This will be a weekly three-part behind the scenes series: Lighting, Shooting, and Editing.
The production behind Adam's One Day Builds, are a good representation of the common challenges I'm faced with being a one-man production team at Tested. They're often long shooting days with tons of coverage, shot in a documentary format, meaning that we often shoot for spontaneity which in turn means that the at end of the day I'm coming back with hours of footage and steep shooting ratios: somewhere in between 20:1-30:1.
One important key advantage I have in this series, despite shooting such high ratios, is that I'm shooting for myself. Meaning, this footage is coming back with me to the editing bay, where I'll then chop it up. As the camera operator, knowing how to shoot for the editor, me, allows me to edit the piece in my head, as I'm shooting. Which is huge.
Most camera/editors will tell you how much easier it is to edit their own footage. You know your own quirks, you know what you were shooting at the time and where you were planning on placing that in the video. You know your own movements, and what kind of shots you were trying to get, and in my case, I know Adam. I know how he moves around the shop, about how long it takes him to bandsaw through some ply, screw in six wood screws, or sand a piece of material. I can shoot multiple angles of him working on one piece of his puzzle, only to edit and string them together to fake a multi-cam shoot--essentially to increase production value.
Technical skills aside, one of the key requirements that come with the title job is to learn about the people you work with, and their mannerisms and style, so you can prepare properly, and compliment their style, with your own. Ultimately serving the final product.
After watching the speed at which Adam works, and the precision of him working in his own workshop, I came to the conclusion that the One Day Builds should have a certain style to them: a chance to give the user the perspective of a fly in his workshop. Close intimate angles, camera movement to match Adam's movement, all cut to a slightly exaggerated pace; making sure that information is presented simultaneously, without jarring the audience or pulling them out of the perception of a live filming. It's about marrying the communication with the action, and doing so in an effective way.
This brings me to my main two editing techniques for this kind of feature: