After reading up on the types of edits I want to make in my film, I did exactly as I said I was: To begin, I color graded the film in the initial part of the film in a very dull color. I interchangeably color graded the shots between red and blue to signify feelings of the warmth of love and the sadness of being alone, respectively. In any scene that correlates with the script of the film that talks about the protagonist's dream, I color graded it so that the colors were very vivid and saturated.
Secondly, I made a lot of edits to the shots themselves, cutting them short, slowing it down, or freezeframing them to make sure that the shaky cinematography was eliminated as much as possible. I did originally want to implement a lot of slow-motion shots anyways, so the slow-motion shots signify the idea of a dream that is slowly happening throughout the film. The slow-motion shots also signify the idea of how love feels like time stops when you're with someone special.
Since the film is avant-garde in the style of a montage, I made the transitions simple and made all of them jump cuts. This signifies the pace that the protagonist is thinking about, with thoughts jumping from one thought to another. There is a steady correlation between the tempo of the voiceover with the tempo of the shots; I tried to make it so that it matches appropriately with the tone and feel of the film.
One of the editing techniques I was playing with included the distortion of the shot, like flipping it, turning it upside down, or twisting the center of the shot. I used those spontaneously throughout the film so that it makes it interesting but not overbearing to hinder the ultimate message of the film.
Lastly, one of the editing ideas that I am most excited and proud of are the color bars I inserted that showed the progression from "ERROR" to "LOADING..." and finally "COMPLETE." My intentions for these color bars are to show the break in the protagonist's mind when their brain envisions at too much of a fast pace or when they break in their stream of consciousness. The progression of the words on the color bars represents how the protagonist slowly lets their guard down allow themselves to fall in love with a boy.
Secondly, I made a lot of edits to the shots themselves, cutting them short, slowing it down, or freezeframing them to make sure that the shaky cinematography was eliminated as much as possible. I did originally want to implement a lot of slow-motion shots anyways, so the slow-motion shots signify the idea of a dream that is slowly happening throughout the film. The slow-motion shots also signify the idea of how love feels like time stops when you're with someone special.
Since the film is avant-garde in the style of a montage, I made the transitions simple and made all of them jump cuts. This signifies the pace that the protagonist is thinking about, with thoughts jumping from one thought to another. There is a steady correlation between the tempo of the voiceover with the tempo of the shots; I tried to make it so that it matches appropriately with the tone and feel of the film.
One of the editing techniques I was playing with included the distortion of the shot, like flipping it, turning it upside down, or twisting the center of the shot. I used those spontaneously throughout the film so that it makes it interesting but not overbearing to hinder the ultimate message of the film.
Lastly, one of the editing ideas that I am most excited and proud of are the color bars I inserted that showed the progression from "ERROR" to "LOADING..." and finally "COMPLETE." My intentions for these color bars are to show the break in the protagonist's mind when their brain envisions at too much of a fast pace or when they break in their stream of consciousness. The progression of the words on the color bars represents how the protagonist slowly lets their guard down allow themselves to fall in love with a boy.
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