Upcoming Screening: Malta Mental Health Short Film Festival

Our short documentary Self Portrait, Robert Moran, Downtown Los Angeles will screen at the Malta Mental Health Short Film Festival on October 9th or 10th. The film is directed by Robert Moran, photographed by Anne LaBarbera, and edited by me. The film's logline is: "Robert Moran, a bi-racial filmmaker diagnosed with Asperger's syndrome, discusses work, life, and Los Angeles."

Editing "Escape / Artist"

I'm working on the edit for Escape Artist. Two major sections of the film are shot, but there's more to do.

Above: Jason Escape in San Diego.

When is a Film Finished?

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So here's one of the problems of the digital era: when is a film finished?

In 2009, my co-filmmakers and I shot and edited Hoop Springs Eternal in five days as part of the International Documentary Challenge. We were disappointed the film didn't make it to the finals (we made it to the finals in 2007 and 2008) but were basically happy with the film.

Apparently, the Doc Challenge folks liked it enough to distribute it via SnagFilms, which is great.

But after living with the film a little, I decided to give it a recut. I took out almost a minute, changed the order of a few sequences, and essentially fixed issues we just couldn't address in the short edit time of the Challenge. I liked the recut better, and started submitting it to film festivals.

The recut version then screened at Olympia Film Festival, All Sports Los Angeles Film Festival, and Coney Island Film Festival (just this past Sunday).

Still, there are a few things I'd change in the recut edit. So is this film really the version on Snag? The version that made it to festival audiences? Or, if I polished it a touch further, would that be the "final" version of the film? Could we go and re-interview the film's characters (Loren Bidner and Miss Saturn, Jenny McGowan) in 2012 to see what's changed -- and revise the cut further?

Since digital work is inherently changeable, can we revise and revise and call it the same film?

Dowser Interview Edits, Part Three

Dowser Video: Joan Sullivan, Bronx Academy of Letters from Dowser on Vimeo.

A while back, I edited four interview-based pieces for Dowser. Three are now online, so here's the third one.

Dowser Interview Edits, Part Two

Dowser Video: Elizabeth Scharpf, Sustainable Health Enterprises (SHE) from Dowser on Vimeo.

A while back, I edited four interview-based pieces for Dowser. Three are now online, so here's the second piece.

Dowser Interview Edits, Part One

Dowser Video: Maura Minsky, Scenarios USA from Dowser on Vimeo.

A while back, I edited four interview-based pieces for Dowser. Three are now online, so here's the first one.

Sustainable Health Enterprises (SHE)

Dowser Video: Elizabeth Scharpf, Sustainable Health Enterprises (SHE) from Dowser on Vimeo.

The video above is the second piece I've edited for Dowser, a media organization that reports on "creative approaches to social change in order to help people understand how to build better communities and a better world."

If social change is your thing, then be sure and check out Maura Minsky, Scenarios USA as well.

Scenarios, U.S.A.

Maura Minsky, Scenarios USA from Dowser on Vimeo.

Interested in Social Justice? Take a look at Dowser. I like the approach they are taking to "Social Change" and the people creating it. (I helped edit the video above.) Watch the video, then visit the Dowser site and introduce your friends to them.

Creative Approaches to Social Change

Maura Minsky, Scenarios USA from Dowser on Vimeo.

Dowser is a media organization that reports on "creative approaches to social change in order to help people understand how to build better communities and a better world." You can't go wrong with that.

Today is the soft launch of their new Web site, so I hope you'll visit them. I edited four short videos for them this year, and the movie above is the first posted online. More soon. Enjoy.

Documentaries in the News, ChimpCam Edition

Sure, you can trace the physiological basis of editing to the fact that we see the world in blinks. That's no big surprise, when you realize that Chimps can edit.

Of course, first they need to settle a typical Producer / Director on-set squabble. You know how that goes.

Movie made by chimpanzees to be broadcast on television

On top of the box was a video screen that showed live images of whatever the camera was pointing at. Initially, the chimps were more interested in each other than the video technology, as two male chimps within the study group vied to become the alpha male, disrupting the experiment. But over time, some of the chimps learned how to select different videos to watch.

I'm just curious if they'll get the IMDB credit.

Three Test Patterns

Three Test Patterns from Ted Fisher on Vimeo.

When I first started editing, I self-assigned all sorts of experiments. This one was about taking some simple raw material -- color bars -- and applying three different "strategies" to that material.

Final Cut Pro Without A Mouse, Part One

Want to work fast in Final Cut Pro? Learn to work without the mouse.

Oh, you'll need the mouse sooner or later. Some tasks are best done with the mouse. If you want to edit fast, however, you may want to learn a few useful key commands that will speed up your editing process. Besides: it's cold and flu season, and who knows what's on that thing. So let's try a little mouse-free editing.

Get prepped:
Let's do the basics first so you'll be ready for this adventure. (In fact, you'll probably do this step with the mouse, just to keep things simple, but that's okay.) Start Final Cut Pro.

First, you'll need some sort of video clip to work with. You should have your "easy setup" set to match -- so if the clip is in DV-NTSC format, set your "easy setup" (located under the Final Cut Pro menu) to the same format. Close any project that's open, choose New > Project and then save it somewhere using an easily-understood filename and keeping the .fcp suffix.

Now choose New > Sequence and give it a name you'll understand -- like "tedshandsfreeedit01" or something appropriate. You don't want "Sequence01" or anything default or unclear.

Now, let's import your video file: choose File > Import and select your file. Set that mouse aside and let's practice. Hit Control-u to change to the standard interface. That will arrange your windows in a way that's good for the type of work we'll be doing.

Now let's work.

