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I decided to push myself and do all the projects in Avid and expand on my knowledge of the software that I had previously gathered over the past 2 years. I also took and passed the Avid Certified Exam over the course of my portfolio which was an invaluable asset to my learning, and helped me be more efficient with the software during my portfolio.

I chose Avid, because I'm already well experienced in Premiere Pro and Avid is the industry norm for craft editing, which is my speciality, so getting the experience with it on these projects will help me to get a job post uni.

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A Letter I know You Wont Read Client Contacts

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A Letter I know You Wont Read Client Contacts

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I have mixed emotions about this project, I feel like the edit could have gone better if I had more time and better rushes, with more narrative to the rushes, but at the same time, I am really happy with the project as it has been the largest scale of the project I have done to date, with the length of the edit and the amount of footage to go through. This was a fun challenge and very satisfying to complete.

This project required a lot of time dedicated to media management, with around 25 hours of +1000 clips to import, organization was key. I initially linked the rushes in avid, then transcoded them from 4k h.265 to 1080p DNxHD LQ so my computer could play them back easier. After that, I copied the log description of each clip to avid and made a reel for every individual folder of rushes imported. After that, I then went through all the footage and sorted it by type (e.g. landscapes, birds, boar) and placed it into their own bins, once again creating a reel for each bin. This helped me narrow down the clips and made it easier for me to focus and find what I needed based on the script. I repeated this process each time rushes came in. I didn't get the rushes all in one go, which made the edit slower and more difficult, I would have to re-edit sections as new more relevant stuff came in. I got the initial batch of 700 GB of footage, then every few days I would get some more footage up until around 3 days before pic lock. Also working with multiple frame rates and resolutions was also something I had to consider with this. I had to size up and down clips and work with h.265 and h.264. Transcoding into proxies helped with this. This project had footage with about 5 different frame rates used, I had 50fps videos set to play back at the timelines 25fps for the slow-mo smooth shots we needed. Most of the clips with different rates were set to play back at 25 to help consistency.

To help manage the size of the timeline, which was initially 24 mins. I separated it into 3 acts, and then within each act, they had its own subsection. This allowed me to create assemblies for each section working only on that, helping me to focus and manage the scale.

Because of this scale and amount of footage, I feel that if I had a couple more weeks on this project I could have produced a better cut. I got the initial batch of footage at the end of March, then the script started in April. So between that and media management, I didn't have long to work on this. I spent 91 hrs on this but I'd say this needed another 30hr.

My relationship with the client throughout this project went well, I did have to convince him that this documentary needed narration, as originally he didn't want any at all. So I'm glad I got him to change his make as this definitely improved the piece. The only negatives I have with the client, would be that he didn’t fully understand the workflow and I had to explain it to him, he didn't understand how long the edit would take and underestimated the time needed for this, and the constant flow of footage throughout wasn't that helpful. This project could have been improved by using stock footage, to replace some of the less relevant clips. I did suggest this to the client on 2 separate occasions but unfortunately, he wouldn't have any. Another thing I think would have benefited this project would have been a shorter runtime. I said this to the client originally and after suggesting multiple areas to cut/cut down when I got the cut down to the run time it is now. I did suggest further removals but was denied. I think a sub-10-minute version would be more engaging, because of the shots we used it feels more like we're watching a ‘slideshow’ so having this shorter would have allowed for only the absolute best shots to be used, the VO to be more concise, and just a tighter cut.

Overall, based on the direction from the client and the available rushes and script I had to work with I am happy with how it turned out. It's been a challenging project and I've learnt a lot working on it, especially how to manage and troubleshoot a large project within avid!

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﻿ASSEMBLY 1_Full ViewTest 2_2023-04-07.mp4
Jack Beresford - 02:30PM April 07, 2023

000 - Craig Baker - 11:11AM April 08, 2023
01:02:02 - Hold the shot of Deer grazing on the riverbank


001 - Craig Baker - 11:12AM April 08, 2023
01:02:37 - Culling of (INSERT BEAR)


002 - Craig Baker - 11:13AM April 08, 2023
01:03:20 - I like seeing the Bear and then the Bear +  Wolves - good work


003 - Craig Baker - 11:16AM April 08, 2023
01:06:04 - I will film plant roots for this


004 - Craig Baker - 11:17AM April 08, 2023
01:06:56 - Insert wide angle dead Boar footage


005 - Craig Baker - 07:56PM April 08, 2023
01:10:26 - tidy up match cut


006 - Craig Baker - 07:58PM April 08, 2023
01:12:24 - sexy


007 - Craig Baker - 07:59PM April 08, 2023
01:12:42 - try a REEALY close up keyframed word-by-word movement. Add motion blur


008 - Craig Baker - 07:59PM April 08, 2023
01:13:02 - show the bat close up and then come back for a wide


009 - Craig Baker - 08:01PM April 08, 2023
01:13:20 -  Try this but hold on the nightmoon for a lot longer


010 - Craig Baker - 08:04PM April 08, 2023
01:13:31 - this is a cave spider sac. Remove it from this section, crop in to avoid bat, and potentially use it in relation to cave spider footage? 


011 - Craig Baker - 08:04PM April 08, 2023
01:13:31 - egg sac*


012 - Craig Baker - 08:05PM April 08, 2023
01:13:23 - For this wgole section, PLEASE use the nighttime footage we shot of the hills from Symonds Yat Rock viewpoint. It demonstrates light pollution in a mass scale


013 - Craig Baker - 08:06PM April 08, 2023
01:13:37 - *sleep and rest* we see a sleeping bat


014 - Craig Baker - 08:08PM April 08, 2023
01:14:02 - use this for the section earlier regarding the bats holding the moon in one corner of their eye for navigation. 


