Editing sync sound to capture the essence of any storyline is a core craft skill for all film and video editors. In the case study, I explain the process for a short documentary I filmed and edited.
Editing together the structure of a story from the sound
The Strength & Vulnerability Bunker film was not scripted or storyboarded; it was more of an observational documentary-style. It was filmed as the actual events happened. To begin editing this type of film, I first transfer all the filmed rushes into my edit system and then spend time listening to all the sync sound. I then start editing and assembling a long edit timeline of the best sync sound as I listen to the clips.
Once I have listened to all the sync sound and made the first extended edit of all the good bits of sync sound, I name this edit “edit one”. After making the edit to one timeline, I then make a duplicate of that edit and rename it “edit two”. I then start editing the edit two version of the timeline, removing anything that is no longer needed for now, thereby reducing the overall edit duration. As I progress, I create a new editing timeline version (edit three), and so on. I always make edits and work on the latest version of the editing timeline. I can then always refer back to the original long edit timeline to reintroduce any audio or video that I may have edited out previously. The more you listen to what sound is available, the better you gain a sense of the strength of the story.
After I have edited and selected the most essential audio content, I proceed to edit it in greater detail. I begin moving the audio clips around away from their sequential order. Eventually, I edit these together to build a story that works with just the sync audio (of course keeping the associated vision attached to that audio on the video layer). There are lots of editing techniques you can use to help tell the story, and you could add additional voice-over to enhance it if need be.
Editing lots of contributor sync
The process of editing down lots of contributor sync sound generally starts with a long compilation edit. As you then repeatedly listen to it, making additional edits along the way, you gain a sense of the story. Over time, as you eliminate non-essential conversation and audio gaps, the edit timeline shortens. Next, when you have a good outline of the story in audio and roughly timed, you can start adding music tracks where appropriate, then build the different soundtracks into a more complete, finished work.
Editing takes time
As I am usually either the filmmaker or both the producer and cameraman on the projects I film, I generally know where to find the best content in the footage. Even so, editing this example film (and films like it) can take at least a couple of weeks, depending on the final duration. There are so many different elements to consider for the client (s), who may require additional details for the final version. Â If working with a producer who directs the edit, this process can be less time-consuming. The provision of a rough script outline at the outset, along with time codes for essential sync sound, would also make filming and editing smoother and quicker.
As the editing develops
As the editing timeline progresses, you can start editing or painting pictures over the audio bed. This helps the story edit work visually, with cutaways and visual effects. Â You then have an edit timeline that works together, both visually and audibly.
One of the real joys for me in editing a film (like this one for The Koestler Trust) is in selecting the music for the edit. The many artworks in the exhibition (featured in this film) are entries in the annual Koestler Awards. The Koestler Awards attract hundreds of musical entries (as well as thousands of visual and other art forms). Each year, I listen to the vast majority of these new tracks to select those that could be suitable for the film’s music. Editing with music is a real passion of mine, as is using a song’s lyrics. Music is a great tool for adding pace, conveying emotion, and creating depth to any story.
Delivering the edit
I delivered a polished first cut of this film to the Koestler Trust and viewed it along with their team. I was thrilled that (apart from some detailed text adjustments) they were delighted with my storyline and edit structure, which had all come together in the edit. Â After the detailed adjustments and a further viewing for sign-off, the film was uploaded to YouTube and burnt to DVDs. The DVDs were sent out to all the UK’s secure institutions so that the artists (who had submitted the artworks) could see their works as they had been displayed at the exhibition. I am sure this film will be a source of great inspiration, and I hope it encourages many detainees to continue to contribute to the annual Koestler Awards.
Please get in touch if you would like my assistance as a video editor or if you have any questions or would like advice on anything regarding your video production or post-production. This project was edited on Avid Media Composer.
If you have found this editing sync sound article useful, you may find these related articles of interest. For more advice and tips, check out my video production blog.
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