COMEDY DRAMA
Shot on Red, edited using Adobe Premiere Pro (Picture credit: Marc Star)
same frame… For me, it’s always funnier in a two shot.”
“Being presented largely through Zoom, it was very dialogue heavy, so that, sifting through the footage, it was a big challenge to find ways to keep the natural rhythms of the conversation fresh and funny and sharp, without feeling repetitive. It’s easy to fall into the same patterns.
“There’s a certain musicality to it, you need to be able to manipulate pacing in a way that’s not dissimilar to a key change in a piece of music. I needed to find that flow, that musicality.” He used both traditional cuts, “but also hundreds of tiny pacing adjustments using the curve editor, adding speed ramps to speed up or slow down gaps between lines, to keep cadences of conversations flowing the right way, which was particularly useful when working in split-screen.”
The shoot was captured on a Red in 8K, allowing the production to finish in 4K, while also getting more shot sizes out of each camera set-up, “because of the greater resolution you can get a wide and mid, or mid and a medium close-up out of same shot.”
From there, they generated 2K proxies, in DaVinci Resolve, and made synched multi- camera sequences in Adobe with the audio and proxies. For the workflow they opted for a cloud-based system around Adobe Productions, with media stored locally but the Production on shared cloud storage.
For this project, working with Adobe Premiere Pro gave Cowen the flexibility he was after. “I do a lot of After Effects, a lot of temp visual effects and dynamic linking. It allows me to work between Premiere and After Effects - especially on a project like this, where there are tons of screen replacements for the Zoom calls - without having to render.”
Cowen’s experience has been a blend of scripted work and commercials. He’s always been interested in mastering the technology. “I find it incredibly useful to have the tools at my disposal, to know what the limits are, to push boundaries in the edit by being able to experiment with the tech side of things myself.”
One of Cowen’s next projects is a short sci-fi production which is being made using Unreal Engine and virtual production technology.
Autumn 2022
televisual.com 149
“There’s a certain
musicality to it, you need to be able to manipulate pacing in a way that’s not dissimilar to a key change in a piece of music. I
needed to find that flow, that musicality.”
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