015 - Craig Baker - 08:15PM April 08, 2023
01:16:12 - Hold on the Boar. Let us watch them


016 - Craig Baker - 08:16PM April 08, 2023
01:16:15 - This is pretty un-dredged ground. I'd suggest using a shot where the soil is visible, and it is dark and churned up


017 - Craig Baker - 08:17PM April 08, 2023
01:17:25 - wighty mammals - boar, deer


018 - Craig Baker - 08:19PM April 08, 2023
01:18:31 - so, the limestone rock is the rock that makes caves. The cave from earlier, and all rock surrounding it, is limestone. Search the log for all rock footage. Glacial erosion forms valleys, so show footage of the Wye Valley


019 - Craig Baker - 08:20PM April 08, 2023
01:18:52 - show the puddles and ridges and boar village from earlier

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﻿ASSEMBLY 1_Full View Test 7.mp4
Jack Beresford - 06:09PM April 13, 2023

000 - Jack Beresford - 06:10PM April 13, 2023
01:00:13 - still need to do this section 


001 - Jack Beresford - 06:11PM April 13, 2023
01:00:31 - if you have any ideas for this next little section, that would be helpful btw lad :)

	Craig Baker - 06:15PM April 13, 2023
	when i say hydrological, show water. Geological, show rocks, and so on

	Craig Baker - 06:16PM April 13, 2023
	Just pretty filler like the blackbird drinking or a robin foraging

002 - Craig Baker - 06:20PM April 13, 2023
01:03:25 - i think i'd like this shot taken out 


003 - Craig Baker - 06:26PM April 13, 2023
01:08:51 -  hold the cloud shot until the word "light"


004 - Craig Baker - 06:27PM April 13, 2023
01:08:54 - extend this slow-mo flared car shot


005 - Craig Baker - 06:29PM April 13, 2023
01:10:21 - love this :)


006 - Craig Baker - 06:31PM April 13, 2023
01:12:34 -  there is trail cam footage from camera 4 which shows Boar digging with their snouts. Use this pls


007 - Craig Baker - 06:33PM April 13, 2023
01:13:21 - could you pls just flip these 2 trail cam clips around. The squirrel before the bird


008 - Craig Baker - 06:44PM April 14, 2023
01:01:22 - INTRODUCTORY GRAPHIC HERE


009 - Craig Baker - 06:44PM April 14, 2023
01:01:26 - INTRODUCTORY GRAPHIC HERE


010 - Craig Baker - 06:44PM April 14, 2023
01:01:33 - INTRODUCTORY GRAPHIC HERE


011 - Craig Baker - 06:45PM April 14, 2023
01:02:09 - INTRODUCTORY GRAPHIC HERE


012 - Craig Baker - 06:45PM April 14, 2023
01:02:32 - INTRODUCTORY GRAPHIC HERE


013 - Craig Baker - 06:46PM April 14, 2023
01:02:42 - INTRODUCTORY GRAPHIC HERE


014 - Craig Baker - 06:47PM April 14, 2023
01:03:55 - INTRODUCTORY GRAPHIC HERE


015 - Craig Baker - 06:47PM April 14, 2023
01:04:14 - INTRODUCTORY GRAPHIC HERE


016 - Craig Baker - 06:49PM April 14, 2023
01:05:25 - INTRODUCTORY GRAPHIC HERE


017 - Craig Baker - 06:49PM April 14, 2023
01:05:53 - INTRODUCTORY GRAPHIC HERE x2


018 - Craig Baker - 06:50PM April 14, 2023
01:06:09 - INTRODUCTORY GRAPHIC HERE


019 - Craig Baker - 06:51PM April 14, 2023
01:07:12 - INTRODUCTORY GRAPHIC HERE


020 - Craig Baker - 06:53PM April 14, 2023
01:08:47 - this shot is used twice


021 - Craig Baker - 06:53PM April 14, 2023
01:09:19 - INTRODUCTORY GRAPHIC HERE


022 - Craig Baker - 06:57PM April 14, 2023
01:12:44 - INTRODUCTORY GRAPHIC HERE


023 - Craig Baker - 06:57PM April 14, 2023
01:12:47 - INTRODUCTORY GRAPHIC HERE


024 - Craig Baker - 06:58PM April 14, 2023
01:13:01 - INTRODUCTORY GRAPHIC HERE


025 - Craig Baker - 06:58PM April 14, 2023
01:13:03 - INTRODUCTORY GRAPHIC HERE


026 - Craig Baker - 06:58PM April 14, 2023
01:13:09 - INTRODUCTORY GRAPHIC HERE


027 - Craig Baker - 06:58PM April 14, 2023
01:13:11 - INTRODUCTORY GRAPHIC HERE


028 - Craig Baker - 06:58PM April 14, 2023
01:13:22 - INTRODUCTORY GRAPHIC HERE


029 - Craig Baker - 07:00PM April 14, 2023
01:15:19 - INTRODUCTORY GRAPHIC HERE


030 - Craig Baker - 07:01PM April 14, 2023
01:15:27 - INTRODUCTORY GRAPHIC HERE


031 - Craig Baker - 07:01PM April 14, 2023
01:15:33 - INTRODUCTORY GRAPHIC HERE

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In contrast to ‘Breathing Grounds’ this client project was a lot shorter and I didn't have enough footage to work with really. The turnaround for this one was fairly quick as it was a relatively straightforward piece, that's not to say it isn't without its challenges though.

One of them was, working with still images, finding the timing to place these into the cut and making it flow next to the videos was tough. Especially with the intro to the piece. Getting the pacing of this was critical, as this was a poetic documentary, it needed to be slow and emotional with the cuts and pacing and I think I managed to succeed in this. It was nice to slow down and work with a few longer shots and just find the exact right frame to cut on for this piece. The lack of footage for the project caused this project to suffer in my opinion, I wasn't given a lot of options with which shots I could cut too, and some shots had to be used twice to extend the length of the cut, as the director wanted to make this as long as we could. I would say the opposite was needed, a slightly short runtime was needed for this along with a reworked structure of the story, this would have been more engaging to the audience to me, I feel as if the story in this cut isn’t super clear, but that was down to the script and nothing I could change, unless we change the piece as a whole, which I was not allowed. This project suffered from a lack of organization on the director's part. I was happy with the elements of this cut though, it was nice to work on something a bit different from what I'm used to, and I think I managed to successfully portray the ‘poetic’ part of this poetic documentary.