• Hit Apple-4 to activate the Browser window.
• Use the Up-arrow and Down-arrow keys to select what file is active. When you are on the video file you want to work with, hit the the return key and that will "load" the video clip into the Viewer window and activates the Viewer window.
• Now you can use the j, k and l keys to move the playhead around. Tap "l" and the playhead will move forward at normal speed, tap it more and it will move forward faster. Hitting "k" will pause. Hitting "j" will move the playhead backwards; hitting it more will move the playhead backwards faster. The spacebar can also be used: it toggles "play" and "pause." To move by single frames, use the leftarrow and rightarrow keys. To move in one-second intervals, hit shift-leftarrow or shift-rightarrow.
• Move to where you think a useful part of the clip starts. Once you have your playhead there, hit the "i" key to mark your inpoint.
• Move to where you think a useful part of the clip ends. Once you have your playhead there, hit the "o" key to mark your outpoint.
• Now, let's preview if you have the right inpoint and outpoint. Hit shift-\ and you'll see the clip play from the inpoint to the outpoint. If it is wrong, move the playhead to a better point and hit "i" or "o" to set a new better point.
• Once you have the clip like you want it, hit apple-u to make a subclip.
• You will see this new clip appear in the Browser. It will have jagged edges (note that the main clip has smooth edges) and it will have the text selected -- it's ready for you to type in an appropriate name. Like "Moe pokes Larry in the eyes" or something that will later help you identify the clip.

Now, repeat these steps and you can make subclips out of your single video clip, all ready to edit or to hand over to another editor. How do you get those on the timeline and edit them? That will be in our next edition of "Final Cut Pro Without A Mouse."

Parallel Eye-Jabbing Action

Today I taught my editing class, emphasizing smart and fast technique. When the students came in, each computer was ready to edit -- but the mouse was hanging off the desk, useless.

"Don't touch it," I told them. "The mouse is for weak-minded people. Today we edit like adults."

Which was true, and by the end of the class even the most hesitant students were able to make subclips and perform insert and overwrite edits with keys-only technique. It was very .... grown up.

Except for one thing: we were editing clips from a Three Stooges movie.

Linear Schminear

Today was the last day teaching linear editing. We're moving on to those newfangled computer thingies. Now the real fun begins.

Linear

Today I taught a class in linear editing. That means tape decks, not computers. It's a good step in the learning process: it forces people to organize and think before cutting. It's slow, though, and challenging, and leaves little room for changing your mind or experimenting. At one time, that was video editing.

Bill McKenna, Editor of the Year

Editing by the Numbers

I've been grading papers by my students this week, and as usual there are many references to how editing has changed in the digital era. It makes sense: while the basic concepts are the same, editing on a computer can be significantly faster and allows a lot of room for quick experimentation.

I think they miss the bigger, more significant point, however.

Compare the same editor working in 1979 and 2009 and of course you'll see the power of computer-assisted editing. On some tasks, the digital editor will be amazingly faster, and will likely have less need of multiple assistants to sort the material.

On other tasks, though, they may in fact work at about the same pace. A decent film editor on a working pre-digital system is not inherently slow, and a digital system includes no magic wand.

The significance of digital technology is not found in comparing one editor (1979 version) to one editor (2009 version). The real change is this: the number of people with training in editing and a reasonable amount of practice is way, way up. The shift to computer-based editing has given the individual editor potentially more speed and power -- but it has also made it a more competitive field, with a much larger talent pool. How many 19-year-olds had edited a short film in 1979, compared to the number today?

The real effect, then, is that in our one-to-one comparison that 2009 editor would probably be better. Not because of the function of the tools, but because of the amount of practice and competition allowed by the tools.

Anthony Goicolea Documentary

Here's a short documentary on artist Anthony Goicolea I edited last year. It was directed and photographed by Richard Giles. It's done in a very slow, contemplative style that I really enjoy. We spend a lot of time experiencing his process of making art, and we get a sense of what it's like to hang out in his studio. It's 8 minutes and 30 seconds.

(It was done for Haunch of Venison, and you can see more about the artist on their site.)

My New York Times Video List

Over on my other blog I've posted the full list of videos I worked on for The New York Times. Just so I can keep track of them.

The List

Here's the full list of videos I worked on for The New York Times, usually as a producer and editor:

2007: Frugal Traveler: American Road Trip
(12 Episodes -- Won 2008 Webby Award)

Week 1: Maryland and North Carolina
Week 2: Armuchee, Georgia
Week 3: Nashville, Tennessee
Week 4: Columbus, Indiana
Week 5: West Lima, Wisconsin
Week 6: South Dakota & Nebraska
Week 7: Greensburg, Kansas
Week 8: Austin, Texas
Week 9: Columbus, New Mexico
Week 10: Fort Collins, Colorado
Week 11: Wyoming & Montana
Week 12: Newport, Oregon

2008: Frugal Traveler: The Grand Tour (14 Episodes)

Week 1: Dover to Calais
Week 2: Paris, France
Week 3: Southwestern France
Week 4: French Riviera
Week 5: Rome
Week 6: Malta
Week 7: Cyprus
Week 8: Bucharest
Week 9: Vilnius, Lithuania
Week 10: Gdansk, Poland
Week 11: Germany
Week 12: Dutch-Belgian Border
Week 13: Frugal Edinburgh
Frugal Traveler: Looking Back

2007 - 2008: Frugal Traveler: Various Cities (6 Episodes)

Chicago
Seattle
Santa Fe
Hawaii
Toronto
New York City

2008: On Par by Bill Pennington (15 Episodes)

The Long and Short of It
Rules That Rule
Relief on the Range
Coming Up Short
The Starter
Nothing Fancy
Hitting it Fat
Personal Best
Playing Backwards
Slow Play
The Fitting
First Tee Jitters
Child’s Play
The Annoying Guy Part II
One-Club Wonder