On professional editing

When you edit for yourself, time is one thing.  When you are on a deadline, time is another thing.  The editing day is (or should be) full of benchmarks, and goals.  Broken down into increments.  If something seems like it's taking too long, time to punt. 

--
Stephanie Hubbard
Editor/Writer/Producer
www.stephaniehubbard.com
Check out my editing workshops for directors!

Axiom 3 of 10 Principles of Documentary Editing

    #3)  Not having what you need can be a blessing.   

Some of the coolest parts of movies I've made have come from when I had to create a sequence to tell part of the story because I didn't already have it.

Starting Fresh

Hey there, I'm on day two of my latest project, and was happy to find that my neighbor editor,Brian,  (across the hall, working on another film - he edited the critically acclaimed, "Stronger, Faster, Harder"), also knows Kurt Engfehr, the near legendary Senior Editor of both "Farenheit 9/11" and academy award winner, "Bowling for Columbine". 

I had dinner with Kurt about two years ago, and Brian reminded me of Kurt's approach to making amazing docs: (and now I'm paraphrasing Brian, paraphrasing Kurt, so my apologies)

"It's all about immersing yourself in this world, and building the coolest sequences you can - and eventually you'll have like 6 hours of stuff, but it will all be really cool, and then the challenge is making those work as a whole".  What Kurt said to me about "Farenheit 9/11" was this - "That film was like 100 little short films that we just refined and refined and melded together until they were whole."  

As I'm wading into all new material, looking to find the story, and the way it wants to be told, I appreciate my fellow artists reminding me of the optimal process for making great films.  We don't always get to do this, because, as Brian and I both lamented, we're not always lucky enough to work with people who are willing to work through the process.  Though sometimes we are. 

Today I am optimistic that is the case with this film.  More to come.

Final Cut Shortcut List

Hey everybody - here is the checklist I use to teach FCP.

Good luck. For the full explanation of processes - I am now offering group, in person private, and remote lessons.

Stephanie.

(323)202-5645

FCP Key Command Checklist

1) Building into sequence

Apple 1 – back to viewer

J back JJ back faster

L – forward LL forward faster

Left Arrow - one frame left

Right Arrow - one frame right

; - go to last cut left

' - go to last cut right

I – in

O – out

Apple F9 – insert to target tracks

Apple F10 – Overlay on target tracks

2)Sequence Short cuts

A - neutral

B – Blade

F – brings up virgin material

L – toggles link unlink

M – marker (option apple m to label)

N – toggles "black hole" function

P – Pen tool

TTTT – selects all down stream

Delete – eliminates hole

Shift – keep things "in line"

Apple + close up on time line

Apple – Farther away on time line

3) moving things around –

Lasso

Apple C – Copy

Apple V – overlay

Shift  V – drop in and push down.

Apple Z - Undo

Apple R - Render

Apple 9 - Attributes

Sequence Protocol: select, copy, paste. Rename, drag.

Bin Protocol: Stills, Footage, Music, Graphics, Sequences

Importing – drag item onto desktop – then onto drive. Then import into project. (music, graphics, stills etc)

Exporting – Quicktime, Web etc. Check attributes

Add Tracks,

Copy attributes

Graphics, copying graphics

Effects – copy effects

Movement.

--
Stephanie Hubbard
Editor/Writer/Producer
http://www.stephaniehubbard.com/
Check out my editing workshops for directors!

Rule #2 of Documentary Film Editing

2) Trust your inner viewer It's the best tool you have! If something doesn't make sense, or seems boring to you – it probably doesn't and Is. Give yourself full permission to voice concerns about something that isn't working for you – or if you're working alone, give yourself permission to change it.

Here is my number 2 "rule". The inner viewer is beginner mind - again and again and again. If you can't see your film fresh, watch it with someone else - that is the fastest way to see what needs changing.






--
Stephanie Hubbard
Editor/Writer/Producer
http://www.stephaniehubbard.com/
Check out my editing workshops for directors!

Upcoming workshops & Red Carpet Video!

Hey there,


The film has been winning awards, and is poised for Academy Award Nomination.


Here is my red carpet interview at the films premiere at the AFI!

http://revver.com/video/478417/afi-fest-premiere-torn-from-the-flag/

I am scheduling classes here in Los Angeles for the Fall now!


There will be three different workshops.


