After presenting the rough-cut at the screening on April 3rd, I spent the following week cutting together the film to achieve a full, (rough) picture cut.
I then met with Chris and had a tutorial to discuss the current state of the film.
The following notes were taken -
• Myra to suddenly appear behind James after he looks out of the window
Chris explained there is no need to show Myra opening the door and entering as James makes eye-contact with Gideon who is outside, skinning a rabbit. After discussing with him, I agreed and thought it is more unnerving to both James (the main protagonist) and the audience that Myra suddenly appears in the bedroom with James, as he stumbles back, startled and turns to see Myra.
This is displayed to the left, the sequence running from top to bottom.
I then met with Chris and had a tutorial to discuss the current state of the film.
The following notes were taken -
• Myra to suddenly appear behind James after he looks out of the window
Chris explained there is no need to show Myra opening the door and entering as James makes eye-contact with Gideon who is outside, skinning a rabbit. After discussing with him, I agreed and thought it is more unnerving to both James (the main protagonist) and the audience that Myra suddenly appears in the bedroom with James, as he stumbles back, startled and turns to see Myra.This is displayed to the left, the sequence running from top to bottom.
• Build-up to the actual torture is fine
• Myra/Caine appearing in front of James is fine
Jordan (the director) and Luke (the cinematographer) both seemed unsure about the build-up to the torture in the basement scene. Luke especially thought that Myra and Caine suddenly appearing in front of Jack seemed too jarring and thought it didn't work. I, however thought this was a great way of introducing them into the scene. The angle of the shot is set-up in a way that portrays the two as dominant figures, and the technique of suddenly cutting to two menacing characters standing powerfully over Jack is an effective way of displaying their presence.
The two pictures to the right display the pair appearing after a disorientated Jack has been shown.
Jordan (the director) and Luke (the cinematographer) both seemed unsure about the build-up to the torture in the basement scene. Luke especially thought that Myra and Caine suddenly appearing in front of Jack seemed too jarring and thought it didn't work. I, however thought this was a great way of introducing them into the scene. The angle of the shot is set-up in a way that portrays the two as dominant figures, and the technique of suddenly cutting to two menacing characters standing powerfully over Jack is an effective way of displaying their presence.The two pictures to the right display the pair appearing after a disorientated Jack has been shown.
• Cut down the soap torture sequence -
-1 less cutaway
- Don’t need family’s reactions
The original (rough) state of the soap sequence was indeed longer than it had to be, so I cut the sequence down by taking out one of the cutaways, the family's reactions and trimming/shaving the clips showing the soap torture taking place. The result is a snappier, frantic and more satisfying cut.
I will continue with the edit in the hope of achieving a final picture-lock in the upcoming weeks.
-1 less cutaway
- Don’t need family’s reactions
The original (rough) state of the soap sequence was indeed longer than it had to be, so I cut the sequence down by taking out one of the cutaways, the family's reactions and trimming/shaving the clips showing the soap torture taking place. The result is a snappier, frantic and more satisfying cut.
I will continue with the edit in the hope of achieving a final picture-lock in the upcoming weeks.
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