Editing and Montage Final Film - 'Agincourt' (Final Cut)

Agincourt - Final Cut from Tom Hayes on Vimeo.

Evaluation of Final Cut

With more time added to the project, I found myself piecing together a second cut of my film in an attempt to fix errors I had with my first cut. Most prominently was shooting certain shots that were missing before that I had previously addressed such as actually showing the coat being taken off and showing me enter the house. Without these shots, the jump between exterior to interior would feel too sudden. However I had to shoot these myself so the quality degrades in these shots.

I began to colour edit in this cut. The shots of me indoors were tinted yellow slightly in order to work against the other character's shots as I noticed the lighting had changed slightly during the shoot. It is most notable that I edited the colour when I approach the front door of the house. This is the first assignment that I went deep with colour editing so I had a hard time trying to make the colour consistent which is why the gradient of yellow shifts slightly as it cuts between characters.

I also sorted out a few issues with the sound. Specifically the break in sound as one character stands up as I noticed that the background audio came in and out frantically. I erased the background audio however there is a brief moment where it blends in with the dialogue therefore making it harder to get rid of it. I also kept the background audio in for the last shot in order to signify the snap back into reality as well as the shot of me entering the house from the inside because I needed to capture the sound of the door and the coat being taken off.

While I am overall glad I did a second cut, the problems I got rid of were replaced by new ones. Sound isn't as much an issue however the colour is more noticeable. All I can say is that I will use this assignment as an example of experimentation in film. Even if my film doesn't look great technically, I think the idea stage was the strongest area although I did learn more in post such as the aforementioned colour editing as well as taking certain cut types such as Insert Cuts and Reaction Cuts into account.

Editing and Montage First Cut - 'Agincourt'

Agincourt from Tom Hayes on Vimeo.

Editing and Montage Course and First Cut Evaluation

I would consider Editing and Montage to be one of our most independent assignments we have worked on. With all of us having to make our own films, I feel that it works best considering that the brief told us to make a film based around us. I initially had an idea based around location and having your home changed however it didn’t really go anywhere as I couldn’t think of a compelling narrative to go along with it. Instead, I came up with a film based around my acting background.

The idea stage was the hardest part of this project which is in contrast to other projects as I often consider the idea stage to me the area that I excel at the most. After the scrapped location idea, I was inspired to follow through with the acting idea by the TV series ‘Hannibal’ not just for the editing and situation but as inspiration for my character Ash who I played in my film alongside myself. The character of Hannibal heavily inspired Ash based purely how he was presented and what presence he had. While I was also literally playing myself, I think I subconsciously threw in some of Will from ‘Hannibal’ into my performance too.  

I felt ambitious with this film as I wanted to experiment. I normally stick to ideas that I’m certain I can pull off however I had never done anything like this with me playing two characters on screen. I have acted in films like this however I have never actually had to edit together more than person through the use of footage in which characters interact when they’re not on screen. After finishing the planning stage, I finally got around to filming with the help of only one person as I felt that was all that was required. This felt like a much more low key project for me as we were only outside briefly and a combined cast and crew of only two people meant that there was less hassle and we got done much more quickly than I anticipated.

If I were to compare my film’s timeline to my previous film assignments, I would say that this film’s timeline is by far the most complicated and intricate. As I had myself playing two characters, this already required two video tracks for the film in addition to many audio tracks for both characters, Foley sound effects and dubbed over dialogue in the opening. Before I rendered the film, I decided to fill in the gaps by moving the new audio to where the raw footage’s audio was before I cut it to make it look less daunting.

I tried to apply different types of cutting into the editing process through the use of a shot list after I wrote a script for the film. Notable types of cuts that I incorporated were cutaways, seen during the monologue performance as the film cuts from the delivery to a close up of the paper back on the wall like in the opening, reaction cuts with the use of a conversation between two characters, a cutting rhythm in the bathroom as it zooms in dramatically on the tap followed by the water running from it. I did want to use jump cuts however I couldn’t find a fitting place in the film to do it. I thought to having the opening in the bedroom cut more like the scene in ‘Oldboy’ where Dae-su is in the police waiting room.

