The Kite Production Diary

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Production Diary Name: Hiu Tung Karen Law Student ID: 11041177 Research Based on my role in the group, I explored more in these ideas. Film Editing To me, editing is always an abstract thing. People always say that editing is choreography. Editors must have strong senses of timing and pacing, know how to create a rhythm, tension and release for the film. So how can I learn to build up that sense? Many would say that’s your experience in editing. This is just so board. Karen Pearlman wrote a book about shaping the film edit. I agreed with Pearlman that most editors would say, “It’s intuitive”. But she brings out some points about building up a good expertise on editing, like watching more films, doing detailed research to have a thorough understanding of the material and story and learning to see the potential of movements and moments before they are shaped. To be short, that means editors need time to develop his/her experience. Even if we talk about creativity, combining different images, sounds and movements can create new and coherent meanings, practices seem to be the most important in training editors. Pearlman also mentions that music is very important in films, she said “The composer makes up the music and its rhythms, whereas an editor doesn’t exactly makes up anything up.” I agree that music is important, but is it more important than editing? I think music can help create emotions, enhance the rhythm created by editing. Even though editing looks like choreography, but the main difference is choreographers often work with abstract movements, but editors always work with naturalistic movements. And they have to maintain the continuity of movements. Pearlman mentions some technical words like pulse that makes up rhythm of the film. I believe it’s just like a human body, the speed of pulse can affect the whole body system. The rhythm of the film affects audience’s emotions, I think this relates to storytelling. Another one is movement phrases. In the book she says, “…are compositions of movement into perceptible and intentionally formed rhythmically expressive sequences.” I believe she’s talking about how to shape movements, how to make them smooth enough that audience doesn’t notice there is editing in it. Pearlman mentions many theories of editing, like how to build up good sense of timing and pacing, how to create physical and emotional rhythm. They are not a recipe that I can follow in every editing of films. Rotoscoping My main reference is Richard Linklater, a director who directed two rotoscoping films, Waking Life (2001) and A Scanner Darkly (2006).


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