Part 5: The Attack

The First Cut



Simon asked:

John, I’ve forgetten how you lit the exteriors. I’m liking your and could do with some pointers.

There were 3 production lights used in all of this scene. We had two Lowel Omnis (500 watt open faced lights) – those are coming through the two windows in the big “living room” that she runs to first and again in the kitchen. The lights were placed high and out.

And we used a Dedo light for her bedroom (coming in from the window) and with a lensed projector projecting a window pattern in the front door area.

All the other lights (like the porch) were already there.

All lights had CTB and we white balanced closer to 3200K to get a “moonlight” look.

I’ll just point this out – all the CU after Ryan gets her on the ground were shot on the 5d. I’m surprised at the lack of “Jello Effect” especially considering the amount of camera shake 1:36

Rich provides some fine point criticism:

00;00;05;00 Think about losing the first move on Hayley when she moves up

00;00;21;00 Match action problem, so use the explosion of action at the tail end of the first shot of Hayley getting up , and cut farther into the second shot like at 23;00 approximate. This is one where it either should match well, or it should’t even try to match, and use the emotional impact of each shot,trigger the next. Ie a shot of her in horror, to her banging into something, to losing the phone, all done not attempting to match action. The action of the internal dynamics determine the length of each shot, not the attempt to action match. And good action matching from different performances is so hard for actors to do. This technical part of acting usually is the last to develop, and a lot of actors especially those using the “method” never match action at all. Robert Forrester was notorious for not being able to match him from one shot to another. This is where a great script supervisor is worth their weight in gold! that and a lot of recording of video assist!

00;00;29;11 previous shot I believe her right leg was moving forward, take off some heads to smooth the action.

00;00;30;00 take of a few frames of the tails of the outgoing shot, and also trim a few frames off the heads of the incoming shot, Hayleys body as she moves up and down as she walks feels slightly off here

00;00;45;00 take off heads of the incoming shot as she turns to the left, the emphasis is on the turn to the left, not the going forward and turning

00;01;00;21 Try trimming it out till 00;01;01;23, the hand out to it feeling it isn’t in this shot needs a little work

00;01;06;00 take a few frames off the heads of the incoming shot

00;01;12;00 Not an action match, try 3 non action matches in a row, or 3 match action cuts, The rule of 3’s does work, it sets up a rhythm for the audience, cutting on action, or cutting on sentences, or complete phrases, or single words, your cutting will create the tension

00;01;18;07 Trim off a few frames from the heads of this shot and let it feel even more violent.

00;01;26;15 just try going from her kicking the flowers off the table to her on the ground, the shot between it does not work for me, but that could just be my sensibilities…

00;01;46;00 try starting the shot around here, with the hand allready near her side

I am sure you will add sound effects and more of his moaning an comments as she kicks him in the balls…

00;02;58;00 trim of the heads as he is looking forward and try a cut with the head starting to turn, look at the last shot how it “feels” like it is going to go screen right

00;03;20;00 trim off some heads of this shot, to tighten the walk to the door

00;03;23;00 match action problem

as the light goes on, perhaps a little muffled cry from hayley before you cut to the shot of her getting the golf club.

And then the editor will turn to the director, and say, why is she holding a club? what’s the motivation? “fear” says the director…. followed by the idea of a moan and the sound of something being picked up, and a few things falling down, all played on the shot of him upstairs listening to the mentacide he is doing to her….. And so it goes for every cut…

All in all a very good cut John, It will change as you get your music and sfx in, and that will change the dynamics of the scene! If you can, try a version where you throw the match action out the window, This is pure horror for her afterall….

Just as with the last scene, I didn’t make a public second cut for discussion for this scene because of the momentum of the film at this point.


Next: Editing in the Dark The Final Showdown

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