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This project was the shortest runtime out of all of my projects but I would say it was still one of the most challenging cuts. One of the challenges with this was managing the rushes, every shot had a regular speed and slow speed version, mixed together. This made it incredibly difficult to sort through the rushes. I decided to separate the versions, and make an assembly cut with just the regular speed rushes, then once complete, splice in the slow-mo stuff. I’m happy with how this project turned out, the 1 draft for this was a lot different from the direction I ended up going in the end. Based on some feedback, I decided to change the ending of this piece, the original ending involved the character losing the fight, but in terms of the story it didn't quite make sense, there’s all this build-up and tension rising and emotion, and when it comes down to it he just loses, I think I would have made the audiences react like ‘oh??....’ and is an unsatisfying end. So I managed to reshuffle the structure and force the rushes to give the illusion that the character wins the fight. In my opinion, this is a much stronger piece now. Another thing that also aided this was the run time, it originally was about 1:30 longer. I managed to cut this down and cut to the chase more, condensing the piece and removing unnecessary sections. I think this resulted in a much tighter cut which is more entertaining, and made the pacing feel more in line with what the story is trying to show. The pacing of this was incredibly difficult to perfect as the footage was the best and the script wasn’t super clear, because of this I had to scrape some initial ideas that I had as they just didn't work out, and I had to remove some maybe nicer looking shots because they didn't aid in the cut. Another part about this which was challenging was the flashbacks scenes, both training and war. It was very challenging to intercut these moments where it felt important to the story and not just to cut for the sake of it, I cut the length of these down to make them more relevant and tried to include match cuts to help bridge the two scenes.

One thing I did like about this piece was the fighting scenes. They cut together well and flow continuity-wise. I feel that I have chosen the best shots and takes for these scenes, which all feel relevant, just the right length, showing the emotion of the character and how he's feeling through the journey.

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The script for this really showed potential, and I was looking forward to editing something in this style. But unfortunatly due to the unprofessionalism from the client, I wasn't able to take on this project due to time constraints.

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- More footage ingested for breathing grounds, logged and transcode
- cut vo down and started to add clips to a rough assembly cut based on script and vo
- Met with client to look over some initial shots on the timeline
- Made changes to 'ALIKYWR' based on feedback ready to meet
-Met client, went through the changes to the cut, got some additional notes
-Made changes based on those notes
-Reviewed
-Made last small changes and confirmed picture lock, exported packages ready to send off for the grade and sound (ALIKYWR)
- Adding more clips to the timeline for 'Breathing grounds'
- Still waiting on rushes from 'One last bite'
- Set up a meeting for the following week, to go through the edit and make some changes, just before the new VO was recorded
- Started to work on cutting down the script for the client to get the time down on the project before the VO was recorded
- down from 24min to 18:30mins after multiple script editing, cut the VO down also
- Got additional footage sent, logged
-Added some more clips to the assembly
-Had meeting with client
- Continued to edit, got the new VO and some more footage
- VO cut down
-More Footage...
- got a full assembly rough cut done
-got feedback
- added intro and outro to the edit
- refined the cut
- had to drop out of 'One last bite' as too late receiving the footage, later than agreed
-sent script revisions off for approval with more areas to cut down on time
- got some approval for script cuts
- made the changes shaved off an extra couple of mins
- refined the cut some more, working on timing and removing irrelevant shots
- created the titles, and credits for the piece
- got one last bit of footage few days before pic lock
- added new stuff in
-another pass over the assembly, refine some more adjusted timings
- added in titles
- final refinements to the cut
- added some temp score and sfx
- picture locked
- sent off sound and grade packages

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This project was really enjoyable to edit, with plenty of rushes to go through, and I feel I was able to construct a well-put-together piece. I faced some challenges on the edit, one being with the montage sequences they were particularly challenging to get right, find the right tracks for them was tough as it had to match the feel of the scene for mood and be appropriate in context with the whole piece, this is echoed with the pacing of them. Some scenes were also challenging, particularly the 'stolen bike' scene, with lots of quick movement and it was tough to get the pacing and flow of shots without the cuts being jarring. Getting the time down of the piece was also tough, my original runtime was more around 12 mins, one way I managed to get this down was by cutting dialogue in scenes to cut to the chase quicker. I also found editing with foreign dialogue tough but enjoyable, having to check the script and translate dialogue to the cut-down lines was hard!

I still feel that there could have been more improvements made to the edit. Having watched it back, I feel that the first half of the edit is paced a little fast with too many cuts that feel quite jarring, but these decisions were made based on client feedback to make the story feel more urgent and to show that time was of the essence. The party scene could have felt more lively, I missed out on some shots, and the montage from that scene could also have benefited from more variety of shots.  And I'm still not entirely happy with the music from the first montage. I did the audio and grade for this piece too but just to an acceptable level not 'professional', if I had more time I could have done more to these too.  I faced some technical issues, when conforming from avid to resolve I could not get the clips to link up, as the start timecode for the rushes in avid was different to the timecode that the rushes were displaying in resolve, you could change the start timecode in avid to match resolve but only when the clips weren't in a sequence, so I couldn't fix it that way. So I decided to export an AAF file from avid to premiere, premiere found the rushes and synced up, then I could change the timecode within premiere, export an XML file and then open this up in resolve, this worked.