There are some problems with the film though. The video quality shifts throughout different scenes in the film. At its most clear is the close ups on Ash however the close ups on the paper which the film cuts to in the final delivery were incredibly blurry as a result of being a last minute addition. The footage looked in focus when recording however it was clearly not in the final product. I also had a few audio issues most notable at the start of the film where I had to dub over the opening in post-production as the sound would be too subtle for the zoom microphone I used for the film to pick up.  I also picked up on continuity issues when taking the film to post such as my coat vanishing between walking on the street to being in the house however I could make the argument that, because you don’t see me enter the house, the coat could have been left by the door and taken off before entering the room. The continuity errors can be justified but I’m sure people will question me on it.

One issue I actually used to my benefit. In the very last shot of the film, I willingly decided to keep the raw audio footage from the camera rather than dub it or use the microphone audio for two reasons. The first was to capture every sound in the room such as the sound of me sitting down on the sofa and the ambience of the room. The second was because it brought on the reality of the situation after Ash had vanished by literally being the reality with the use of natural audio.

Overall, I feel that this was definitely my most experimental film. The fact that the editing was a big part of it meant that I had to step out of my comfort zone and spend a long time in post-production. The entire process felt experimental as this was my first step into masking and make it appear that two characters that weren’t on screen together were actually there. I learnt about new editing techniques in both the editing software I was using and also practically. While I know there were issues with the film that could be ironed out, I will take the final film as a stepping stone in terms of what I’ve done and use it as an example of experimental film making and stepping out of my comfort zone.

Editing and Montage Film Script

INT. ROOM

TOM is staring at his wall. On it is a piece of paper with words on it. He begins to quietly recite it to himself but gets distracted. He checks the time and goes into his bathroom. He then emerges more composed and leaves.

EXT. ROAD

TOM is muttering the words to himself again as he walks with purpose.

INT. OTHER ROOM

ASHY is standing before his mirror as TOM enters.

TOM

Hey, I'm Tom Hayes for the audition.

ASHY turns around as TOM puts his hand out to shake. ASHY politely rejects.

ASH

Please, we must not be so formal. Have a seat.

TOM

Ok...

TOM sits down as ASHY sits down opposite him.

TOM

I was expecting something more like a hall or a...er

ASH

Bank Holidays

TOM

Hmm?

ASH

Everywhere's shut so my house will have to do.

TOM

Ah

ASH

So Tom, can I ask what appealed to you about the project.

TOM

Well, I did something similar before and I really enjoyed it.

ASH

How did you hear about it.

TOM

Oh, I was linked to it.

ASH

Mhmm

They sit in silence briefly

TOM

Do...do you want to go stra-

ASH

TOM, You understand that I've seen plenty of people before you and I need to know what you can offer.

TOM

Well...experience for starters

ASH

Yes, yes. London, correct?

TOM

Yeah.

ASH

That's a start. Where do you hope to be in the future.

TOM

Well since I've done stage, I'm working on film but I'm ultimately aiming at voice acting.

ASH

That's specific.

Another awkward silence.

TOM

Shall I get to it?

ASH

Hmmm?

TOM

My audition piece?

ASH

...ah, yes. The...the thing. Do what you need to do.

TOM stands up. ASH moves the table. TOM starts pacing around while ASH looks in confusion.

ASH

What are you doing.

TOM

...walking?

ASH

.....very well then.

ASH gestures to begin. TOM stops pacing and goes into his monologue.

TOM

I pray thee, bear my former answer back.

Bid them achieve me and then sell my bones.

Good God, why should they mock poor fellows thus?

The man that once did sell the lion’s skin

While the beast lived was killed with hunting him.

A many of our bodies shall no doubt

Find native graves, upon the which, I trust,

Shall witness live in brass of this day’s work.

