For the past couple of weeks, I’ve focused solely on the match cut – but having finished my last exercise, I was reminded that our focus for The Scene this semester is on the notion of coverage. I thought it would be a good idea to finish off with some reflections on my learnings during these weeks.
So, the first question to answer is how my investigation into match cutting has added to my understanding of coverage. I established at the beginning that the match cut is a non conventional editing technique that makes for an interesting coverage choice and way to establish spatial and temporal continuity. I set out to recreate exercises containing the types of match cuts that I saw existed. What have I learned from this and how does this relate to coverage? Well…I’m not entirely sure. I guess that other than the skill of knowing how to shoot and implement a match cut, thinking so much about cuts and continuity has taught me to edit in more creative ways. I hope my experiments during this investigation have lead me to think about shot transitions more carefully and therefore create smoother edits. I guess this then links to coverage in a wider sense because I have trained myself to look at a scene, consider the spacial and temporal relationships more carefully, and plan to shoot it in a way that has a sense of flow.
Also, here are some reflections I’ve had this semester overall:
1. Coverage is more than just piecing shots together
Coming into this Studio, my knowledge of coverage was limited to the understanding that a scene is made up of a selection of shots. Coverage to me was synonymous with editing – the director would plan out all the types of shots needed to ‘cover’ a scene, and then work with the editor in post production to choose an edit that works. However, I now know that coverage is much more than that, and can be thought about as more than just a practical process.
2. I like the European way of thinking better
One thing that’s stuck with me is how different the French and typical mainstream American approach to filmmaking seem to be. I have a very very limited knowledge of European cinema so all of the scenes that Robin showed us in class, I was astounded by. There is a sense of effortless fluidity that is mesmerising to watch. The way the scenes we saw made use of the space was so dynamic and so different to the typical American edit which seems glaringly two dimensional in comparison. When considering how to present a space, I’d like to emulate the thought process of directors like Antonioni and Desplechin.
3. Acting (and directing) isn’t as scary as I think it is
Before this studio I had done a pretty good job of avoiding acting at all costs. However, after reluctantly agreeing to be in front of the camera a couple of times, I’ve realised that it’s not as daunting and/or hard and/or embarrassing as I think it is. Unless it’s a serious production, you don’t have to be a great actor – all you have to do is say some words. The experience will make you a better director/behind the scenes person in return.
4. Audio makes a big difference to the quality of your work
When I was looking at the works of Edgar Wright and his famous montages, I had thought that the visual was the key. Everything seemed to be meticulously planned out shot by shot so that they would create that exact cut. However, it’s actually the audio that makes the montages. You can throw any bunch of different shots together and make a montage, but chuck in a killer soundtrack and it will become ten times better. Good audio in general also makes any scene seem much more put together.
I wrote in my first post of this semester that I wanted to learn more about the dynamics of coverage and through practical exercises become a better filmmaker. I hoped to “to be constantly asking questions and reflecting on learnings”. To be honest, I don’t think I entirely understood what the point of this studio was, or what exactly what I wanted out of it. The concept of coverage, although intriguing, seemed like such a small relatively insignificant part of the entire filmmaking process – how could we spend an entire semester studying it? However, throughout the twelve weeks I have become increasingly glad about how we have become sensitised to choices in coverage and decoupage. I can now understand its value and significance. I feel that through learning and questioning and reflecting – and considering all the elements coverage that most people don’t even think about – I have indeed emerged a more informed media maker.
