TITLE: Larks Across Murray 2
STATUS/DATE: (2009)
GENRE: Hobbyist Documentary
APPROX LENGTH:30 min
LOCATION: filmed on Lake Murray, South Carolina

WHAT IS: Sequel to the successful LARKS ACROSS MURRAY. This production was more than double the length of the first one. There are many more planes than in LARKS 2 than in the first one; and the shots were multidirectional and more diverse than the first one (which meant much more editing). I really pushed the homemade body mounted camera rig I designed - to the limit in this film. Unlike the first one there was a much more encompassing perspective of the event itself including the methods for multiple radio control frequencies at one time, the techniques and mechanics of trick flying, also  showing more of the human aspect mixed with the machine. Among all of this; first and foremost It was a very enjoyable, relaxing, and essential experience I felt helped evolve my flexibility even further.

PRODUCTION: This  was the first video I edited since I finished the book “Cut to the Chase: Forty-Five Years of Editing America's Favourite Movies " by Bob Osteen. It was part biography with subtle how to’s woven in between. I highly recommend this book for anyone that has even a remote interest in editing their own features. It was was an eye opener to say the least - and showed me that good editing was now only essential to a production, but there were reasons why things are done as they are.  Editing is just as important as (far as artistic decisions) as directing or sound engineering . Many of the cuts that  were made were second nature by this time, almost intuitive, which me me feel that I was starting to understand things on a whole new level (a light bulb came on after reading Osteen's book). The cuts were timed perfectly to the music (down to the frame)  and the fades were more controlled and purposeful. I began to understand the use of editing to provide direction for the eye, controlling tone and flow.

I always look forward to attending any of these events (LARKS in particular) because it forced me to work on getting my camera hands steady as I am following moving subject after moving subject at high speeds and having to control zooms at a very articulate level to keep the subject consistently the correct size and in mid-frame (as the subjects  fleet through 3 dimensions at record speeds). Also this was the first time I used roto-scoping. Roto-scoping is basically replacing actual footage with that of drawing, cartoon or digital art. In the end much attention was payed to the sound  (an area that I believe that most people starting out tend to brush off).

I had to pull out some more tricks; there was a lot of loud talking in background about personal subjects that one would probably not like to be put in a film. This was a matter of taking all the natural sound at those particular times, and fading back in when a favorable ambient sound was available or adding in clips of sound from discarded takes.

At this point I fell in love with moving graphics(in this particular instance in the intro). Although they are not to be always used, because they may cause a distraction for many pieces it can add some value when used wisely.


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