This week in classes we focused on continuing to refine our final ideas, whilst also looking at the element of postproduction. Many members of our class had previously expressed concern about the editing process, so Kim used our Tuesday lesson as a chance to introduce us to different procedures we can implement when cutting our footage. This started with the importance of hiring an editor where possible. Obviously in this stage of our work we are not in positions to hire someone, however Kim explained to us the importance of an operational relationship between and filmmaker and their editor. A filmmaker is often submerged in their stories and the production stage of work. An editor is able to provide an impartial alternative view of the footage and overarching structure, which is often key in determining the flow and rhythm of a film.

With this in mind, we were then introduced to how we can improve our editing process to not only ensure fluidity in the final cut, but also to employ some proficiency in the way that we approach editing. We were given some examples of process, such as Phil Ebiner’s, How to Edit a Documentary. Kim urged us to transcribe the interviews we have conducted to allow us to create a physical paper edit. This then rolls onto logging our assets and setting up premiere (or the software we use) into multiple bins and multiple sequences. We can then work from our paper edits and translate the changes onto the project timeline. We concluded Tuesday class by looking at the set up of an opening sequence and how we can implement the approaches used in another films into our own work.

On Thursday we worked on our films from the knowledge we had gained from the previous lesson. Majority of the class used this time to work in the editing suites and to refine their projects in numerous different ways. We were also able to summarise our work for Kim, allowing for further feedback as we work towards our final documentary.