Behind the Scenes at SVG: Editing

Non-Linear Editing in its original form.

Non-Linear Editing in its purest form.

“You make three films. There’s the film you write, the film you shoot, and the film you edit.”

-Ancient Filmmaking Proverb

Shooting a video or film is unglamorous. It is an inherently structered, regimented, slow, and tedious process. On set you aren’t creating, just following the instructions laid out in the script: a shot from this angle, a line from that actor. The real creative inspiration comes from the writers, while questions of structure, pace, and taste go to the editors.

Imagine: the writer finds the diamond, the director digs it up, and the editor cuts to find the natural beauty. It’s much the same for social video marketing as it is for film.

We shot our own video commercial a few weeks back. You can read about the shoot here. On set we worked to cover the angles and actions laid out in the script. Apart from lighting, however, there was very little creative energy. Putting the pieces of the puzzle we shot together in the editing room, however, proved to be great creative fun.

The first thing I noticed, after the painful transcoding and backing up process, is how many things we shot that didn’t work. Sometimes it’s continuity, sound, framing, performance, etc. Most of the time it’s pacing, especially in a marketing video. You only have a couple minutes to hook your viewer and tell a story; beyond that you bore them, especially in the age of countless kitten video distractions. I started with a three minute cut and struggled to trim it to a taught two minutes two seconds at a time. the cuts always seemed to be my favorite shots. They just didn’t fit when I reduced the piece to it’s essential parts.

Perhaps I’ll come up with a 3 minute “Directors Cut Special Edition.” Then again, the edited film is better than the ones I wrote and shot. The boundary of running time helped.

This is why SVG shoots so much footage for our clients. We want to bring many pieces to the editing room so we can use only the best and most essential ones in our final cut. We spent two days shooting at the Al Huda Society and boiled the footage down to two minutes. Don’t be surprised when something we shoot for your company doesn’t make the cut.

With Non-Linear Editing technology powerful enough to do almost anything, the artistic choices an editor has are nearly limitless. (If you want to see that power used poorly check out this behind the scenes video of the first Star Wars prequel.) Then there is sound editing, mixing, and visual effects. You can do anything you want nowadays, but it’s often best to stay within boundaries.

That’s why production companies like SVG exist: To collaborate with clients on branding and content, go through the process of shooting, and craft everything into a cohesive, snappy social video.  That’s in addition to technical editing expertise with encoding for the web, uploading with a CMS, printing DVD’s, and so on. We have the experience and expertise to quickly turnaround a final cut.

I’ve hardly scratched the surface here, but I thought I’d share some of our experience editing at SVG.

UPDATE: Watch our new Videomercial on Youtube.

000-017   000-080   000-089   000-104   000-105   000-106   070-461   100-101   100-105  , 100-105  , 101   101-400   102-400   1V0-601   1Y0-201   1Z0-051   1Z0-060   1Z0-061   1Z0-144   1z0-434   1Z0-803   1Z0-804   1z0-808   200-101   200-120   200-125  , 200-125  , 200-310   200-355   210-060   210-065   210-260   220-801   220-802   220-901   220-902   2V0-620   2V0-621   2V0-621D   300-070   300-075   300-101   300-115   300-135   3002   300-206   300-208   300-209   300-320   350-001   350-018   350-029   350-030   350-050   350-060   350-080   352-001   400-051   400-101   400-201   500-260   640-692   640-911   640-916   642-732   642-999   700-501   70-177   70-178   70-243   70-246   70-270   70-346   70-347   70-410   70-411   70-412   70-413   70-417   70-461   70-462   70-463   70-480   70-483   70-486   70-487   70-488   70-532   70-533   70-534   70-980   74-678   810-403   9A0-385   9L0-012   9L0-066   ADM-201   AWS-SYSOPS   C_TFIN52_66   c2010-652   c2010-657   CAP   CAS-002   CCA-500   CISM   CISSP   CRISC   EX200   EX300   HP0-S42   ICBB   ICGB   ITILFND   JK0-022   JN0-102   JN0-360   LX0-103   LX0-104   M70-101   MB2-704   MB2-707   MB5-705   MB6-703   N10-006   NS0-157   NSE4   OG0-091   OG0-093   PEGACPBA71V1   PMP   PR000041   SSCP   SY0-401   VCP550   70-177   350-060   70-413   ICGB   500-260   220-901   100-105  , 1V0-601   101-400   CAS-002   300-115   70-178   101   70-980   300-070   1Z0-061   1Z0-803   350-060   400-201   JK0-022   810-403   SSCP   OG0-093   9L0-012   PMP   70-417   LX0-104   1Z0-144   ICBB   c2010-657   70-347   1z0-434   70-462   NS0-157   300-135   200-125  , 70-411   70-346   000-105   400-201   642-999   SY0-401   ADM-201   220-801   NSE4   ICBB   70-246   70-413   350-080   70-461   70-417