Graphics Reference
In-Depth Information
Evaluating the footage
Mount the Craft of the Cut disc image and launch Final Cut Pro. Open the Event Library and select the Editing
Action Collection inside the Pranks Media Event to display the clips that you'll be working with in the Event
Browser. You may want to organize the files for Scenes 12 and 14 into keyword collections to make the media
easier to find.
Make sure the Event Browser's Filter pop-up menu is set to All Clips and mark the following clips in the Edit-
ing Action Collection as Favorites using these timecodes:
Scene 14 Slate 40 Take 2: Between 56:03 and 58:16 and between 01:06:23 and 01:08:19
Scene 14 Slate 40 Take 3: Between 38:01 and 41:17
Scene 14 Slate 43 Take 1: Between 42:09 and 43:19
Scene 14 Slate 43 Take 4: Between 00:11 and 01:09 and between 15:01 and 20:01
Scene 14 Slate 47 Take 2: Between 13:02 and 31:03
Scene 14 Slate 47 Take 3: Between 01:13 and 07:07
Scene 14 Slate 48 Take 2: Between 04:05 and 16:16
Scene 12 Slate 62 Take 5: Between 05:00 and 27:03
Scene 12 Slate 63 Take 4: Between 19:21 and 31:15
Scene 12 Slate 64 Take 1: Between 02:01 and 05:21
Scene 12 Slate 64 Take 3: Between 25:12 and 31:22
Let's start by creating a new project in the Project Library and naming it Editing Action.
Exploring the edit
Our sequence begins with Katie being disturbed from her sleep by the constant pounding of a bouncing ball.
She grabs the camera from the bedside dresser and goes after the source of the sound in the hopes of obtaining
evidence. This section of the sequence has been covered with three angles:
Scene 12 Slate 62 Take 5: Starts with a tracking shot across the side of the bed that slowly reveals the
bouncing ball in the doorway. Katie rouses from sleep, grabs the camera, and makes for the door. This ac-
tion is shot from behind Katie as she walks away from the camera with her back to us (see Figure 11.1).
Scene 12 Slate 63 Take 4: A second tracking shot, this time moving across the front of the bed. The clip
ends on a side view of Katie as she picks up the camera from the dresser and walks out of frame.
Scene 12 Slate 64 Takes 1 and 3: Two takes of this angle that are shot from outside, looking through the
doorway and into the room. Katie peeks through the doorframe and then walks toward the camera into a sil-
houette. The main noticeable difference between this and the other angles is that Katie puts on a dressing
gown as she walks toward the door (see Figure 11.2). Katie is seen wearing the gown for the rest of the se-
quence and this is the only angle that shows her putting it on, so we would need to use this clip to keep con-
tinuity. Let's make a note of this in the Event Browser's notes field.
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