Pre-Production: Editing Comedy Tips from Suite TV
I completed a week's placement at professional post production house Suite TV. I learnt a variety of things from the editors there about editing and I made sure to ask as many questions as possible about editing comedy.
Colour Grading
I met Joe who was colour grading the new series of Gino's Italian Coastal Escape that is now being shown on ITV. He told me that every show requires a different look that comes from the grade. He informed me that they always have a big white light in the background of the editing screens because if it was tungsten the eyes would automatically adjust after a while and the tones would blend and whites would eventually become yellow. This is why there is a white backlight to editing grade suites. This will be useful to have when we are editing Young & Famous to ensure that we don't end up having a discoloured film.
Editing with Richard
During my time with Richard, I was tasked with organising the scripts for a new comedy series. There were script notes that went with each page of script of when the shoot took place. These notes are helpful to the editor as they note what happened within that shot and why (if necessary) they did another take of the same shot. For example, a script note may look like this:
These script notes can also be known as a continuity log which will help on long shoots with multiple shots. This would be a great help during the shoot of Young & Famous as it takes place over one week therefore to help us in the edit we will be able to log which shot is which and allow us to sync them together as we are doing a multi camera shoot.
When editing comedy Richard's advice was to not give the gag away before it has been set up. For example, in the Rebels Series 2 which is what Richard was editing at the time, a character is opening a cupboard full of treats when they're not supposed to. She goes to eat one and then sees her roommates face on the cupboard with a post it note attached saying 'NO!' on it. This was shot from the centre of the cupboard showing the character open the doors, however Richard explained that editing it in this way gave away the gag too soon because you could see the poster on the doors as it was being opened. As we are doing a comedy, it is important to bear this in mind when editing ours together.
I asked Richard how to get the best edit for a sitcom and his advice was shooting in multicam as it gives us the structure needed and it also allows us to sync the shots easier. He suggested to tighten the pace as it allows for comedy to enter the show. It is important to ensure the continuity matches the shots and to keep it realistic. This is good advice for our sitcom that we will take on board and put into practice when editing.
Colour Grading
I met Joe who was colour grading the new series of Gino's Italian Coastal Escape that is now being shown on ITV. He told me that every show requires a different look that comes from the grade. He informed me that they always have a big white light in the background of the editing screens because if it was tungsten the eyes would automatically adjust after a while and the tones would blend and whites would eventually become yellow. This is why there is a white backlight to editing grade suites. This will be useful to have when we are editing Young & Famous to ensure that we don't end up having a discoloured film.
Editing with Richard
During my time with Richard, I was tasked with organising the scripts for a new comedy series. There were script notes that went with each page of script of when the shoot took place. These notes are helpful to the editor as they note what happened within that shot and why (if necessary) they did another take of the same shot. For example, a script note may look like this:
These script notes can also be known as a continuity log which will help on long shoots with multiple shots. This would be a great help during the shoot of Young & Famous as it takes place over one week therefore to help us in the edit we will be able to log which shot is which and allow us to sync them together as we are doing a multi camera shoot.
When editing comedy Richard's advice was to not give the gag away before it has been set up. For example, in the Rebels Series 2 which is what Richard was editing at the time, a character is opening a cupboard full of treats when they're not supposed to. She goes to eat one and then sees her roommates face on the cupboard with a post it note attached saying 'NO!' on it. This was shot from the centre of the cupboard showing the character open the doors, however Richard explained that editing it in this way gave away the gag too soon because you could see the poster on the doors as it was being opened. As we are doing a comedy, it is important to bear this in mind when editing ours together.
I asked Richard how to get the best edit for a sitcom and his advice was shooting in multicam as it gives us the structure needed and it also allows us to sync the shots easier. He suggested to tighten the pace as it allows for comedy to enter the show. It is important to ensure the continuity matches the shots and to keep it realistic. This is good advice for our sitcom that we will take on board and put into practice when editing.
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