Pre-production, Production, Post-ProductionPER007-1 Applied Choreography: Dance and Innovation

Dr Louise Douse

Editing Techniques

• Creating Rhythm through the edit

• Cutting on music

• Quick edits for fast paced work

• Longer shots for slower paced work

• Editing shorter shots to increase suspense

University of Bedfordshire 2

Editing Techniques

• Creating Rhythm through the edit

• Cutting on Dynamic Action

• Cutting mid-action rather than at the end of a phrase

• Enables continuity of pace

University of Bedfordshire 3

Editing Techniques

• Creating Rhythm through the edit

• Cutting on Dynamic Action

• Cutting on Different Spaces

• Breaking convention/ playing with continuity

• Changing scene

University of Bedfordshire 4

Editing Techniques

• Creating Rhythm through the edit

• Cutting on Dynamic Action

• Cutting on Different Spaces

• Jump Cuts

• No change in angle, jumping the shot forward/backward in time/space

University of Bedfordshire 5

Editing Techniques

• Creating Rhythm through the edit

• Cutting on Dynamic Action

• Cutting on Different Spaces

• Jump Cuts

• Reversing and Repeating

• Playing with continuity

• Challenging conventional time/space dimensions

University of Bedfordshire 6

Editing Techniques

• Creating Rhythm through the edit

• Cutting on Dynamic Action

• Cutting on Different Spaces

• Jump Cuts

• Reversing and Repeating Footage

• Playing with continuity

• Challenging conventional time/space dimensions

University of Bedfordshire 7

Construction of a Dance for Camera Work

University of Bedfordshire 8

Pre Production: •Planning (set up of project, initial ideas, themes, filmic relations, filming schedule)•Location scouting (Find your suitable locations gain permissions for use)•Cast/ Crew selection (Select performers behind the camera roles)•Storyboarding (Plan the film out in chronological order)

Production•Filming on location •(Working in public spaces, spatial awareness, time keeping)•Continuity (Vision, ‘in house style’, costume, locations)•Shot Logging (A log of all shots)

Post Production:•Uploading footage (getting all your footage in one place)•Edit decisions (transitions between shots/sequences)•Editing ‘the rushes’ (Creative choices on films structure)•Credits (Roles of group, any thanks to help or location)•The final film (sign off the final film product)

Task 1 – Storyboarding

• A well-conceived storyboard can:

• Give you an overview of your video dance, which can help you to work out if you have planned for what you need, if there are obvious gaps, or sections that could become ‘optional’ if you run out of time

• Help you to work out your daily shooting schedules, as well as the all-important logistics of a particularly complex scene or series of shots or frames

• Be the focal point of planning discussions between you and your creative team, including the choreographer, lighting and camera person and production designer

University of Bedfordshire 9

Task 2 – Practical Recces

• Scout out various locations around the uni. Go without a camera.

• Before you set off, make a list of the kinds of practical questions you would need to resolve if planning a shoot there.

• When finished, decide whether this would be a suitable location for filming, both from a practical and aesthetic point of view.

University of Bedfordshire 10

Next Workshop

University of Bedfordshire 11

Teaching week 8Calendar week 48Week beginning Monday 24th November

Workshop 3:Project Development

McPherson, K. (2006) ‘When the shoot comes’ and ‘Light and sound on the shoot,’ in Making video dance: a step-by-step guide to creating dance for the screen. London: Routledge, pp. 118-138 and pp. 141-155.