If I were to do this again the only major thing I would change is the first half cut, I would maybe add an extra 30-60 seconds to it, and slow down the speed of the cuts, giving it a little extra time to breathe whilst still keeping the urgency of the story.

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This was to help me keep track of the progress i made with the initial large file import, marking shots that also have been corrupted or wouldn't import and needed converting, was also used at the start to keep track of the different resolutions and frame rates so i could refer back too for consistency with the conform, until i figured out how to display all the info i needed in the avid bins

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https://www.youtube.com/watch?v=F0WIv9vFMKM

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3-5 Mins
In terms of style I am aiming for a Comedy Drama

I have a few ideas on the way I would like it to look but as I'm still working on the final script I may change this slightly. I'd honestly like to pace it in coordination to the classical music playing. Making it quite calm at the start quicker as Mark gets excited about the dish, slowing down again when it comes to the final product of the ramen and then speeding up again when it comes to the robber being introduced. Some of the close up shots from the movie "Chef" I quite like.

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Initial brief(may change)
Acts:
1. Ecological history of UK (how it should be. The process of life and decay, the importance of a balanced ecosystem. Our lost mammals the bears the wolves the wildcats. We are slowly losing species each year. Narrowing it down)
2. Human made problems (light pollution, chemicals in water, monoculture habitats, flooding, drought, poor soil condition)
3. Animals solving the problems (Boar promoting seed distribution, creating water pools, giving up insects for birds. Beavers stopping flooding, drought, cleaning water with their dams, creating fallen wood habitats

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https://f.io/UHU4X-kd
ALIKYWR_ASSEMBLY 1 ROUGH CUT_150323.mp4
Jack Beresford - 07:43PM March 15, 2023

01:04:38:13 - no voiceover for the water (add sound later)
01:04:43:09 - pause after pan, then start the voiceover
01:00:33:03 - fade to black, then start the next shot
01:00:41:13 - cut to the headboard shot & CU of pen up to 50s
01:01:07:01 - pause, keep on her writing for a few more seconds
01:01:30:21 - maybe the shot of the side drawer? (276)
01:01:36:01 - write questions on screen
01:01:38:22 - continue pan until she sits, then start voiceover
01:02:26:15 - multiple beach photos
01:02:35:17 - cut to black for glass breaking sound effect
01:02:55:19 - hold on her fidgeting with her fingers
01:03:47:08 - hold for longer
01:04:11:06 - try slow mo
01:04:21:03 - from 45s in the actual clip - more movement
01:04:28:03 - hold longer
01:05:04:20 - for this voiceover cut back to clip 258
01:05:31:20 - cut out this "yours" line
01:00:27:21 - hold longer at the end
01:01:37:03 - fade in out questions
01:01:37:03 - questions alt corners of the screen

https://f.io/1HL0m8cN
ALIKYWR_ASSEMBLY 2_170323.mp4
Jack Beresford - 05:10PM March 17, 2023

01:00:27:16 - The pan zoom here is rough we can refine it better later
01:04:31:01 - this is slowed down 50% btw
01:04:49:18 - is there a take where shes just in this position to remove this movement
01:04:52:06 - there should be a take where a cable car with a red light goes past
01:05:04:10 - hold on the view for longer before she walks into shot
01:01:10:14 - "time heals all" to write on screen
01:01:46:12 - can we try to cut on the movement of moving the candle to picking up the papers in the next shot
01:01:57:21 - hold her walking for a bit, the cut is too quick
01:02:24:08 - this line comes on screen too
01:03:06:17 - hold longer
01:04:02:03 - hold after line finishes
01:04:07:12 - line on screen
01:02:36:17 - are we able to punch in so this fills the screen?
01:02:43:10 - i've uploaded more pics to the drive
01:00:09:24 - cut out VO of "dear"
01:00:53:19 - hold for a few seconds before the next line starts
01:01:20:20 - different picture to be used - blurred faces - pic of 3 to fill the screen (on drive)
01:00:01:03 - start with the wide of 2 girls at the pier on either side - fade to black - laughter sounds/laughter from the archive video
01:01:23:02 - audio from surprise archive vid on drive over this clip
01:02:47:14 - photos to go up one by one until in a formation
01:03:19:21 - could we use the frame of the empty photo album from the pan and hold on that?
01:03:37:06 - pause before she starts the next line? (vo messed up on that lol)
01:03:43:04 - photo of me and my sister - ill put up onto the drive asap
01:04:14:12 - hold this shot for longer - before the door closes
01:06:05:20 - hold for a few more seconds then fade to black

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For each month the timeline is sorted by top (start of the month) to bottom (end of the month)

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Rich 09/03/2023

Punch cheers crowd

Coach screaming 41 secs

Looked dazed after first punch

Maybe don’t come back to the ring after first flash back moving it a couple shots later

Lined punching match cuts up better

1:06 maybe not that shot, training then boxing, don’t go back to sit-up

Maybe add ref saying box again after montage

Look on freesound for war general

Maybe change the narrative to make him win , flop the footage around, use it as a client relationship,

Maybe cut the middle section

Greg 10/03/2023

Maybe shorter first slow mo punch shot(me)

Walk to coach after winning needs to start a few frames later as its a poor first bit of the take

Wins the fight

War footage punch, the maybe come back at the end

Long on the countdown when he’s down

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But warmer, i like to the tone of this, its feels more 'realism' and gives of a more authentic view, whilst simultaneously

reflecting the characters moods.

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Quotes to put in edit
Rushes = +1000 files, 700-800gb, 25 hrs total duration of rushes

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https://remezcla.com/lists/music/10-classic-corridos-still-slap/

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Lead Photo: Art by Stephany Torres for Remezcla

Art by Stephany Torres for Remezcla

Corridos are part of the fabric of Mexico's history. Many stories of the people's struggles during the Mexican Revolution in the early 1900s were recorded by crooners who turned them into shareable corridos. Over time, corridos have evolved to become narrative songs filled with romance, heartbreak, folklore or debauchery that are usually paired with a moral lesson. For Mexican-Americans today, corridos are still very much imprinted in the culture as they bump during family parties.

