Editing to the Content
you want to edit to the content. Ah, and so you have a script. You have these story ideas. You have all these pieces that you brought together. Um, and you have to be open to seeing what your content is. And so a lot of the story when you're out there happens as the cinematographer happens as the motion capture, and it's same thing with still photography. You're capturing that story. And so I try to anthropomorphize the characters. Your characters are most likely, of course, animals. Um, and I'm gonna tinta the analogy of the sea cucumber, which is a fun one. But the way you have to do that is you have to think about your subject matter as people as we would, cause that's what we're gonna most relate to. That's what the viewers gonna most relate to. And so somebody was telling me about I forget there was a scene in a movie somewhere, and this director had this kooky view of like, Okay, how do you make a sea cucumber? Interesting. And his filmmakers and photographers, we have to make th...
e most mundane things seem interesting. So how do you make the life of a sea cucumber interesting. And when he described it to me, a light bulb went off in my head. I'm like I will never shoot wildlife films or nature films the same again, he said. The idea was, the guy goes out and he pictures the sea cucumbers, a really old man wandering into a really big nightclub in New York City and the sea cucumber, using filming techniques, is looking around crawling around along the bottom of the ocean, and it kind of looks up this way. And Conner looks up this way, using, you know, playing it back faster because they move kind of slow. So he records it in a way where they sea cucumber moves, and every time he looks up, he's playing at high speed motion. All the little things in life that's going around him in the ocean. Little shrimp goes by plays with music. You do dune in a Yukon comers looking around. It feels completely out of a place in a world that's moving seemingly so fast around him. What a great way to tell that story. What a great way to feel like you understand, with the slough lumbering life of issue. Comer is really all like So it's the same thing when I say anthropomorphize your characters. I talked about the lone bird, you know. Is it the same bird all the time could happen in the story and the Edit bay. You know, if you have one bird that you always Fillmore, you always film burns when their solo, but the rest of the time they're all coupled up and having their babies. But you keep talking about that one bird wandering around on the island, Jonah find is may never actually finds it. It's relatable. It's that struggle. It's that that need for relationships you're able to build on. So anthropomorphizing your content. I think thinking of it that way anyway. Well, really define a lot of the process and help you, um, think about how to shoot your story, whether you're being a cinematographer, script writer or whether you want to do the entire project all on your own. Um, you know, and I'll tell you mean ultimately, you know, I had a writer who helped to a Polish and edit and copyright and so on and things like that. But ultimately all the ideas were born out of what were captured on the island. And I want to show you this. This is these next 12 cards are the entire film. Um, the entire film is shot here on these 12 cards and these air shot by shot. Each frame here represents a new cut, and this will give you an idea, ultimately, of how much there was. And so this is how you can tell the story. You could start to get a sense of the flow, right, And then you can look at it and it matches up against the stories is a great way to check story. It's a great way to check scenes. Great way to make sure didn't duplicate your shots because they all start to look and feel the same. I can tell you it's a lot more difficult than you think. Um, but this is what it all looks like. These are all the shots that were captured, and it just goes and goes, Goes and you could, but you get to feel the rhythm, right? Get to see where the historic section is. Comes back. How it's interwoven. There's a big step here. We enter what and talk about how the strategy here it was strategic back in the 19 forties. It's still strategic today, toe wildlife that needed. But those wildlife are threatened, just like it was threatened 75 years ago today, interweaving the story throughout. Right building in the veterans. What goes into this structures? Here's the birds. Here's the dance. All right, here they are. I'm not gonna do it again. You have to watch. So I just want to show you this because it gives you a real sense of the scope and scale of what it is. I mean, when you see it like this, it's almost not even. I mean, there's a lot of great shots and cool things is the dolphin scene. They're their own character. Here's the monk seal scene, right? It's its own character. And then here's the wrap up the Ending Credit Credit Credit Credit Credit Scroll. That's the whole film, and shots don't look like much. 40 minutes