And those that leave their valiant bones in France,

Dying like men though buried in your dunghills,

They shall be famed; for there the sun shall greet them

And draw their honors reeking up to heaven,

Leaving their earthly parts to choke your clime,

TOM is left in silence as we cut to reveal ASH has vanished.

Editing and Montage Film Shot List

1 - Upper body shot of Tom staring at the wall.

2 - Close up of Henry V monologue pinned on the wall.

3 - Cut back to Tom who starts pacing, looking back at the monologue every now and then as the camera cuts between this shot and the previous.

4 - The angle changes to look up at Tom who checks his phone.

5 - Close up of phone as time is displayed.

6 - Steady shot as Tom moves towards the bathroom door as he enters.

7 - A few minor shots of Tom using the sink to get a drink

8 - Shot 6 comes back as Tom leaves the bathroom, grabs his coat and leaves through the other door.

9 - Panning exterior shot as Tom walks down the street mumbling to himself.

10 - Far away shot as Tom walks towards the camera.

11 - Cut to inside Ash’s house as Tom enters the door, Ash’s head out of shot.

12 - Switch to reveal Ash’s face as he rejects Tom’s handshake.

13 - Angled shot as Tom sits on the sofa.

14 - Cutting back and forth between Tom on the sofa and Ash standing up, camera looking up at him, as they talk.

15 - Mid body shot as Ash sits down and begins discussing the audition with Tom.

16 - Cutting back and forth as they talk between the same mid body shots.

17 - Cut to wide shot as we see Tom and Ash on opposite sides of the screen, sitting in awkward silence.

18 - As the conversation continues, we return to the simple back and forth between them, with reaction shots.

19 - Upper body shot as Tom stands up.

20 - Extreme Close Up profile shot of Ash.

21 - As Tom delivers his piece, we stay in shot 19 while cutting back to Ash for reaction shots.

22 - Ash stands up, returning to the angle shot of looking up at him.

23 - Cutting back and forth between 21 and 22 for reactions.

24 - The final shot is a wide shot with Tom standing on the left, revealing that Ash is not there.

Vertigo (Alfred Hitchcock, 1958) Thoughts

'Vertigo' incorporated many film techniques in order to capture a disorientated feel that coincides with the eponymous vertigo that the protagonist, John, suffers from. The most iconic technique is the contra-zoom used when John is climbing the bell tower.

The entire point of the film is the sense of vertigo that not only does John sense but also that the audience is conveyed with through the use of camera. 

A prominent scene for snappy editing is the opening scene which features a chase along the rooftops which sees John get is initial fear of heights. 

The way that this scene transpires is mostly down to the focus. It begins naturally following the action as the chase  Until John slips and grabs the pipe, it stays with the chase. Once John slips, the focus of the scene changes and stays on him as the police officer reaches for him. We cut to where the action is located. An interesting point is how the perspective changes when the officer falls off the roof. Most films would switch to a extreme long shot and capture the fall itself however 'Vertigo' goes for a point of view shot to put us in John's place as he watches his associate fall to his death. The perspective makes the death more personal and shocking.  

I was surprised by 'Vertigo' because of the narrative. From all that I had heard about the film, I was under the impression that the film would be focusing on John Ferguson's crippling fear of heights however I instead was presented with a tragic love story where the same mistake by the characters is made twice. What engaged me was not only James Stewart's performance but the good twist involving the death of his lover and how it was put together. It's tragic, mean spirited and ultimately blurs the lines of morality because John goes from a sympathetic, heart broken man to what would be considered now an abusive boyfriend. 'Vertigo' offers very good character study. 

Apocalypse Now (Francis Ford Coppola, 1979) Thoughts

There are lots of interesting editing techniques incorporated into Apocalypse Now with a notable use being as soon as the film starts by way of having the helicopter propellers fade into a ceiling fan with the sounds also blending together. The most notable for me is the scene where helicopters prepare to fight against a small village.

What resonated with me here was the sound editing. We hear them start playing Wagner's 'Ride of the Valkyries' as they go into battle however when it cuts to show the village, the music stops abruptly. It's jarring and regains the audience interest. The notable use of sound comes in here as we hear school children singing  after the music was cut off in the edit however as the shot lingers on the village, we can here the Wagner music slowly rising in volume as the helicopters approach. What I take from this is, through the use of the Wagner music slowly engulfing the children singing, that makes me feel like it is a representation of the American’s take over and attack over the civilians. The way that the action also cuts between the helicopter’s attacking and the civilians defending themselves gives equal time to each side in an effort to humanise both sides. 

The sound editing is well done as the music works very well in combination with the diegetic sound of explosions and gun fire. The music acts as a skeleton for the sound editing to follow as the explosions line up with the blasts of music. In a way, the music goes from diegetic to non-diegetic because we know that it is part of the scenario however it ends up covering over it and entwines with the rest of the sound. 

‘Apocalypse Now’ should feel too long (I watched the Redux which is over three hours long) however the way that the film progresses almost makes each portion of the film feel self-contained. The Wagner scene I picked out as well as the scenes the set it up and the aftermath feel like its own story anyway however the way that it follows Willard on his journey to Colonel Kurtz makes it feel more akin to the likes of a road trip movie with a war film coat. It does follow a travelling narrative with meeting characters such as Kilgore and Lucas however it does have direction. Even moments such as USO show feel like they add to the experience of Willard’s journey. 

Blade Runner (Ridley Scott, 1982) Thoughts

'Blade Runner', being a sci-fi film, allows itself to be full of editing techniques in order to capture the world that the film creates as well as deliver it's own feel and rhythm. 'Blade Runner' takes its time to get into faster editing as it originally begins with a slow montage of the futuristic world until the narrative begins and it takes a quicker pace of editing when more and more characters are introduced. 

The most notable scene that stuck out to me was the final monologue delivered by the antagonist Roy after the climax. Even the climax itself is well edited as, despite being a chase through a dilapidated building, is still slow and subtle. As a result, the suspense is heightened and the audience has no way of knowing what trick Roy is going to throw and Rick it becomes one of the most tense and thrilling climaxes. The aftermath, however, is the most memorable scene for me.  

Right from the start of this scene, the way that the shot is put together makes it surprise when Roy saves Rick from falling off the roof because of the fact that it’s so quick with the editing that the moment comes out of nowhere. Especially shocking considering that we had been seeing extreme close ups of Roy's face covered blood, clearly in no position to help Rick. After Rick is brought back on the roof, the editing becomes a back and forth between close ups of Roy's face as he delivers his final monologue and Rick's face for sake of reaction cutting and variety of content on screen. It also goes from an long shot of Roy as he begins until it finally sticks with a close up. Even when he dies, it is still ambiguous as the shot remains the same so all you see is him putting his head down. The audience only has it's one imagination based on information about Roy's life expectancy and the fact that he saved Rick in the first place. He knew he was going to die so he saved Rick in order to vent his life frustrations in the form of a fantastic monologue. 

Overall, ‘Blade Runner’ is a very thought provoking film. I labelled Roy as the antagonist but in truth it is hard to place him as such. Despite being artificial, he is still searching for the same thing that humans are and that being longevity in life. The contrast in the artificial reploids and humans is very interesting despite their ultimate goal. The humans in the film seem much more unpleasant than the relpoids and the sympathy from the audience is actually aimed at the supposed ‘antagonists’.

The aesthetics and iconography of ‘Blade Runner’ is where I feel the real strengths of the film come from. Even though the film came out in 1982, it still looks great and holds up well today. The characters are fleshed out enough to hold the film with Rick being an engaging protagonist against Roy’s insane yet sympathetic demeanour. It blurs the line in morality. The set pieces and backgrounds also look fantastic with character costumes fitting in nicely. The opening of the film sets the tone very well with slow editing to help the audience get accustom to the sci-fi setting.