In any Mexican-American family function or carne asada, the classic corridos of Mexican greats like Los Tigres del Norte, Chalino Sánchez, Ramon Ayala and Los Tucanes de Tijuana can most likely be heard blaring. The stories these artists tell in their corridos have moved the action to the bars, the rancho and sometimes the drug trade routes. Narcocorridos were specifically born out of the aforementioned movement. These songs, whether celebrating triumphs or warning of tragedy, are the pulse of Mexican people.

That pulse continues to beat with the recent incarnation of corridos by a new wave of Mexican-American singers who are applying an urbano twist and taking their messages to the streets. In whatever form, corridos are forever. To celebrate the storied genre, here are 10 that never get old.

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These 10 Classic Corrido & Regional Mexican Anthems Still Slap

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Lead Photo: Art by Stephany Torres for Remezcla Corridos are part of the fabric of Mexico's history. Many stories of the people's struggles during the Mexican Revolution in the early 1900s were recorded by crooners who turned them into shareable corridos.

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https://www.shortoftheweek.com/2015/12/08/five-stone-of-lead/

I like inter cuting of the two stories, and the quick fast past cuts complemented by the sfx

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The fittingly named Postcards series offers short film snapshots of the pursuits and passions of the inhabitants of under the radar communities, ranging from a century old rocket-launching tradition on a Greek island to the next generation of Japan's martial artists.

In Five Stone of Lead, we are transported to Glenbeigh, rural southwestern Ireland, where boys as young as twelve are already deeply focused on their chosen life path - to excel as professional jockeys.

" Rocky IV - I know it's a movie, but it makes you want to never give up"

Dylan is driven, self-possessed, articulate and an unassuming charmer. He cites Rocky IV as the inspiration for his perseverance and resilience, and even seems to have borrowed his intensive training routine from the Italian Stallion. He's currently so light that he must carry the titular five stone (70lb) of lead in his saddle to be heavy enough to control his horse. As we watch him try to buff up and rise to the top of his game, it's impossible not to be won over by his determination and dedication. The boys face additional hardship as the grip of recession in Ireland means horses are scarcer, but Dylan remains optimistic and cheerful, grinning from ear to ear.

Gorgeous footage of the young aspiring jockeys racing by the sea is interwoven with shots of domestic details, such as the extensive horse themed décor in Dylan's home, building a loving portrait of a tightly knit community devoted to all things equestrian. Despite just a six minute run time, we become entirely invested in young Dylan, his ambitions, and his world.

Other films from the Postcards series can be found on their dedicated website, which also provides information for those interested in submitting to the series. Postcards is a collaboration between the film agency Just So and Sheffield Doc/Fest, and provides grants of up to £5000 for selected projects.

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Five Stone of Lead by Jonny Madderson | Documentary Short Film

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The fittingly named Postcards series offers short film snapshots of the pursuits and passions of the inhabitants of under the radar communities, ranging from a century old rocket-launching tradition on a Greek island to the next generation of Japan's martial artists.

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- Continuing to work on both 'Authentic' and 'The Boxer' getting 2 good rough cuts ready for feedback on the 9th/10th
-Had feedback sessions, made changes to the edit based on the feedbacks over the next week
-Pre production zoom call for 'Breathing grounds' Doc
-Got to picture lock stage for both 'Authentic' and 'The Boxer'
-Conformed 'Authentic' to resolve for look grade, had issues
-Pre production meeting for 'One last bite' film
-Got rushes for 'A letter i know you wont read' and had a meeting about whats needed, got lined script
-Completed first draft for 'ALIKYWR' got some feedback
-Completed second draft for 'ALIKYWR' got feedback
-Completed a look grade for 'Authentic'
-Completed Avid training, and passed 🎉
- 24th march feedback session with Richard
-Got rushes for 'Breathing grounds' beginning media management
- Cut 3 of 'ALIKYWR' submitted for client review
-Finished audio for 'Authentic', Final Export
-Final touches for 'The Boxer'
-Continued media management for breathing grounds, got a first draft of the script, and some of the edit log
- Got more rushes for breathing grounds, updated log, got temp VO
-Transcoded the rushes
-Meeting with client for more rushes

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PDF is Gregs notes 23rd Feb

Rich 09/03/2023
Cut as soon as eye looks up chef 57ish

Cut radishes and pickles line and garnishes line? Or one of them?

Maybe don’t need the wide as he leaves the kitchen

Location, taco, kitchen

Maybe don’t have the shot in-between leaving tacos behind, move the time of the shot to end

Shorter grandma convo

Looking tracking shot doesn’t work

Cut out more faff, cut to the chase a lot longer

Greg 10/03/2023
The final shot in scene one gone,

Music still to leisurely

Shoter dialogue grandma scene, no need for not explaining line for boss,

Party montage shorter, taco shot too long, got straight to him walking in the back room

Maybe the black frame not need, might be odd.or maybe add more atoms

Shorter head chef reaction

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set in one hundred years ago around
the beginning of the First World War and is based on the true story of Harry Mallin a two
time Olympic gold medal winning boxer from Hackney Wick

"I wanted to create the excitement and emotion of boxing on a contemporary
level, despite the story being set 100 years ago. I wanted us to feel like we are in the ring
with that boy.”

Alexandra describes her film is a visual tone-poem showing the strength, beauty, fear and
emotion of a boxer fighting in the ring after returning from the war to end all war.

