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Editing Willow Catlin

Editing of "Private Hours"

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Page 1: Editing of "Private Hours"

EditingWillow Catlin

Page 2: Editing of "Private Hours"

Editing software

When editing the raw footage we used Windows Movie Maker, a video editing software that comes with Windows Essentials.

Windows Movie Maker is a good video editing software as it is free and has the basic necessary tools needed to create any video. There are different editing software that have a wider range of tools and effects but for the project we didn’t need anything other than what was already available on Windows Movie Maker.

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Making the final edits

In order for our piece to meet the expectations of a Soap under a prestigious institution like The BBC, the trailer needs to reflect editing that is done with quality and precision which uses editing techniques appropriate for our narrative.

Once the final piece is made, there will be a public viewing in order to make sure our trailer meets the audience intentions we were aiming for, as well finding any other changes necessary for it to be the best it can be.

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KEY SCENES

Scenes where editing techniques were poignant and what effect they created

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Fast cuts - As the narrative begins to turn more sinister, the cuts speed up and become disorientating for the viewer in order to express the erraticism of the husband’s fury towards the wife, which as an abuser is meant to be unanticipated and unjustified. The cuts shown in the picture are done through 10 seconds of the trailer, which is quite quick for cuts to be made but are effective in the way it keeps the pace fast and thrilling.

Haze/Sepia filter - Scenes looking back on when the husband and the wife were happy have this “hazy” filter overlaid. This gives it a dreamy effect, as if it was the visualisation of a memory. The aim of this was to show the audience that this was a flashback. This will then contrast between the sepia filter, where the wife and husband are shown alone from each other. The disparity between the high key lighting exuding the adoration for each other, and the low key lighting from the sepia creating shadows and implying something more sinister makes it explicitly clear that they are two separate realities.

Fade transition - Moving between the scenes of them happy together, to them entering the house for the wife to face the abuse are done with fade transition which looks like they coming back to reality, away from the idealistic flashback of them happy together. This foreshadows that the atmosphere is going to change.

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Colours - Within using signs and signifiers, we wanted red to stand out as it represented the duality of romance and anger which is most commonly associated feelings with the colour red. In using a filter which highlights the red nail varnish and lipstick of the wife, the audience can use the accusations with the colour to deduce the themes of the show.

Cross cutting - The scene where we see the wife looking at herself in the mirror, there is the scene of the husband standing in the graveyard sandwiched in between. This use of cross cutting encourages a non linear narrative, where the viewer has to watch the entirety of the show to understand how it all ties in which encourages the viewers to watch the soap.

Text Cards – These cards invite extra narrative to the piece where there is limited dialogue to make to interest the viewer. The words used make what the scene is trying to portray more clear.

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AUDIENCE RESEARCH AND IMPROVEMENTS

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Public Viewing – 9/12/16

After a public viewing of the piece, we were able to conduct a review of what went well and what needed improvements. This was done by allowing the audience to watch out piece and then answer a questionnaire which would give use the necessary feedback to know whether our piece meets the demands of the viewers and where to develop.

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WHAT WENT WELL

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The results from the questionnaire gave overall positive results. Out of the audience of the public viewing and the additional 30 individuals who watched it through a survey the results show:

“100% found the trailer well made”This result benefits us as it shows that the trailer is appropriate for a professional institution like The BBC, which is who we would pitch our trailer to.

“100% of the viewers found the trailer was appropriate for the audience we tailored it to”One of the themes we wanted to make clear, is that we were appealing to a younger audience which we believed was rather niche in Soap genre.

“100% were interested in watching the advertised soap”This could ne considered one of the most important results. Obviously we want a good viewership, and the efforts made when making the trailer were all in order for the viewers of the trailer to then have an interest in the soap we were advertising.

“100% found the soap different and unique”At the beginning of the project there was an audience research, that when asking a member of the target audience of the trailer, they said they would want to see something “different and unique” to make the soap special. With this being the goal we were aiming for, I’m very please with this result.

“80% found the plot matched their interpretation”This not being 100% may look bad, but actually the point of the trailer was to remain vague and inspire mystery into the viewer. The fact that not everyone could interpret the plot but found it coherent enough to have 100% of the viewer’s interest proves that the trailer was successful.

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CRITICISM AND IMPROVEMENTS

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One of the comments from the audience was:

“the editing wasn’t as clean as it would have needed to be, to be shown on such a well renown institution like The BBC.

There were hiccups in the audio and it was too loud in areas which caused the atmosphere to be looked over”

A response like this is exceptionally helpful when picking out flaws that we might not have already seen. There are limits with the editing software used, however these were easily rectifiable.

The jumps at 1:44 in the audio of the v1 were fixed by relaying the track on top. Removing the jump in the audio doesn’t interrupt the viewers focus.

This particular scene was the one where the criticism was aimed at; we cant hear the music over the water which causes the atmosphere to be flattened. This is fixed by removing the audio altogether and just having the music.

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Another reviewer said: “The visuals are interesting, but there could be

more to draw the viewer in, like text cards”. This links to the Trailer Analysis earlier in the research phase of the project as the Neighbours 2009 Promo Trailer stuck out the most out of all the trailer analysed as the one that we would mimic in editing style. The text cards in that trailer created a great build up, much like what we want in our trailer.

Using the text cards with the words “love”, “distain” and “betrayal” create a build-up of the emotions that change within the relationship, much like what was done in the Neighbours trailer. I believe adding this meets what the reviewer was asking for.

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When looking at the overall timings, a reviewer said:

“Transitions were too long. It’s hard to keep focused when there is too big of a gap between

each cut”

This was easily fixed, by lessening the transition time from 6 seconds to 2 seconds. Although this doesn’t seem like a huge difference, it follows the fast pace of the narrative. The timing of the piece as a total isn’t affected as the text cards replace the time taken away from the piece. After making the transition times quicker, the piece’s flow is better overall to meet the audience’s need.

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In regards to whether it would attract our target audience, a reviewer said:

“More people would watch the show if it’s before the watershed. With the swearing involved in the trailer, this would have to be put past 9pm, which

would limit your audience”

As we were aiming our trailer at young adults, from adolescence onwards we would need to keep it in a timeslot before the watershed. The use of expletives was in order to appeal to the younger audience but in the technicalities of keeping the trailer appropriate, they would have to be removed. The acting in the scenes where there was offensive language was amazing, and as mentioned in the audience feedback, really added to the attraction of the trailer therefore we didn’t remove the scenes, but instead silenced the swearing.