filming and editing dialogue.....

N

nimihendrix

say we have a simple scene

2 characters talking back and forth, debating, arguing, etc


multiple angles... master shot, close ups, etc


upon editing the sound, do you just cut the dialogue from each different shot and piece it together? or should you use one master dialogue, and just mix and match the camera shots to sync

?


my guess is that its a bit of both, from simple scenes ive shot in the past i've mostly cut dialogues from different shots and put it together


but the problem lies if both characters are speaking at once (interuption, arguing) etc


any pointers?
 
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Use the best takes. I've adopted the mantra of the editor under whom I apprenticed:
"Performance dictates the cut."

Try to avoid letting the actors talk over the top of each other (except maybe in the master shot) unless you have both individually mic'ed. Interruptions, etc. can be achieved in the edit.
 
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Basically, I'm in agreement with 2001, but will slightly tweak my response.

Performance should dictate the cut. Sometimes continuity dictates the cut. Or maybe a little of both. So, get lots of coverage.

As far as actors talking over each other, I prefer that most interruptions be done in post (so, better for actors to let each other finish a line (most of the time). Obviously, this doesn't work if you want to visually see one cut off the other, then you need to film it that way. Also, if it's a shot in which they're actually talking over each other, for a period of time, more than just an interruption, I think that's best worked out in rehearsal and shot as is, the way you want it in the edit.
 
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nimihendrix said:
my guess is that its a bit of both, from simple scenes ive shot in the past i've mostly cut dialogues from different shots and put it together


but the problem lies if both characters are speaking at once (interuption, arguing) etc


any pointers?
Click to expand...
That's what I do, and I face the same problem. So when I'm shooting a scene that
requires the actors to speak over each other we rehearse more then usual. I shoot
it several times with them talking over each others lines. Then I shoot "clean" close
ups and get audio of then not talking over each other.

In editing I have several choices.
 
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I'd also throw out there we talk all the time about how multiple cameras are a bad idea, but if you have the luxury (of multiple cameras) this is one of the few times it makes. Certainly can be done without it, as noted above, just pointing out this exception to the general rule.
 
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Agreed, Gonzo.

Sometimes using two or three cameras is fine. There are
challenges in doing that, of course. Lighting is more difficult,
setting up can take longer, finding three compatible cameras
can be an issue, in some cases you need more people on set.

If one has three cameras shooting a simple scene could be
an option.
 
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Multi camera shoots also create audio capture problems, the first being that you now have to keep the boomed mic out of three frames. Using lavs will help, but now you have to hide the lav and transmitter from three angles, plus you should be recording each lav and the boomed mic to separate channels, so a multichannel audio recorder would be required.

Of course, using multiple lavs and a multitrack recorder isn't a possibility because they've blown the budget on getting the three cameras, three camera operators, etc. :D :rolleyes: :no:
 
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I was asked to shoot a no budget project over a weekend
by a gaffer friend. When I got there there were two other
cameras - not operators, cameras. The director was setting
up the other cameras and I was to operate mine.

The boom op was crazy trying to keep the mic out of all three
frames, the lighting was hell (but we got it) and the director
spent more time running around turning on and off the other
two cameras than he did working with the actors. Two other
operators would have helped but he didn't have the money to
offer even a couple of meals to two more people.

In theory is sounds pretty good.
 
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Most multicam shoots for narrative works usually mean 2 cameras of the same angle - a wide shot/over the shoulder and a simultaneous close up. They light for one direction, but all the coverage faster, then turn around and light to shoot the other direction.

As for the audio, look around for info on"split edits" or also called "L Cuts". That's where you're showing the picture from one clip, but slip some of the audio from another angle underneath it on the timeline, or vice versa. It's incredibly common way to edit for picture and sound.
 
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I agree it comes with it's own set of issues. Like I said, just pointing out the exception to the "Narrative films are shot on one camera" axiom that we all agree is almost always true.

Quick reparte' between two people with lots of cut off lines and critical reaction shots (usually comedy) is one of the few times the benefits might outweigh hassles.
 
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sonnyboo said:
Most multicam shoots for narrative works usually mean 2 cameras of the same angle - a wide shot/over the shoulder and a simultaneous close up. They light for one direction, but all the coverage faster, then turn around and light to shoot the other direction.

As for the audio, look around for info on"split edits" or also called "L Cuts". That's where you're showing the picture from one clip, but slip some of the audio from another angle underneath it on the timeline, or vice versa. It's incredibly common way to edit for picture and sound.
Click to expand...

Hey, I had not thought of this variation. And now that I think of my OWN experience, thats what we did on my 48hour project. Cam A was the main camera, cam b was doing ECU, inserts etc, but from the same side \ angle mostly.
 
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wheatgrinder said:
Hey, I had not thought of this variation. And now that I think of my OWN experience, thats what we did on my 48hour project. Cam A was the main camera, cam b was doing ECU, inserts etc, but from the same side \ angle mostly.
Click to expand...

My DP was an operator on the old series "Moonlighting". He said they shot a lot of the quick banter between the two of them multi-camera. Even going both directions because there tended to be improv, and expressions that could only be captured in the moment. Pretty common sitcom technique I think.

One angle would make the lighting much less of an issue for sure.
 
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