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Deadline Mid-April
Draft 1 week after filming
6-8 mins run time
Cross fade person fading away shot

Back yo the future opening scene intro panning through ref for intro

Mirror shot, know one in the reflection, crop

Archive footage blurred faces

Talking then pans to no one

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One letter is for her brother P. He was disowned from the family but she was just a baby when it happened so she had no idea. She grew up knowing she had a brother but never felt that connection. This makes her feel incomplete and heart broken. As the letter progresses she realises it is clear that this is her final try and after that she is also closing the door to this relationship just like P did.

The second letter is for her cousin Kay who was just like a sister to her. Their differences tore them apart and she felt betrayed by Kay leaving her alone on holiday and treating her horribly, but all she wanted to do was help her cousin and protect her. There was jealousy, guilt and verbal abuse involved.

Both girls deal with the ending of the relationships leaving them broken and questioning themselves. To deal with feeling heart broken and betrayed there will be a ceramic heart being glued back together piece by piece as the film goes on.

I want the audience to sit through a very emotional journey and reflect on their own family relationships, whether they need to reconcile or just be grateful. For them to realise the importance these relationships hold, especially for those you have known since birth or birthed yourself.

This will be shown through the use of illustrations, archive footage, cinematic landscapes and the visuals of the written letters in darkness. Hardly anyone writes letter these days, which is why I believe writing one for this topic is a more intimate and satisfying way to portray your feelings. The etching of the pencil needs to stick in the viewer’s brain.

2 stanzas from a poem ‘Hide and Seek’ that resonates with me and this project:

Draw me a map so I can find my way to you.
Leave me a clue, set me a task, anything
that will help me win your presence
back in my life again.

We only meet inside my head.
I talk to you; you have no words for me.
I miss your voice; your face is turned away.
All I want is to talk with you again.

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Amy Winehouse Doc, still images part
Back to the future opening scene
'Dear...'

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- Continuing to make progress on 'Authentic', completed all of the main scenes to a draft quality, just 2 montages left to complete, and a score to add by the end of the week.
-Reached out through aula and email about a potential other project (didn't get)
-Montages almost done
- Finished 1st draft of authentic, looking for feedback before moving on
- Emailed another student about a project
- Had a meeting for the Project 'A letter i know you wont read' got some notes regarding the edit
- Had some date changes for various projects
- Sent off 1st draft of 'Authentic' to Greg for feedback, recieved feedback, made some changes based on feedback for fridays 1-2-1 session
-Started edit on 'The Boxer' organised rushes, getting towards a first draft level assembly
- had 1st 1-2-1 with Richard about portfolio, more discussed the plans for projects

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Final deadline Friday 17th Feb
First draft by 12th Feb

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- Decided on which potential rushes i would use for portfoilio and organise the projects i had pre agreed to work on
- Messaged current clients to confirm shooting dates and deadlines for the edit
- Created Gantt chart to visualise my time and help prepare my time management and to see what gaps were missing content wise
- Downloaded rushes for 'Authentic', read the script, media managed and project setup within avid and edited 1 scene

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- The idea is to create a piece that feels 'authentic' grounded and raw, with plenty of emotion and tension
- I want the tension and sense of urgency to keep rising as we follow the journey up to the climax and relief with a pleasant feeling ending
- It's a drama/coming of age/cultural appropriation  genre
- Some harsh abrupt cuts needed keeping the pacing going
- 8-10 mins duration
- Potentially have slow-mo party scene as opening

The story of Authentic explores "cultural appropriation, authenticity, and contradiction."

"Nicolás, a Mexican immigrant, is a dishwasher at a fine dining restaurant in New York. When his head chef challenges him to find handmade tortillas for a surprise addition to their menu, Nicolás jumps at the opportunity to prove himself, embarking on a journey that ultimately tests the limits of his ambition. Inspired by real events..."

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Watched Chef (2014) - similar theme, cooking drama, looking at how to edit cooking and heartfelt moments.
Boiling Point (2021) - one-take movie in a high-pressure restaurant, inspiration for how to convey pressure and drama.
Bear (2022) Tv Show, High-intensity kitchen deals with a lot of emotions.
Looking into authentic scores that can be included

https://www.take1.tv/are-subtitles-the-secret-to-editing-foreign-language-videos/

https://www.youtube.com/watch?v=aCvI-Vc21uM - cooking scenes

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This method takes option 3 a step further by using your video translations to create subtitles for all of your interview rushes. This way, you're still able to prepare a paper edit and benefit from all the other positive aspects of option 3, but you're not as creatively compromised in post-production. With each line of dialogue supported by a corresponding subtitle track, you'll be able to work with your editor of choice to refine your storyline and can share your work in progress with other contributors and stakeholders at any point.

A drawback to this approach is that it can become expensive to translate, transcribe and subtitle all of your raw footage, especially if your production has a very high shoot to edit ratio. One way to cut down these costs is to use ASR transcription software, free translation tools and subtitle generators. But, in addition to the issues around language accuracy raised previously, this multi-step process can be very time-consuming (as this documentary editor tells Post Perspective.) The output from non-media specialist services also often needs to be reformatted - as this Reddit contributor explains, even language professionals won't necessarily know the character limits and other technical specifications for subtitles unless they're media specialists. These technical specifications are particularly significant if you're editing on an Avid Media Composer, as this article in Premium Beat details, the formatting of an AVID DS Caption File is very important and AVID's SubCap effect will not import an improperly formatted file. The technical formatting required differs depending on whether you want to add subtitles to Final Cut Pro, subtitle Davinci Resolve sequences or create Premiere Pro subtitles.

Another way to reduce costs is to simplify the workflow and cut down on your team's edit time spent correcting content, repurposing material and reformatting files. Using a media specialist language provider like Take 1 to transcribe, translate and prepare subtitles for your raw footage means that your team benefits from the highest quality transcription and translations, and will receive subtitles that are broadcast compliant and compatible with your NLE of choice. So, you can get on with your edit.

We know that there isn't a one-size-fits-all solution to editing foreign language videos, and this isn't even an exhaustive list of all the options available (for one, we haven't explored the overdubbing option suggested in the Los Angeles Creative Pro User Group.) But hopefully the above information does give production teams facing this challenge for the first time an insight into some of the available options. And if you need help with your transcriptions, translations or subtitles, give us a call.

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Are subtitles the secret to editing foreign language videos? - Take 1

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This method takes option 3 a step further by using your video translations to create subtitles for all of your interview rushes. This way, you're still able to prepare a paper edit and benefit from all the other positive aspects of option 3, but you're not as creatively compromised in post-production.

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https://www.spanish.academy/blog/13-classic-hispanic-songs-you-should-know-to-feel-native/

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Classic Hispanic music brings rhythm, passionate lyrics, and unique sounds to any occasion. Hispanic bands, solo artists, and composers are famous for creating some of the best latin songs of all time. Their contribution honors Hispanic legacy and the melting pot of cultures from Latin America.

Revisit this interesting article to learn more about the difference between Hispanic and Latino.

Listening to old Spanish songs everyone knows is a fantastic and fun way to get familiarized with Spanish pronunciation and listening. Keep reading for a taste of Latin American music as a celebration of the Spanish language.

13 Classic Hispanics Songs You Should Know To Feel Native

Accompany on a trip back in time to revisit some of the best Classic Hispanic music you should know to take your Spanish game to the next level.

Performed and written by Ritchie Valens

Released in 1957

La Bamba is a fantastic representative of classic Hispanic music. It has traveled the word and it even inspired a feature film based on its singer's life story.

Originally a Mexican folk song, young Mexican American Ritchie Valens rewrote La Bamba in the late 1950s. The song broke barriers as it acquired immense popularity among pop and rock and roll enthusiasts in the United States.

La Bamba is part of Rolling Stone Magazine 's list of 500 Greatest Songs of All Time in 2004. The song comes originally from Veracruz and has been reinterpreted multiple times by newer artists.

The phrase "para bailar la bamba se necesita una poca de gracia" (to dance la bamba, you need a bit of grace) is easily recognized during Hispanic festivities and is sure to get friends and families to move on the dancefloor. The song inspired a film based on the life of Ritchie Valens.

2. Rayando el sol

Rayando el sol (Streaking the sun) is Mexican rock band Maná's first single. It's part of the most-known collection of songs from their first album Falta amor ( Lack of love). The album made its way to the charts of Billboard's Latin Pop Albums and Top Latin Album of 1992.

The song is a classic Hispanic music anthem of love and nostalgia. It has beautiful lyrics and relates to those who've experienced heartbreak. Rayando el sol kicked off Maná's career when they were struggling musicians in Mexico City. It gained the band popularity all over Mexico and in the rest of Latin America and Spain.

Maná is still considered one of the top bands in México, they fill up concert halls and stadiums around the world.

3. Bidi bidi bom bom

Selena Quintanilla is considered the Queen of Tejano tunes and is responsible for some of the best classic Hispanic music.

The song Bidi bidi bom bom was released in 1994 as a part of Selena's fourth studio album Amor Prohibido. The catchy tune talks about the sound your heart makes when it skips a beat because you're in love. She co-wrote this song during rehearsals with her band Los Dinos and made its way to number 1 in Billboard's Hot Latin Tracks of 1994.

Selena was a groundbreaking performer who skyrocketed to stardom in the early 1990s. Her contributions to Latin American music earned her a Grammy and multiple accolades. She had a promising future ahead, but her life ended tragically and way too early. Her life story inspired a movie and Netflix series, where you can hear bidi bidi bom bom playing consistently as one of her greatest hits ever.

4. Estoy aquí

Shakira is a Colombian singer and songwriter well known for her amazing dance moves and remarkable performances in the 2014 World Cup and 2020 Super Bowl Half Time Show. However, very few people are familiar with Shakira's humble beginnings and her first and possibly best album Pies descalzos (Barefoot).

Shakira released her first record in 1995 and along with it, her first single, Estoy aquí (I'm here). The latin pop song is a hymn of a failed relationship. It has emotional lyrics and prominent guitar melodies played by Shakira herself. At the moment of its release, the song topped weekly pop charts in Bolivia, Argentina, and the United States.

5. Las flores

Café Tacvba is considered one of the top Latin American rock bands of the Spanish speaking world. The natives from Mexico City are highly recognized for their genius musical compositions that combine Mexican banda, folk, jazz, ska, and rock. Las flores (The flowers) is Cafe Tacvba's fourth single from their first studio album, Re.

Las flores, along with the band's other singles, brought them international spotlight in the early 1990s. To this day, Re is considered one of the top Hispanic rock albums of all time. As soon as they released Las flores, it became a favorite among classic Hispanic music lovers. The song's upbeat tune is a passionate love song with poetic lyrics. It's a perfect melody for those who are deeply in love.

6. Bésame mucho

Performed and written by Consuelo Velasquez

Released in 1940

Bésame mucho (Kiss me a lot) is one of the most acclaimed Mexican love songs in history. It was written and performed by bolero singer and songwriter Consuelo Velasquez. The song's intimate romantic lyrics come from the writer's heart and highlight profound affective emotions.

Bésame mucho is considered an essential classic Hispanic music. It has inspired multiple covers from well-known artists such as The Beatles, Luis Miguel, Michale Bublé, and Il Divo. The song is part of multiple motion picture soundtracks. It also inspired a Mexican musical theater show.

7. La bilirrubina

Performed and written by Juan Luis Guerra

Released in 1990

Juan Luis Guerra is a Dominican bachata, merengue, and tropical music performer and songwriter. His classic song, La bilirrubina (Bilirubin) is a favorite for Hispanic weddings and parties. The happening tunes and catchy lyrics get any party started.

