I have been very descriptive with the file names including with internal or external shots, time of day (and brightness, kind of light), type of shot eg, WS for wide shot, CU for close up, tracking or pan shots, angles, POV and content.
All the rushes files have been stored in the Original Footage Rushes bin once all the shots had been taken from them.
The sequence has been set up ready for assembly and titled appropriately: Night Journey Assembly.
When I was logging the shots I did so whilst referring to the shot list, and indeed a lot of the content in the file name contains some of the shot description from the log sheet. This is good if someone else was to take over the editing, they would see the relation between the shot descriptions and the file names and the right clips would be easy to source.
Whilst going through each shot to log it I made my own personal notes on the log sheet for reference. This is has proved handy for me to refer to and again, would be a useful tool should someone else have to take over the project. The log sheet is kept in my production file along with the script and storyboards and other notes that I have made.
From the notes I made on the log sheets I noticed that there are lots of different issues to consider during the editing process, including continuity issues, colour issues and which take works better.
Here are my notes and some of the issues raised:
Page 1 of 13 of Log Sheets
In one of the clips from the rushes one of the trains shown 'from above with railing' was a lot shorter than other trains shown in other clips. This made think that when it comes to assembling the piece that I should be mindful of making sure that the train that is being presented as the train the cannibal and victim are travelling on should be a consistent length, style and colour throughout. It is a continuous journey, we can't be confusing the viewer with different trains.
In one of the clips there is some red level crossing warning lights flashing in the shot. I remembered that later in the rushes there is a close up of red level crossing warning lights and made a note to see if these two clips could link to make a nice coherent sequence. It might not work but it's worth trying it to find out. I've also annotated the sheets to show the shots that I particularly like: 'Nice shots'!
Page 2 of 13 of Log Sheets
In these notes you can see that I've mentioned where there is a slight camera wobble in the clips and also noted where one of the clips starts very dark and ends very dark so it looks like a fade in and fade to black. This could make a nice moment, or if it doesn't fit we can clip the shot. I've also noted where there has been a difference in pace between the different takes of the same shot. This will be useful in pacing the piece.
I have also noted where something comes into shot which doesn't look as though it should be there and the difference of the lights outside the window. One shot has a good effect of lights passing by whereas the next take doesn't have those. Again, this works well as it means we have options when we come to assemble the clips: one may look too fussy or the other may not look dynamic enough t represent a train speeding along at night.
Page 3 of 13 of Log Sheets
From this collection of clips I noted that one seemed out of focus, so I noted that in case it didn't fit right in the assembly.
Page 4 of 13 of Log Sheets
An obvious note from these clips was regarding being able to see the wire with which the case is pulled.
Page 5 of 13 of Log Sheets
In my storyboard I have mentioned where the victim looks sleepy and uncomfortable. I have annotated the log sheets to show this too and included it in the shot file names. I have also shown on the log sheets and in file names where I think a shot could be split. Sometimes this is because it is a particularly long take and we may not need it all, or if there is a particularly good bit that might work on it's own.
Page 6 of 13 of Log Sheets
In my storyboard I mention that we, the viewer, aren't sure whether the victim actually is attacked. On the log sheets and file names I have pointed out the clips where the victim is 'motionless' at the start. This could be used to be ambiguous and add tension.
I have also noted that one of the shots, although a really good shot, might not link up correctly with the shot of the cannibal walking away from the train as the environment outside the window is quite urban whereas the final shot of the cannibal walking away is definitely countryside with no buildings in sight.
Again I have noted where a clip could be split. In one take the cannibal repeated the same sinister smile three times. We only need the best of these smiles. I have also noted the nervous glances and exchanges between the two travellers and where they may link in the assembly. This will help me locate the correct files quickly.
Page 7 of 13 of Log Sheets
This log sheet includes the clips that show there are other people on the train. In this batch we see the guard and the man in dressing gown. This is important as they feature later when the alarm is pulled (along with the woman in the pink coat).
