Poetic Editing

Before opening 'Final Cut Pro' we set upon organising the 'pro res' versions of the footage into categorised folders so that a specific clips could be found without long searches, we gave ourselves as much editing time as possible by obtaining the vast majority of what we needed in the early stages. For the poetic piece we only needed the 'TRACKS' folder pictured above this made it fairly simple in terms of file location when reconnecting media in the timeline if we were using serval computers. 

Once a timeline had been established we created two bins which then separated the tracking shots in our tab into opposing sub categories of shot contents. After this we constructed a rough cut of the footage we felt worked best for the poetic narrative, subsequently adjusting the speed of the tracks so that they played out in similar speeds making the cut less noticeable (as mentioned in the "Sea Change" analysis).   

Following on from the rough cut we then cut down the clips until they were frame perfect to our satisfaction, we chose to have the opening shot of the empty market in darkness slowly awakening by suggestive flickering on of the lights. To create the transcending of time we organised the clips in terms of their customer visibility starting with the early morning barron shots to the infrequent sightings of people through to the very busiest point of the day gradually making a decent into the deprived quieter areas of the market, ending with a cross fade into the final two shots of the market that bring the progression of time to finale, ultimately suggesting the end of a day. We used a similar shot to the first this time the lights turn off as the security guard walks away from the camera allowing the track to come to an end fading to black.  

After we completed the visual process in 'Final Cut Pro' we exported a soundtrack version so that we could construct a soundscape in 'Soundtrack Pro'. We started by creating a sync sound for the lighting in the first track, we did this by using multiple recordings of lights turning on, we matched each bulb flicker recording in correspondence to the visual. To develop a detailed and realistic sound we panned some of the bulbs depending on their location in the shot, we also made the further away lights quieter. 

Once the lighting had been arranged we felt the sound of the recordings still needed to be tweaked, we did this using the 'EQ'.

 The footsteps went through the same mixing process again for the sake of a convincing soundscape.

To justify the size of the market we used the 'Reverb' tool to add an echoing ambience to the footsteps, the echo also made a more impressionable sound suggesting an abandoned environment.

As the tracks progress into an environment containing customers we had to build a gradual increase of sound, we used atmos recordings of the market that we had obtained at various times of the day fading from on to another, we also added in mono recordings of dialogue which is indicative of a market such as traders shouting out there bargains. We panned the audio to advocate more depth giving the impression people are passing by, this panning and fading caused the dialogue from the atmos to become unclear however this was an intentional outcome as we felt it made the piece more poetic forcing the audience to focus on the visuals rather than what they can hear. As mentioned previously in the 'Final Cut Pro' stages of editing we placed the more occupied shots in the centre of timeline to suggest the busy point in the day to clarify this coherence of sound and visuals we fabricated a audible crescendo meeting perfectly with these busy shots, quickly fading these sounds out to match the then empty deserted footage.   

Some of the colours in the footage looked blown out and so we used the three way colour corrector to render a more polished look, a lot of the clips had a reddish haze, we avoided this by moving the points towards the greens and blues.