The Practical Guide to Documentary Editing

Acknowledgments Introduction Preface The Power of Documentary Who are Film Editors and What Do They Do? Part 1: The Fundamentals Storytelling 1.0 Editing 1.0 Setting Up the Edit Preparing to View Rushes Track Laying the Edit Viewing Interviews Viewing Actuality Viewing B-roll Part 2: Starting to Edit Understanding the Task Ahead Deciding What to Cut First Appraising a New Scene Structuring a New Scene Ordering Interview Clips Trimming Interviews Working with Actuality Working with Voiceover Deciding Where Voiceover is Needed Voiceover Writing Basics Managing a Voiceover Record Part 3: Picture Editing Visual Storytelling The Kuleshov Effect Types of Picture Sequence Types of Shot Structuring a Picture Sequence Sequencing Shots A Practical Method for Building a Sequence The Art of the Cut What Makes a Good Cut? What Shots Cut Well Together? Judging Pacing and the Rhythm of Sequences Enhancing the Visual Style of a Sequence Working with Cutaways Working with Stock Footage Working with Still Images Part 4: Using Sound Working with Sound Design and Music Understanding Sound Working with Music Why We Use Music in Filmmaking Some Good Ways to Use Music A Practical Method for Working with Music Auditioning Music Composed, Library or Commercial Music? Working with a Composer Working with Library Music Working with Commercial Music Part 5: Story Structure Ordering and Connecting Scenes Common Documentary Story Structures The Three-Act Structure The Episodic The Parallel Narrative Working with Shooting Scripts & Paper Edits Choosing a Running Order Scene Cards Working to a Deadline Making Improvements Viewing a Film for the First Time Working to a Final Duration Reaching Picture Lock The Cutting Room Relationship Workflow Summary Conclusion Glossary Index