Editing: 12/11/2015

Editing: 12/11/2015

 

 

• With this sequence of London building shots I decided to cut all the shots down to a shorter length and also rearrange them so they could be used at the start of the trailer.
• The ones that I though didn't suit the start of the trailer were left out and there were only two building shots that I moved to the opening of the trailer. I did this to really make sure the audience at the start of the trailer have a good idea about the genre of the film and where the narrative of the film could go.



• After working on the building shots I worked on cutting down the walking shot to ensure it wasn't over running due to just been a split second clip to coincide with the building shots to establish genre.
• I cut it down to 1.5 seconds which equalled to be around 2-3 steps which is all that was needed for this shots desired effect.

• Then, while in London we filmed a shot on a huge buildings elevator into their building which gave us a good shot of the city and buildings opposite including an iconic Red Bus.
• So with this I again cut it down just so the iconic iconography was seen as also so it didn't over run.
• As we haven't filmed all out footage I was unsure on where to place this clip due to its nature but the fact I have done the cutting that needed to be done means it can be moved anywhere that we need it.

•  This picture of the editing I did shows the sequence of shots at the start of the trailer that I added and edited
• It starts with the walking shot then moves onto a number of London skyline shots and iconic cooperate business building shots within a short of time to create tension.
• After it then moves to a shot of the Gurken and a lobby we got to film and with editing I made it look like we had access to the Gurken's lobby which was effective.
• Then finally with the editing that I did, added in and arranged some office shots of our character with the stream of cooperate buildings so the audience full know and understand the genre of our trailer without giving away anything of our narrative which is good for a restrictive narrative.