An important thing that I noticed was that the man in the dressing asks the victim and the cannibal for a light for his cigarette but they both say that they don't have one. However in the rushes the previous shot showed the cannibal offering the victim a cigarette, so we presume that he does have a lighter. In this case I think we should put the shot of the man in the dressing gown before the shot of the offering of a cigarette. This would make the cannibal seem like he just wanted rid of the man in the dressing gown so they could be alone again and also mock the man in the dressing gown behind his back as the cannibal did have a light but he also had the power to decide whether the man in the dressing gown gets a light for his cigarette or not. This shows how the cannibal believes he's in control. If I go even deeper... it could be argued that by deciding whether the man in the dressing gown gets a light for his cigarette the cannibal is in fact contributing as to whether the man in the dressing gown lives or dies (as smoking kills you). This is the crux of my storyboard, in that, the cannibal is deciding whether to kill the victim or not.
Page 8 of 13 of Log Sheets
On this sheet I noted that in different takes of the same shot the woman in the pink coat seems more fed up in the later take. I also noted where the victim is talking to the cannibal and gestures towards his own ears, this links to part of the narrative.
In the shot with the seat and metal grill of the carriage the flashes that occur, that give the impression of being in a tunnel, occur at two different speeds. As previously discussed, this gives me options as to which fits best in the assembly. This shot would be a possible link to another shot which shows the view from the carriage window as the train enters a tunnel and lights flash by.
Page 9 of 13 of Log Sheets
Again, on this log sheet I have listed possible links to other shots and I have also noted where there is a technical issue in the clip: a strange flash appears on screen which shouldn't be there. I have noted not to use that shot.
Page 10 of 13 of Log Sheets
When logging these shots I noted several things that may affect continuity; time on clock / time on departure boards, colours of trains (our traveller - the victim - boards a blue and white striped train*), platform numbers and the difference in the roof between the station concourse and the platform hall.
* The rear engine of 'our travellers' train is red. This could be important when splicing in external shots of trains going through the countryside and implying that they are the train that our travellers are on.
The other thing that I looked for carefully in the station shots was members of the public noticing the camera. This did happen a few times and I have noted that on the log sheets.
Page 11 of 13 of Log Sheets
Again, on this sheet I have noted where members of the public are looking directly at the camera.
I also paid attention to the position that our victim character takes up on the platform whilst waiting for his train. In the different shots filmed at different levels he stands at different places on the platform in relation to the kiosk / office behind him. This wouldn't make sense if the shots were run together. There is a shot of him pacing up the platform then turning back to the 'wrong' position, but this could be cropped so that he only paces up the platform in one direction and doesn't turn so he could feasibly have ended up in that position.
Page 12 of 13 of Log Sheets
In capturing and logging the shots in files on Final Cut I noticed that the first shots are logged on the log sheets in the wrong order and that the second logged shot on the log sheet actually has two takes.
The shot of the victim boarding the train viewed from inside is obviously not at the same station as where he was previously shot walking round the concourse and platform.
I'm also conscious about using the shot of the train leaving the city at night and passing the double decker train too soon. The double decker train is completely empty. It looks quite spooky because it's empty, but will have to think carefully about where in the film it fits.
Page 13 of 13 of Log Sheets
I noted from viewing and logging this shots that it was possible to see the reflection of the car quite visibly in the windows of the buildings.
Personal Notes: 'Other Things to Bear in Mind When Choosing Shots and Editing'
1) When alarm pulled the shot shows night outside window, not dawn breaking which is when cannibal leaves train
2) Direction of train travel in shots. 180 degree rule apply? Does it confuse?
3) In carriage: curtains open or closed
4) Sound to accompany carriage door opening
5) Billy Wilder: If dialogue doesn't progress the film, don't use it
6) Make sure showing correct train throughout!
7) Avoid dissolves!
8) 3/4 profile shots look really good
9) Goldfishing, some shots have characters mouths moving in speech
10) Shot of woman in pink coat window shopping and smoking reminiscent of her position in train corridor, reference / link?
and final note:
I think I have been very naive in saying that I am not including the Amsterdam references and footage. Some of the Amsterdam daybreak shots are actually really nice and would envelope woman in pink coat window shopping. Plus I really like the tilt and pan of the elegant building and static shot of train on bridge could link journey to Amsterdam..? We'll see. I'll have a play around with the assembly.
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