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!