The song is part of his 1990 Grammy winning studio album Bachata rosa. Juan Luis Guerra has positioned bachata music all around the world. His Latin rhythm contributed to UNESCO's declaration of bachata music as intangible cultural heritage in 2019, something inimaginable and groundbreaking for the talented performer.

8. La vida es un carnaval

La vida es un carnaval (Life is a carnival)is a salsa song by Cuban performer Celia Cruz. The song carries a message of positivity and resilience. Its message highlights that life is a carnival and singing your worries away is the norm.

People around the world widely praise the song as a part of the best classic Hispanic music of all time. It won Tropical Song of the Year in 2003 at the Univision L o Nuestro Awards.

Celia Cruz already had international stardom when she released the song, but the hit lifted her fame even more. The song has been a part of Billboard charts since 2001 and is considered one of the best Latin dance songs of all time.

Celia Cruz passed away in 2003 but her legacy still remains and is valued by millions of her fans.

9. Ahora te puedes marchar

Ahora te puedes marchar (Now you can leave) is a song by Mexican pop singer Luis Miguel. The song's success landed it on number one on Billboard's Hot Latin Tracks for three straight weeks in 1987. Luis Miguel became an overnight pop sensation and the first 17 year old to have a top hit.

The chorus' infamous and honest phrase "Si no supiste amar, ahora te puedes marchar" ("If you didn't know how to love, now you can leave") made it a song for anyone who's left a toxic relationship to relate. Luis Miguel's career followed decades of hits on the charts, awards, and inspired a high rating Netflix series.

Performed and written by Juan Gabriel

Released in 1984

Mexican artist Juan Gabriel became the most popular performer in Mexico with his song Querida (Dear) in 1984. His first album Recuerdos II (Memories 2) sold over 15 million copies, most of them in Mexico. The song kept a place on the top of the Mexican charts for 18 months.

Querida is at the top of classic Hispanic music worth honoring. Querida 's composition and orchestra arrangements make it an unforgettable and profound song. What is more, Juan Gabriel had a beautiful voice, strong stage presence and could put on a fantastic show like no one else.

Querida and his other hits are a valuable contribution to new generations of Latin American artists. Juan Gabriel passed away in 2016 and is still considered the best solo Mexican performer who's ever lived.

11. Oye cómo va

Performed and written by Tito Puente

Released in 1963

Oye como va (Hey, how's it going) is one of those classic hispanic songs everyone knows. The mambo tune written by the Puerto Rican American earned him the title of The King of Latin Music. The rhythm and cha-cha beat of the song gets everybody dancing.

The song acquired major popularity in 1970 thanks to a collaboration between Tito Puente and acclaimed guitarist Carlos Santana. The song made it to Billboard charts and from there took off worldwide. Tito Puente represents the best of classic Hispanic music and has inspired over 15 different cover versions of the song from well-known artists like Julio Iglesias, Natalie Cole, and Celia Cruz.

12. ¿Cómo te voy a olvidar?

Los Angeles Azules is a Mexican cumbia band from Iztapalapa, Mexico City. The band was founded in 1983 by 4 out of 8 of the Mejía siblings. As the band started to grow over the years, the rest of the family joined in.

Their deep, romantic, and emotional song Como te voy a olvidar (How can I forget you) is incredibly memorable and has been heard even in large music festivals like Coachella.

The band has found a way of reinventing classic Hispanic music through collaborations with well-known artists of different genres in stadium concerts.

If you ever find yourself in a Hispanic wedding, I guarantee this song will be on the playlist.

13. La perfidia

La perfidia (Perfidy) is a classic Mexican bolero written by Alberto Dominguez from San Cristóbal de las Casas, Mexico in 1939. The song evokes a story of love and disappointment. It's a lovely composition with poetic lyrics.

The 1940s Mexican Puerto Rico trio, Los Panchos has a cover version that captivated Spanish speaking audiences around the world. The song also has multiple versions in several languages. It's even part of the motion picture soundtrack of Casablanca. La perfidia truly represents high quality classic Hispanic music that endures decades.

Keep celebrating Hispanic heritage month with this list of 11 Hispanic culture books you need to read.

Sing Your Favorite Spanish Songs

I hope you enjoyed this curated list of classic Hispanic songs. Prepare your playlist and start listening to the best melodies and lyrics that celebrate Hispanic music and culture.

Listening to Spanish consistently is essential for creative, amusing, and practical reinforcement, but talking to a native speaker will take you even further. Sign up for a free class with our certified teachers from Guatemala. They can't wait to help you become fluent and will teach you more about Hispanic music and culture. You'll be amazed how after one class you'll be singing in Spanish intuitively.

Want to learn more about Hispanic and Latin American culture? Check these out!

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13 Classic Hispanic Songs You Should Know To Feel Native

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Classic Hispanic music brings rhythm, passionate lyrics, and unique sounds to any occasion. Hispanic bands, solo artists, and composers are famous for creating some of the best latin songs of all time. Their contribution honors Hispanic legacy and the melting pot of cultures from Latin America.

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'Burnt' scenes used for kitchen scenes inspiration

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Portfolio Deadline - April 21st

Authentic - 1-17th Feb -  Completed Cut by mid march with first Draft by 12th February
The boxer - Completed cut by mid march

A Letter I Know You Wont Read - shooting - 4-7th March
Completed cut end of March/Start of april

Breathing Grounds shooting - 17-21th March - Completed Cut Deadline 14th April with a first Draft by End of March

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https://docs.google.com/spreadsheets/d/1V6Uxian0UHCjYZ1xInEx-__WBt7aoUeZLG5wnGY1srA/edit#gid=0

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Shooting at 4k 50fps to deliver in 1080p 25fps

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Asked to watch 'Our Planet' as this is the inspiration for the documentary piece.
Animals research
Spring watch
Avid forums and training for relinking to high reses, some more advanced media management functions, and things to optimise my workflow a bit more