1) for Directors and Producers at any phase of their documentary on "Writing the Documentary". This is an ongoing writing workshop that will unlock what it is you want to say, and who you want to say it too. I've seen it work wonders for folks in the beginning in their process, as well as filmmakers with hungdreds of hours shot, clarify how they want to structure and tell their story.


2) Editing for Directors. An experienced Editor will empower you in all the processes of editing, both technical and "writing" - the real editing that happens. This is a must for directors cutting their own material, simply to bring the power of an experienced collaborator into your process cost effectively.


3) Marketing and HR for Editors. How to keep working steadlily - what are ways to best communicate effectively with your directors? All this and more!


4) Private and remote sessions available for training or story development.


Please email me your time preferences as soon as possible.


Thanks!


Also, if you are out of town, please let me know what sort of workshop you think might work well for your community.


Best,


Stephanie.


--
Stephanie Hubbard
Editor/Writer/Producer
http://www.stephaniehubbard.com/
Check out my editing workshops for directors!

Rule #1 of Documentary Editing

Hey there everybody!

This week a film I worked on that is really beautiful is playing here at the Arclight from the 22 to the 28th for it's Academy Award Qualifying run. It's very competitive to get those spots, so I'm very proud and pleased.


In honor of my role as editor of that film (Executive produced by Vilmos Szigmond, and shot by Lazlo Kovacs) I am beginning my ten part series on "Rules of Documentary Film Editing"


I first developed these "rules" when I guest taught for my Docu-Link Friend and Colleague Sabine Sighicelli at Brooks Institute. (By the way, Sabine is working on a beautiful film about women artists)


So, here is Rule number One of my "rules" of documentary editing:

1) Don't start at the beginning.

It will be your beginning, but don't worry if it is THE beginning. If you find stuff that tells your story, start pulling it into a sequence ESPECIALLY if you have limited time. Your beginning will be the last thing you do. At least it should be.

So there are two things to talk about here: a) the first thing you start cutting and b) the actual beginning of the film. Just to prove my point, I'll start with the second thing.

b) When you are looking for the beginning of your movie, you need a scene or an image that actually contains the whole film. I will most likely not be obvious to the viewer until they view the film a second time, but that doesn't matter - the feeling tone will be there. So, that is what you are looking for when you are actually constructing the beginning. But, typically you will want to have developed your whole film before you do this.

Which brings me back to

a) What do you start with? I just start watching footage. Typically I try to choose footage I know is at the heart of the film - a key interview - or key sequence in the film. Sometimes I just start by marking the footage if I see good material - but at some point, an idea comes forward, and I make a choice to start putting material into the time line. It's very intuitive, and the best way I have found to begin. There are often elements of the beginning here, like, what do I need to tell first about this story - but invariably things get moved around later in the process, so the key is just to start.

Okay that's number one - I look forward to your comments!

--
Stephanie Hubbard
Editor/Writer/Producer
http://www.stephaniehubbard.com/
Check out my editing workshops for directors!

Online Distribution

There are four types of online distribution:

1) Web sites that sell dvd's of films.  There are many of these, including Amazon.com.  A more alternative approach has been taken by www.bravenewfilms.com where socially conscious films are listed and people can order copies of films to show in their communities.  They currently have 340 films available there. 

2) Web sites that show films as embedded video.   These are typically shorter films.  

3) Transactions where the viewer can pay to watch the film. (And often buy the dvd for an extra price)

    Example:  The Secret,  used Vividas technology to play high end video and protect from piracy.  They built up a huge anticipation before hand with emails of the trailer, then when it came available, sold single views of the film online for $4.95, which would then credit the viewer toward a $19.95 purchase price to buy the film on dvd.   Virtually 100% of viewers of the online version bought the dvd.  Over 600,000 dvd's were sold this way.  Now the DVD sells for $34 in retail stores.. The companion book went to number one on the NYTimes bestseller list and the second printing went to 2 million copies.

4) The Netflix model - who distribute "rentals" of films - also now they allow on the fly downloads as well. Netflix's distribution company is Red Envelope Entertainment: which distributed: "Born into Brothels", "Tony Bennett: The Music Never Ends",  "Business of Being Born", "Kicking It",  "Steal a Pencil for Me", "A Walk into the Sea: Danny Williams and the Warhol Factory", "Protagonist", "Running with Arnold". All these films have deals with Red Envelope Entertainment – who are increasingly buying films at Sundance – and whose goal is to 1) circumvent Sundance and 2) buy all the films at Sundance. With Longtail cross promotional marketing they are in a great position to do this.   Ted Sarandos, has access to Netflix's 5 million subscribers, which already has 7 million dvd rentals each week. 

