movement of image and sound (for more on this, check out a video called The Science behind Film Editing by This Guy Edits from minute 1:21). It is the editor’s usage of movement that creates the feeling of either invisible or visible cuts. Movement of the camera can feel more subjective, while movement inside a still frame can feel more objective.
In Tony Zhou’s excellent video essay “How does an editor think and feel?” he says, “When we watch people on screen, we feel a connection to them. And that's because we have time. Time to watch their faces before they speak... and time to watch them afterwards. Editors have to decide: how much time do I give this emotion?”
Music and Sound Design
In my opinion, the music chosen should have some complexity to it. You shouldn’t hear it and instantly think of one emotion, you should hear possibility--it should be able to go in many different directions.
The fact is, you need good sound design. Quite frequently, you will see videos that succeed based on the merit of the sound. Many of your transitions will also succeed or fail based on sound (here’s a great video on transitions with Matty Brown). Also check out this article on the sound design in a Variable Buick commercial--I really appreciate how this article features a version of the commercial without music or narration, just sound effects.
Here’s a great promo for the Sound Advice Tour that illustrates how sound can be used.
Visual Storytelling - Get the most out of your footage
Ideally, you will have the opportunity to log all of the b-roll for your project before you begin assembling. Logging is when you favorite clips, or make subclips, or in some way organize your footage. My favorite tip for this is the star rating system (using asterisks). But beyond just organizing your b-roll, how can you get the most out of what you have?
When it comes to coverage, there are several aspects to consider. Clearly, composition is very important. You want to find and somehow mark the most well-composed scenes. For any particular scene, you’re also looking for variety. Ideally you’d have a wide of some action, a mid, and a close up to play between. Sometimes it’s nice to also just have a wide of the location to orient the scene, but the “action wide” can often work for that in a pinch.
Even though these are still images, your mind can read a progression here. Wide shot of the location, wide shot of the sisters talking, mid shot of their conversation, then the close up detail shot.
If you run with this mentality of scene “building blocks,” you can stretch a small amount of footage much further. You can also, of course, change the order of those building blocks.
The importance of little cutaways and detail shots cannot be overstated in a “run and gun” documentary environment. It’s not always possible to get the kind of neat coverage I’ve shown above. That’s why you need to grab as much random and abstract stuff as possible--even if you never end up using 90% of it, you will be grateful for the 10%.
Here are some examples of random cutaway/insert shots from the shoot with the sisters:
Totally abstract. But could turn out to be really helpful if you want to set different kinds of moods or need coverage for something really abstract. The portrait of Jesus is one of the more obvious versions of this. The footprints of course suggest journey, they also illustrate the concept of winter/cold, and they could probably even work to describe someone who is missing or lost. The window could work for the concept of yearning/longing, perhaps the concept of being under a lot of pressure… but also probably work for contentment as well.
RESOURCES
"Learn as much as you can from those who know more than you do, who do better than you, who see more clearly than you." -Dwight Eisenhower
Books
Steal like an Artist by Austin Kleon
In the Blink of an Eye by Walter Murch (widely considered a classic on video editing)
On Film Editing by Edward Dmytryk (an older book that uses a lot of film terminology but has excellent ideas and great examples)
Creativity Inc. by Ed Catmull (about the creative process at Pixar).
The Icarus Deception by Seth Godin (great stuff on the need for the artist in the modern world--all of his books are honestly fantastic)
Hey Whipple, Squeeze this by Edward Boches and Luke Sullivan (on advertising, but it's really helpful for thinking about concepts)
Filmmakers