5) There are also sites that assist with online marketing, such as withoutabox - which uses viral marketing to enable audiences to get a screening, complete with filmmakers in their town.  See Case Study: Four Eyed Monsters

This is just a general survey of what I found on the subject. 

Good luck with developing your own online distribution approaches!  Please add to my comments other aspects of online distribution you'd like to add here. 

Thanks,

Stephanie Hubbard

Los Angeles

(323)202-5645

 

 

2)    Iraq for sale similarly marketed to 100 social change groups emails – got 3000 people to each donate $100 to making the film in two weeks set up screenings in peoples homes via www.bravenewtheaters.com  How many films on there, currently 340.

 

3)    Red Envelope Entertainment: "Born into Brothels", "Tony Bennett: The Music Never Ends",  "Business of Being Born", "Kicking It",  "Steal a Pencil for Me", "A Walk into the Sea: Danny Williams and the Warhol Factory", "Protagonist", "Running with Arnold". All these films have deals with Red Envelope Entertainment – who are increasingly buying films at Sundance – and whose goal is to 1) circumvent Sundance and 2) buy all the films at Sundance. With Longtail cross promotional marketing they are in a great position to do this.   Ted Sarandos, 5 million subscribers, 7 million dvd rentals each week. 

--
Stephanie Hubbard
Editor/Writer/Producer
www.stephaniehubbard.com
Check out my editing workshops for directors!

Formats

Ah...just talked with someone today who shot in both BETA SP PAL and mini-dv NTSC.  

I have a work around from terenexing 30 hours of PAL into NTSC (estimated price at @ $200 per hour)

We're going to digitize the PAL straight in (assistants time, BETA PAL deck rental) then pull the relevant bits, put them into a sequence, out put to a PAL DVCAM, then terenex the selects, bringing that into the timeline with the mini-dv material. 

The oddest part of all this - is going through this with an SD project. 

I'd love to hear other comments on people's workarounds for these sort of situations. 

More updates on multiple formats soon!

Stephanie. 

--
Stephanie Hubbard
Editor/Writer/Producer
www.stephaniehubbard.com
Check out my editing workshops for directors!

How Long Should Your Project Be?

Well, hello there, this is the first post of the Documentary Insider. Let me introduce myself, I am Stephanie Hubbard, and I have been a working editor in Los Angeles since 1997. After spending alot of time in short form documentary, I cut my first long form project in 2001, it was a television documentary called "The Channel", about swimming the English Channel.

Since then, I've cut several feature docs, the most widely acclaimed have been "Torn From the Flag", executive produced by Vilmos Zsigmond, and shot by Lazlo Kovacs, about the 1956 Hungarian Revolution (you can see the Hollywood Reporter review and others at my website, http://www.stephaniehubbard.com/)
and "Incest-A Family Tragedy", also a multiple award winning film. The first award it won was for Best Documentary at the Beverly Hills Film Festival.


Okay, now, here's what I want to talk about:


Length:


Too many people come into my office wanting to cut their material into feature length docs.


Some people SHOULD go feature length, but it's my humble opinion that more folks would do well to CONSIDER other lengths or forms. What about 5 half hours, or a pair of 45 minute shows, or one - one hour?


According to the senior editor for both "Bowling for Columbine" and "Farenheit 9/11": (and I'm paraphrasing here) "One hour is the way to go for HBO & PBS, and pretty much any one else who might broadcast it." In fact, 44 minutes is the length you'll need to cut to for most cablers that include commercials, 22 minutes for a half hour spot.


Now think about this: How many more folks are going to see your film on television than in festivals - or even in theater? A lot more. And even those that get a feature release, often have to cut down when they do get broadcast.


I know everyone wants to be making a feature film, but it is my opinion, that unless there is a very good reason to go feature length, you have everything to gain by considering shorter form.


Just the opinion of this Documentary Insider.


Coming up: Ten Rules of Documentary Film Editing.


Thanks for reading!


Steph.
--
Stephanie Hubbard
Editor/Writer/Producer
http://www.stephaniehubbard.com/
Check out my editing workshops for directors!